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By using our site, you agree to our collection of information through the use of cookies. To learn more, view our Privacy Policy. To browse Academia. Meykhana is spoken word improvisation, verbal recitatives, and a kind of entertainment that in the last two decades has largely spread across Azerbaijan. Contemporary meykhana, although it retains its characteristic rhythm, increasingly resembles popular songs rather than classical Middle Eastern poetry, and is now often being sung, not read. Thus, in its form and function, it has become an element of mass popular culture. At the same time, meykhana is increasingly considered to be one of the national symbols on a par with other traditional musical genres such as mugham and ashig art. Using such aspects of nationalism as ethnicity, tradition, modernization, and folkloricization I analyze different levels of meykhana and the various actors involved in its implementation. This pap This contact was disrupted in the early 20th century, when northern Azerbaijan was incorporated into the USSR. Finally, it will consider how increased interaction between the two regions since the s may influence the future of the genre. Ethnomusicology Forum Vol. Music and Identity in Central Asia: Introduction Razia Sultanova This introduction gives a short overview of the four articles collected in this volume by leading Western and local scholars on the issue of music and identity in Central Asian cultures, surveying the past and present of music-making processes. The introduction also examines two phenomena in greater detail: the performer and the event as focal points of changing national identities. To what use does comparative ethnomusicological research over a vast area be put? It suffices for a nation to realize that it is imperative to know the music of its neighbors and language relatives in order to explore the particular and general features of its own folk music. It holds true in general, too, that a comparative examination is more informative and revelatory than the separate study of the music of the peoples concerned. Comparative musicology also leads to more universal findings, illuminating fundamental human characteristics. In this process of exchange and merger, they discard their weapons, tools, and implements for better ones. Musicologist: International Journal of Music Studies, The end of the 20th century marked the collapse of the communist system, breakdown of complex polyethnical state formations, as well as growth of the ethnical factor in the social-political life of most countries of the world. All these complex processes that have touched upon the lives of many thousands of people began occurring in the epoch of globalization accompanied by cultural crisis. In these conditions, ethnicity has become hardly the most important symbol of identity. And the being observed gradual disappearance of identity bases, such as the language and the culture substantiates the transition of the center of gravity onto ethnical history images. It is not a mere coincidence that referring to history, in order to construe modern identity of nations in the post-Soviet area has become a matter of principle for the ruling elite in the newly independent states. To all appearances, it is possible to try to answer all these questions only through interaction and cooperation of anthropology, sociology, psychology and other branches. The end of the 19th century and the beginning of the 20th century, characterized by the expansion of enlightenment, development of education, press and art in Azerbaijan, marked by many cultural events, went down in history as the formation of national thought and national statehood. But these facts have been ignored for many years, and were presented from a subjective and biased point of view during the Soviet times. However, the cultural heritage of that period, especially the reforms implemented in to give equal rights to all citizens, regardless of ethnic, religious and political affiliation, gender, state attributes and reforms in education, science and culture, restored the state independence of the Azerbaijan people. In this sense, the study of cultural processes and modernization in Azerbaijan, including cultural reforms during the Azerbaijan Democratic Republic is relevant both in the terms of studying historical experience and the successful implement Log in with Facebook Log in with Google. Remember me on this computer. Enter the email address you signed up with and we'll email you a reset link. Need an account? Click here to sign up. The most honored among them are the members of mejlis—a gathering. Young men, sometimes even teenage boys, when they are not busy with their chores of bringing cigarettes or water, are intently watching the adults. The people are singing meykhana. The Absheron Peninsula also called Absheron is a peninsula in Azerbaijan. It is the location of Baku, the biggest and the most populous city of the country, and also the Baku metropolitan area, with its satellite cities Sumqayit and Khyrdalan. There are tens of villages located on the peninsula, known as Absheron or Bakuvian suburban villages; most of them have a rather long history, while others were formed from working-class settlements in the Soviet era. Mejlis Az. Meykhana is most popular in such regions as the Absheron Peninsula and the Lankaran economic region Astara, Jalilabad, Lerik, Lankaran, Masally and Yardymly , which is mostly inhabited by the Talysh people—an Iranian ethnic group. Nevertheless, meykhana is performed throughout Azerbaijan with the exception of the northern boundary, inhabited by Georgians, Avars, and Lezgic peoples, and even beyond the country, primarily in Russia and other post-Soviet republics. Slavic Review 79, no. The meykhanachi, who, following the given form and topic, were able to perform the most ingenious utterance spontaneously and at the same time entertain the audience, enjoyed considerable prestige. The way of reading meykhana described above is considered traditional and is rarely performed today. New formats of the performances meykhana began to appear on the radio during public holidays, in films, and most importantly on television and a different audience women started to listen to and perform meykhana led to a change in the essential characteristics of the genre. Contemporary meykhana, although it retains its characteristic rhythm, increasingly resembles popular songs and is now often being sung, not read. In recent years, meykhana has been gaining more and more interest among scientists skilled in music, folklore, and literary science. In the book she explores the main structural features of the genre, the history of its development, and also analyzes the ways of translating meykhana into other artistic means of expression, such as opera, theater, cinema, or classical music. Kend Az. A visit to the tea-house by a woman is considered improper. Anasha—a colloquial name for marijuana, widespread throughout the post-Soviet area. Yet both have a special place in shaping Azerbaijani nationalism. Using such aspects of nationalism as ethnicity, tradition, modernization, and folklorization I highlight different levels of this phenomenon and the various actors involved in its implementation. In order to examine constituent elements of nationalism, I ask the following questions: how is meykhana incorporated, fused, and symbolized in nationalist discourse and demonstrated in institutional practices? How does the broad historical and cultural heritage used by the meykhana experts provide the tools to understand the nation in one way or the other? How does the national ideology nationalism work in specific cultural, social, political, and economic contexts? This paper contributes a case study to the rich body of literature on nationalism in musical performances by analyzing the ways in which identities are constructed and mobilized. Moreover, studying Azerbaijani nationalism as a political ideology in the context of meykhana, this study contributes to the body of research on contemporary One should remember that in Azerbaijan exist more than the two musical genres that are considered national. The saz is a stringed musical instrument with a long neck, used in classical Ottoman, Turkish folk, Iranian, Azerbaijani, Kurdish, Assyrian, and Armenian music, as well as in parts of Syria, Iraq, and the Balkan countries. Dastans are an ornate form of oral history from Central Asia that are usually folk or literary interpretations of heroic myths, legends, and fairy tales. It is worth remembering that the territorial division into the influences of ashig and mugham is to some extent arbitrary. Two phenomena derive from each other: in Azerbaijani mugham one finds elements of ashig art and vice versa. However, the division is necessary for further understanding of the paper due to its emic nature; it is important for my informants. This paper is organized as follows. I start with a presentation of the key theoretical concepts, which are the basis of my analysis. Azerbaijani nationalism, expressed largely in ethnic categories, also draws from seemingly opposed categories of tradition and modernization, while folklorization is understood as a tool for realizing nationalization of the genre. All these approaches are useful for describing the dynamics of the musical space of modern Azerbaijan and explain why meykhana is a heterogeneous and often contradictory phenomenon. Then I go on to describe the cultural and historical context in which meykhana developed: Baku and its suburbs, as well as the importance of the Tat language to the formation of the musical culture of the Absheron Peninsula. The material used in this article stems from my field work, which took place in Baku and surrounding kends between April and November 9 months total. The paper was created above all on the basis of the ethnographic method, therefore, all quotations, unless stated otherwise, come from my field diary. Theoretical Framework The formation of meykhana as a part of official cultural policy is directly related to the process of nationalization of the genre—the result of the interaction of verbal recitatives with local nationalism. Micheal Billig, Banal Nationalism London, , 6. For more on this issue, see Tim H. It does not mean, however, that the receivers of nationalism have homogeneous views. Billig, Banal Nationalism, 6. Moscow, Soviet politics on music have been studied in a number of scholarly contributions. See Theodore C. For in-depth discussion of the concept of folklorization, see Rebecca S. Theodore C. Christopher A. The correct name of the mahallah is Zavokzalnaia. The distance between kends and the capital is not large—half an hour to an hour by car depending on the traffic. That is why I was quite surprised that during my first field trip, my attempts to get acquainted with meykhana and meykhanachi turned out to be unsuccessful. The ambiguous perception of meykhana surprised me. On the other hand, the mostly college-educated residents from Baku criticize meykhana performers for doing something reproachful and for being marginal. This contradiction, as well as the attempt to answer the question of where meykhana is located—on the margins or in the center of the sociopolitical space of contemporary Azerbaijan—became a baseline of my analysis of the transformation of verbal recitatives. I was searching for the answer to this question in the sociocultural geography of the Absheron Peninsula. A population of 42, of this urban-type settlement located thirty-five kilometers from Baku considered themselves the descendants of Massagetae—nomadic tribes from Central Asia. The legend can be understood to say that the Mashtaga Turks, the indigenous inhabitants of Absheron for centuries, were loyal and brave defenders of local meaning national traditions before the main enemy—Persia. All the works published in the last decades by official academic publishers write about the Turkic origin of the Mashtaga people. For more detailed information about the concept, see James C. The opinion of Azerbaijani researchers goes against the conclusions of many foreign specialists, most of whom reject the Turkic roots of the Massagets, citing the fact that they spoke an Iranian language. Two groups of dialects can be distinguished: the northern varieties are mostly spoken by Jewish communities in southern Dagestan and the cities of the northern Caucasus, while the southern varieties are spoken in the Republic of Azerbaijan, mostly by Muslim communities. According to the results of the First General Census of the Russian Empire in , almost nineteen percent of Tats, who made up three-quarters of the Muslim population of this administrative unit, lived within Baku County. For more information about the origin of the Massagets, see, for example, Ilya Gershevitch, ed. Georgii Tumanov, Baku i ego okrestnosti Tiflis, : It is worth noting the fact that in the Soviet and Azerbaijani historiography there is a tendency to call Tats regardless of language a settled, agricultural, and urban population in opposition to the nomadic Turks. Therefore, for their lifestyle Tats are sometimes equated with Sarts. Petersburg, , 95— Tumanov, Baku i ego okrestnosti, The Baku district covered the Absheron Peninsula, as well as other Azerbaijani territories along the Caspian Sea, which are adjacent to it. The division into groups was made based on the native language. In addition to the Tats, Azerbaijanis also lived in the Baku district Bakinskaia guberniia, Nikolai Troinitskii, ed. Aleksandr Griunberg, a famous researcher of Indo-Iranian languages, during an expedition to Azerbaijan in the s, described the process of ousting the Tat language by the Azerbaijani language. He noted that there were only a few people who did not speak Azerbaijani: only old men, women, and children of preschool age who lived in villages far from major roads. Bakili consider themselves to be practicing Shiite Muslims, often sayyids— descendants of the Prophet himself. Moreover, they lead a rather patriarchal, secluded existence, not allowing outsiders in. For these reasons, even though the tangible contrast between Baku and its environs gradually began to disappear after the oil boom in the mids, until now, Bakili and Baku residents rarely interact. Griunberg, Iazyk severoazerbaidzhanskikh, 6. Miller, Taty, ikh rasselenie. A bastion of devout Shia Muslims neighbors with Mashtaga kend Nardaran. Nardaran is home to a madrasa as well as the Rahima Khanim Mosque, a large Shia mosque built in the late s over the tomb of Rahima Khanim, the sister of Imam Reza, which is the spiritual center of the Azerbaijani people. It is interesting after all. But this is all sort of in secret. They \[the residents of Baku surroundings—A. Smoke anasha. They read their, so to speak, poems. We \[residents of Baku—A. Socio-cultural differences led to the two groups looking at each other with contempt. For that reason, some admirers of the verbal recitative felt indignant and decided to make an effort to change the image of meykhana in order to raise its status. One of the ways perhaps even the only feasible one to achieve this was through nationalization, that is, by making it fit the nationalist narrative and meet the requirements of official cultural policy. During the solemn meeting, the performer read a piece in honor of the leader of the country. The President showed appreciation to Aghasalim and, through him, to the whole genre of verbal recitatives. Through this interaction, meykhana received an official acknowledgement in the public media. As a result, the profession of these performers has become more prestigious and popular and meykhana has been transformed from dissident, semi-underground work into a kind of popular culture, colored by other ideological meanings. The new ideological dimension of the genre, drawing explicitly on ethnic rhetoric, required turning over the existing elements of the cultural space that concerned meykhana. The main condition was already satisfied—by ousting the Tat past from the consciousness of the residents of Baku kends Contemporary academic and intellectual circles in Azerbaijan deeply believe, as described in the introduction, that their national traditional music has been shaped by two opposing musical genres: Persian mugham and Turkish ashig art, from which derive other, minor musical genres. One of a tools for realizing the nationalization of meykhana is its folklorization. Identifying the connection between meykhana and ghazal is particularly important for my argument, since it unambiguously associates verbal recitatives with Middle Eastern Persian literature. Meykhana originated and was formed on the Absheron Peninsula, whose population a few decades ago was Iranian Tat. Considering the linguistic peculiarities discussed above, as well as the religious factor—residents of Baku kends are Orthodox Shiites many of them consider themselves descendants of the Prophet and have historically close ties with Iranian religious organizations—there should be no doubt that meykhana formed under the influence of Persian culture. However, both in the academic works of local researchers and in public discourse, there is no Nationalism in Contemporary Azerbaijani Meykhana place for this lineage and meykhana is more often linked to the ashig tradition. This contradiction is analyzed below. Azerbaijani mugham, although it has its own genre characteristics, is part of the general eastern professional mugham culture, a phenomenon characteristic of the entire Near and Middle East. The basis of the mugham composition are melodic models based on certain stages of a particular modus. Its development requires many years of professional training, knowledge of literary material and form, as well as virtuosity and technology. Therefore, it is inextricably linked with professional education and urban high culture. Ashig art, in turn, is associated with the personality of the ashig—a folk singer-poet who along with music and poetry uses elements of dance and drama theater. It consists of two main genres: dastans and so-called ashig tunes performed by a singer accompanied by folk instruments. Intended for a wide audience, they use simple language that reflects the realities of everyday life. In Azerbaijan, one can speak of several regional traditions of performing the genre, such as the Ganja-Gazakh, Nakhchivan and Garabagh genres, all of them in the west of the republic. It is composed in different meters of aruz. Usually consisting of 5—12 couplets bayts. Two lines of the first bayt rhyme; in the subsequent bayts, each second line rhymes with the first and the second lines of the first bayt according to the sequence: aa ba ca da. Deyishme in other Turkic languages is often called aytysh, aytys, or atyshma. As mentioned earlier, the quality of meykhana is related to aruz, a system of versification, in the metric of which a ghazal is also written. The similarities between the genres are especially audible during the reading of works—both the ghazal and meykhana primarily without musical accompaniment imitate the alternation of short and long sounds. The correspondence between the phonetic and syntactic systems of mugham and meykhana is also observed in the redif. According to my informants, in dastgah this refers to the body of classical melodic models, the rhythm of which almost completely corresponds to the rhythm and meter in Persian poetry. As mentioned earlier, there is no musical arrangement in classical meykhana, but the redif in dastgah define the rhythm and melodic system of the entire work. He was educated in a madrasa, where he learned literary Persian, Arabic, and Azerbaijani Turkic languages. My lovely love, beauty in love The extract of my love, beauty in jewels Your absence made my heart hunt You are the most beautiful deer of the mountains. Madrasa Az. Madrasas, since elementary schools—mektebs Az. In these institutions, classical literature, natural and exact subjects were taught, most often in Persian, less often in Turkic Azerbaijani. At the turn of the XIX and XX centuries, the majority of Muslim schools in the territory of Azerbaijan were closed by the Russian authorities, which led to the fact that in the literate population of Azerbaijan was 6 percent of men and 0. Nationalism in Contemporary Azerbaijani Meykhana He was fond of poetry and actively participated in literary circles, translating works by famous Middle Eastern poets among others, Nizami Ganjavi, Fuzuli, and Khagani from Persian to Azerbaijani. This is easiest to notice when opening collections printed in the twentieth century; it is sometimes difficult to distinguish meykhana from ghazal. On the other hand, one can also notice links between ashig art and meykhana. The secular education system, in turn, was formed only during the Soviet Union. All three are considered among the most important national poets and moral authorities in Azerbaijani. The fact that the ghazals of Aliagha Vahid were equal to Fuzuli himself is also written in almost all the articles published on Azerbaijani portals. For more detailed information, see Zakariyya, Meykhana: The Poetics, 54— Looking for confirmation that meykhana originated in Absheron, one of the supporters of this version told me that he sent a request to the Academy of Science to determine the roots of verbal recitatives. Second, the works are based on Arabic prosody, which in turn is essential only to elevated poetry. Third, they are too long— starting with fifteen and reaching twenty verses, due to which they cannot be memorized fully. A member of the Department of Folklore of the Azerbaijani Academy of Science explained: Sufism was the main factor in creating ashig art. Ashig means enamored, but not in a person, but Allah. Islam is one and that is where all the wisdom of our art is coming from. In the eighteenth century, ashig art was forbidden by the clergy and the padishah. Back then, ashigs were considered harmful. In the sixteenth and seventeenth centuries, however, Sufis were working on uniting Muslims. Then ashig poems were sung by dervishes. Ashigs sang about love and, because they were invited to weddings, they lost that spiritual heritage and esoteric faith. Poets such as Nizami and Fuzuli, for example, continued the tradition. It is from them that meykhana derives its origin. Verbal recitatives belong simultaneously to folk art, and to written poetry. Nationalism in Contemporary Azerbaijani Meykhana aimed at improving the image of verbal recitatives, so that they are admitted as prestigious and thus performed by groups with higher social status. The vision of improving social status is attractive to many representatives of the meykhana community, so it is no wonder that they join the ideology that favors them. There can thus be no doubt that such national identity negotiations between institutions and individuals are inherent in national projects, and the case of meykhana proves this. Being a tool of nationalization, folklorization is a top-down initiative, but various local actors, not necessarily fully controlled by the state, take part in it. Below I will explain how the nationalization of meykhana—with its references to the concepts of tradition and modernization—led to the popularization of the genre throughout the country, using the example of a dispute in a community centered around meykhana. At the turn of the nineteenth and twentieth centuries, they were transformed into urban socializing venues known as Turkish taverns. Meykhana as the place where alcohol is consumed, however, persists in the memory of Azerbaijanis. It is used in the cinema and literature and has a rather bad reputation. My interlocutors Zilfi, ed. The first movement—the majority—insist that the genre should be called meykhana. According to an adherent of the bedie group: This previously almost forgotten talent \[meykhana—A. I am very happy about it. Opening them to pages marked in advance, he insisted that in the past meykhana simply meant tavern. Further, in the remembrances of Elchin The Bakuvian weddings, also called traditional Azerbaijani weddings, in contrast to the modern, urban weddings are organized only in rural areas. Depending on the geographical location, it may have different characteristics. At Absheron, traditional weddings are usually held in large tents, men are separate from women and children. And also, look at the dictionaries. All the dictionaries have the same meaning for meykhana: drinking establishment. Now meykhana is performed by several people. Given the diversity of the terminology used in the scientific literature, as well as the synonymous use of meykhana and bedie by representatives of the bedie movement, it can be assumed that both options are right in some way. For example, video recordings of the first meykhana contests, which took place in —96, provided by my informant, indicate that the names meykhana and bedie resonated with each other. Taking into account the consequences of the notional conflict, the battle between the adherents of the terms meykhana and bedie led to discussions and disputes in the media and among academics. It can be argued that the dispute is not only ideological. Behind the nomination bias are ideological and political motives that can also be considered in geographic and ethnic categories. Such an interpretation of the problem is apparent if you look at the composition of both parties and the ideas they promote. The adherents of the name meykhana are concentrated around the village of Mashtaga, discussed in the previous subsection. As an example, we As my fieldwork revealed, Mashtaga meykhanachi rarely come to the city or communicate with the residents of Baku. Instead of performing on television and other mass media, they prefer meykhana mejlises in small, secluded circles of people that gather in chaykhanas or at village weddings when only men are present. Nizami Remzi, after Aliagha Vahid, was considered the most famous meykhanachi of the Soviet period, and especially in the s. As opposed to the adherents of meykhana as the guardians of tradition, the enthusiasts of the term bedie consider themselves more Europeanized and more forward-thinking, because they are friends with different performers, not only those who grew up in Baku kends. In their opinion, a quality reading of bedie requires professional training. That is why they aspire to open a new area of study at the Academy of the Performing Arts in Baku, where the verbal recitative performers would receive relevant training. The bedie party proposals, however, did not find support from conservative Azerbaijani society and government leaders. The loss of the more liberal group should not be surprising, because they did not get to the heart of Azerbaijani nationalism. Sumgait is located 30km North of Baku, with a population of , The discourse on the traditional, that is, national music, understood in ethical terms, decided about the nationalization of verbal recitatives. Meykhana has a dual nature. On the one hand, it consists of witty verses on present-day topics improvised and read, accompanied by simple music. On the other, it is an instrument of nation-building. Moreover, meykhana is a symbol of a certain lifestyle, a transformation of the socio-political space of Azerbaijan and a product of the new economic situation. Consequently, many actors are involved in the nation-building process: representatives of multiple social strata and ethnic groups that make political elites think about the image of the country. Thus, both competing movements talk about the development of meykhana, each in their own way and under different labels. In the near future, it is unlikely that meykhana will become a more homogeneous phenomenon and be perceived as an inherent part of national Azerbaijani art because, regardless of the efforts of the supporters of local competitions, it lacks a distinctly defined, fixed meaning. This may seem to be a negative attribute of the phenomenon; however, this is exactly what makes it possible for the government elites to use this genre to exercise nation building and popularize the sometimes-disputable slogans of Azerbaijani nationalism in the context of the authoritarian regime. In conclusion, it is worth stating that owing to meykhana, the Azerbaijani cultural space has become more exuberant. Without doubt, there is a certain line, the crossing of which stops artistic development. This appears to be a challenge not only for meykhana as an art, but also for the nation that is forming this art. Edmund Husserl. Dimensionnement des voiles en BA kieu ngo xuan. Diversity and Inclusion in Science Education: Why? Manual de fototrampeo Eduardo Lopez. Review Jurnal sony fc Meleg, et a. Campania Gogaltan Florin. The impact of genetic diseases on neonatal and pediatric care Ilaria Pirrone. The effect of intravenous paracetamol for the prevention of rocuronium injection pain Ozgur Canbay. Desafios de ser professor durante a pandemia Clarilza Prado de Sousa.

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