Circassian folk singing

Folk singing: from salon form of style "khachesh” to mass performance

Since ancient times, the Circassians have passed their knowledge, news, memory and glory about their outstanding heroes in oral art through folk singing or storytelling. Although then many Circassian storytellers performed in public during village’s festival  or dzhegu and weddings, there was survived to the present day only the salon form of folk singing with folk music with Adyghe folk instruments, which is called today the style "khachesh". However, in recent times, in Adyghea, thanks to many-years’ work of folk master Zamudin Guchev who continues to teach songs and play folk musical instruments at the Adyghean republican children's school of arts with name of K. H. Tletseruk, the people's interest to the Adyghe folk music began to grow. And now the folk singing of the Circassians is performed from the main stage of the republic and in mass theatrical performances. It is noteworthy that the performed folk melodies and songs of the Adyghes have a particular energy that can inspire their listeners, raise their spirit.

More than one year ago, the master-researcher of the traditional art of the Circassians, honored artist of the Republic of Adyghea, teacher at the folklore department of the ARCSA with name of Kim Tletseruk, author of unique editions on Circassian culture "the Art of the Adyghe Mat" (1990), "Learning to play a shychepshyn" (2014), "Atlas of the Circassian (Adyghe) shychepshyn" (2017), Zamudin Guchev said, to preserve and promote the original music of the Adyghe people needed to do in the republic a theatre of traditional singing and instrumental music "Khachesh". He told "in the old days, the Circassians had in each village their own musicians, accordion players, dzheguako, khatiako or organizers of festivals, and every homestead had a kunatskaya or guest-chamber, guest house where they performed folk songs and music" (1). The master-researcher foresaw in Adyghea such "Khachesh" would be popular for local residents and tourists. Regretting that the time was lost, he noted "for its creation, there were necessary, first of all, desire, funding,  place for construction of such theater and means to ensure its continued activity" (1). Meanwhile, in Adyghea and abroad, there are well known performers of authentic singing Zaur Nagoyev, Kazbek Nagarokov, Arthur Abid, Ramazan Daurov, Marina Shkhabatseva, young talents from the ensemble "Tyzhyn": Damir Guagov, Dzhanti and Shan Libso, Gupsa Pashtova, all those who have already been prepared by Zamudin Guchev for decades of years.

In March of that year, the honored journalist of the Republic of Adyghea, expert on Circassian folk dances and songs Svetlana Kushu partly realized the cherished dream of the master-researcher of the Adyghe traditional art, On the occasion of his great anniversary, she organized with her own forces and with support of the administration of the National museum of the Republic of Adyghea a three-hours program of Circassian folk singing in style "khachesh" with participation of all followers and students of Zamudin Guchev, ensemble "Akuanda" (art-director – Marina Shkhabatseva) and the musician from Novorossiysk Anton Platonov. Having proved in practice the possibility of organizing of such concerts in salon form, she confirmed once again the words of the folk master and, we can say, she gave a hope to reach more.

And such great and significant event became the first solo concert-khachesh of Damir Guagov, winner of many regional, Russian and international competitions. a year later. For the first time in many years, from the main stage of the republic in the Big hall of the State Philharmonic of the Republic of Adyghea, with full house, ancient Circassian songs sounded live, ancient Circassian melodies were performed with shychepshyn, pshyne, pkhachich and board with sticks. Well-known and skilled performers - Zamudin Guchev, Damir Guagov, Aslan Tlebzu, Kazbek Nagarokov, Arthur Abid, Gupsa Pashtova, Dzhanti and Shan Libso proved with their skills that Circassian folk songs continued to live, echoed in hearts of listeners, inspiring and encouraging them. Although the folk master had to face some technical issues when he was organizing the concert, he was supported by the group of adherents and the Circassian famous art patrons, including Memet Edydzh and Ibrahim Cetao. For the concert, Zamudin Guchev prepared a special repertoire that was able to represent worthily both the artist and the instrument – shychepshyn. However, as well as the traditional art of the Adyghe storytelling, in general (2).

Soon, the Minister of culture of the Republic of Adyghea provided to the folk master an opportunity to show a complete program, consisting of Adyghe folk songs-laments or gybze, at the meeting-requiem, dedicated to the Day of memory and sorrow for victims of the Caucasian war. And on the 21 May 2019, the Circassian folk songs were performed live from the stage at the square of Unity and Consent in Maykop in a mass theatrical performance, directed by the director of the National theater of the Republic of Adyghea with the name of Ibrahim Tsey, honored worker of arts of the Republic of Adyghea, honored artist of the Republic of Kalmykia, actor and dramatist Aslan Khakuy.

The well-known Adyghe director noted, in the such day, songs-laments were the right format of presentation, which, combined with the poetry of the famous Adyghe poet and writer Nalbiy Kuek, "led to the fact that the people could gather in such day, remember and not repeat the mistakes that they have made probably for over these 150 years" (3). According to Aslan Khakuy, the songs- laments or gybze were just "composed in honor of heroes and they were directly performed at the funeral". And he is right considering "every nation has the right to have its ancestors, to remember them, to glorify them, to brag about them, to praise them, and then history comes to life, the truth revives" (3).

However, as the director notes, "to bring the salon style, the style of "khachesh" to a huge square to masses of thousands of humans is not easy and requires a completely different vision" . It was difficult technically, in performing and directing. The well-known director used his approaches, based on traditions of the Circassian folk singing which, as he notes himself, has always been theatrical in fact.

One of these traditions is seen by Aslan Khakuy in that the performer who sits in guest house or khachesh and sings when his turn comes to him, if there are other performers, he immediately takes heart, becomes an actor in his own way. In fact, he notes, the folk song of the Adyghes is like a true theater. "The people sat around the performer. The theatrical action began with its order. If he performed several works, he was seated in a place of honor near the most elder man. If there were several performers, they replaced each other in this place. One left, the other sat down. There was a sign of respect. And it was formed such small scene where he (performer) was on stage, and all around him were an audience. The principle of theatre was preserved in such way" (2).

And this theatrical approach was skillfully directed by Aslan Khakuy in the performance of the 21 May. All traditions were clearly observed. Performers followed each other on the stage. After his song, Zamudin Guchev gave the honored place to Zaur Nagoev, and young performers from ensembles "Ashamez” and “Tyzhyn" continued to sing zhyu standing. At the same time, the instrument had itself a particular importance. As the director tells, the performer was sitting still because it was impossible to play a shychepshyn standing, it had to be pressed to the chest. And the music that the heart of the performer emitted was transferred to strings of the instrument. And when the bow barely started to move, the music began to sound. Considering each nation has its own folk instrument, Aslan Khakuy emphasizes that the sound of the shychepshyn is similar to the language of the Circassians, their voice, dialect and tone (3).

If director, actors and performers of folk songs could help the people to remember in that fateful and sad day, we can judge with good reviews that, as it is noted by Aslan Khakuy, the people said, approaching him backstage after the event, with gratitude which they showed to Zamudin Guchev, Zaur Nagoev and the young singers, the artists of the National theater of Adyghea Melechet Zekhova, Zarema Dzhimova, Fatima Sheremuk, Marzhana Nekhay Having felt with all their heart a particular energy of the Adyghe folk singing and the deep poetry of Nalbiy Kuek, the audience of the mass theatrical performance will remember him long time.

Today, Adyghea has not yet a permanent Adyghe folk theatre Khachesh, which is a great dream of the master-researcher of the Circassian traditional folk art Zamudin Guchev. But he believes Maikop "has enough sites for this, although the museum is more likely because it contains objects of the Adyghe culture, owns an ancient spirit. But it will be even better to build such Khachesh with an exclusive construction project in the city center" (2). According to him, if all stop, this can be ended. And Adyghea is a republic, and it has all necessary conditions for do it. And such theater Khachesh will become the face of our people not only for guests, but also for residents of the city, of the region, along with the Symphony orchestra, the State ensembles "Nalmes" and "Islamey". It is not difficult to agree with the folk master who believes "the traditional authentic performance in the museum will powerfully represent the Circassians to all guests of the region, to all those who love and are interested in the traditional art. It will give everybody all that we need as an air - such folk color which affects the soul, encourages and keeps the memory of the people" (2).

Sources:
1) Irankarapte, Japan! - Dialogue of cultures of the ancient peoples/ Interview with Zamudin Guchev// http://www.proza.ru/2018/04/19/1776
2) Authentic performance and youth/ Interview with Zamudin Guchev // http://www.proza.ru/2019/01/22/747
3) Aslan Khakuy: "The people exist, so their culture exists. The people exist, so the language is alive" / Interview with Aslan Khakuy// the full text will be published later.