Music of Central Asia CD/DVD Series - Aga Khan Music Initiative - AKDN
Aga Khan Development Network

Music of Central Asia CD/DVD Series

With the release of volume 10, the ten-part series created in collaboration with the Smithsonian Institution are now available (as of 30 May 2013). For more information, visit the Smithsonian Folkways site. Music of Central Asia is a co-production of the Aga Khan Music Initiative, a programme of the Aga Khan Trust for Culture, and the Smithsonian Institution Center for Folklife and Cultural Heritage. For more information about the latest releases, please see the press release (11th May 2012).

To view video ethnographies or order the CD/DVD collections, please visit the Smithsonian Folkways website.

The aim of the series, released worldwide by Smithsonian Folkways Recordings, is to present leading exponents of Central Asia’s rich and diverse musical heritage to listeners outside the region. As a new generation of talented performers reinterprets this heritage - much of it ruptured or lost during the Soviet era - older traditions are reanimated and transformed. Music of Central Asia documents the work of musicians who represent both a mastery of their own tradition and a contemporary spirit of innovation expressed through new approaches to performance style, repertory, and technique. Each release includes a DVD with a documentary film on the featured performers as well as a map, musical instrument glossary, and short introduction to Music of Central Asia and the Aga Khan Music Initiative. These intimate, often poignant, musical portraits bring to life a group of remarkable artists whose creative achievements proclaim Central Asia’s prominence on any musical map of the world. The Aga Khan Music Initiative in Central Asia was created in 2000 by His Highness the Aga Khan to contribute to the preservation, documentation, and further development of Central Asia’s musical heritage. The Music Initiative pursues its long-term goals both within its region of activity and worldwide. In Central Asia these goals include revitalizing important musical repertories by helping tradition-bearers pass on their knowledge and craft; building sustainable cultural institutions that can eventually be maintained by local organizations and communities; and supporting artists who are developing new approaches to the performance of Central Asian music.

Worldwide, the Music Initiative strives to increase knowledge about Central Asia’s music and culture, particularly among students, and to nurture collaborations among musicians from different parts of Central Eurasia and beyond. Find out more on the Aga Khan Music Initiative.

Central Asian Music An Overview
Central Asia is commonly understood to encompass the territory of six nations: Afghanistan, Kazakhstan, Kyrgyzstan, Tajikistan, Turkmenistan, and Uzbekistan (see map). Yet patterns of settlement and cultural links that predate the establishment of current political boundaries argue for a broader definition of the region. For example, the Uyghurs, a Muslim, Turkic-speaking people whose traditional territory is in western China, have old cultural affinities with other Central Asian groups. The Turkmen, who comprise the titular ethnic group of Turkmenistan, are strongly represented in the Iranian region of Khorasan that flanks Turkmenistan to the southwest. Shia Isma’ili Muslims in mountainous Badakhshan, the eastern region of Tajikistan, share cultural and religious traditions with Isma’ilis living in the nearby Northern Territories of Pakistan, Afghanistan, and western China, as well as in Khorasan and other parts of Iran.

Beyond Central Asia itself, diaspora communities created by recent emigration have spread cultural influences from the region far beyond its geographical borders. Some of Afghanistan’s finest musicians were among the hundreds of thousands of Afghans who fled to Pakistan and later emigrated to the West following the Soviet invasion of their country in 1979 and the rise of the Taliban in the 1990s. Outstanding musicians were also among the tens of thousands of Central Asian (“Bukharan”) Jews who left Uzbekistan and Tajikistan to resettle in New York City and Tel Aviv when the USSR opened its borders to Jewish emigration in the mid-1970s. Central Asian Jews long lived as a Persian-speaking minority population among their Muslim neighbors. Indeed, an overwhelming majority of Central Asia’s Persian-speaking and Turkic-speaking population identifies itself with Islam, as an active religious practice, a cultural legacy, a worldview that informs everyday social life, or all of these. Excluded from this group are Russian-speaking Slavs and other non-Muslim immigrants who began to populate Central Asia after the tsarist conquests in the latter half of the 19th century and during the Soviet era accounted for half or more of the population of the region’s major cities.

Central Asia’s history has been shaped by its strategic position at the intersection of two great axes of civilization. One axis points southwest, toward the sophisticated urban culture of Iran. The other axis points northeast, to what has been called Turan-the nomadic world of the Inner Asian steppe, where pastoralists belonging to myriad Turkic and Mongolian clans created a succession of powerful steppe empires. Iran vs. Turan, sedentary vs. nomadic, urbanite vs. steppe-dweller-in broad strokes, these contrasting pairs represent the distinctions of worldview and way of life that echo strongly in Central Asia’s musical traditions despite centuries and millennia of intermingling among its diverse social groups.

In nomadic cultures, the consummate entertainer is the bard, and music is characterized by a strong narrative dimension. Epic tales as long as thirty times the length of Homer’s Iliad, and instrumental pieces whose wordless melodies and rhythms relate beloved stories through a kind of musical onomatopoeia all reflect a nomadic sensibility. Traditional nomadic spirituality ascribes spiritual power to a range of natural phenomena and living creatures, and nomadic music and sound-making often serve as a means of representing and accessing the power of spirits.

The music of sedentary-dwellers, by contrast, reflects the deep impact of Islam as a spiritual and cultural force. The central artifact of musical performance is the elaboration and embellishment of words and texts by a beautiful voice. Singers are typically accompanied by small ensembles of mixed instruments that almost always include percussion. The beauty of the voice may also be represented symbolically by a solo instrument such as a plucked lute, violin, or flute, which reproduces the filigree embellishments and ornamentation characteristic of a great singer.

In the years following the Bolshevik Revolution of 1917, the Soviet Union tried to bring about fundamental transformations in the organization, transmission, and expression of indigenous culture among the inhabitants of its vast empire. Since the beginning of the post-Soviet period, musicians throughout Central Asia have sought to recover and reanimate older musical traditions in response to growing interest in their cultural heritage, among both local inhabitants and outsiders. These traditions are firmly rooted in local musical practices, but none of them is “pure.” Central Asia’s long history of contact and exchange with other cultures continues to evolve in our own time. And as the musicians whose performances come alive on Music of Central Asia leave their own creative imprint on the region’s musical legacy, there can be no doubt that authentic traditional music remains forever contemporary.