Music where the steppe speaks: Symbat Abduakhap on the language of kui and the memory of the people
A kuy cannot be summed up in just a few words. It can contain the clatter of horses and the breath of the steppe, the joy of the people and the pain of the individual, memories of the past and reflections on the future. For centuries, Kazakh kuyshi have conveyed through the dombra what is sometimes impossible to express in words.Today, this ancient art is finding its way to a new audience. Young performers not only turn to the works of great kuyshi but also share the circumstances of their creation, introduce listeners to regional performance schools, and help them understand the hidden meanings of the music.One of them is dombra player Symbat Abduakhap, a graduate of the Kurmangazy Kazakh National Conservatory. On social media, she performs famous kuys and shares the stories behind them. In an interview with Qazaq Culture, the musician discussed how she came to dombra, why legends about the origins of kuys must be compared with scholarly sources, and how the performance traditions of different regions of Kazakhstan differ.Symbat, do you remember your first encounter with the dombra? Was it a conscious choice or a decision made by your parents?My parents introduced me to the world of music at the age of eight. They noticed my creative affinity from childhood and enrolled me in art school. So, it was my parents who initially chose the dombra for me. But over time, it became my own conscious decision. I wanted to study the instrument more deeply, practice more, and develop in this direction.Later, I entered the Kurmangazy Kazakh National Conservatory, where I completed my bachelor's and master's degrees in dombra. Since then, I have continued to improve my knowledge and performance skills.Today, the dombra is more than just a musical instrument for me. It is a sacred heritage through which the history, spiritual world, culture, and art of our people are revealed.You don't limit yourself to performing kuys; you also tell your audience about their origins. Why is it important to you to introduce listeners to the history of a piece?When someone knows the history of a kyui's creation, they begin to perceive it completely differently. It's no longer just a melody or a complex musical composition. Behind the sounds, a certain era, a person's fate, a historical event, or the author's inner experience are revealed.At the same time, accounts of the origins of kyuis can vary. Several legends surround some works. For example, you can find two or three versions of the story of the creation of the "Adai" kyui. Therefore, I try to compare different sources and choose the most logical and convincing version.In my work, I often refer to Academician Akhmet Zhubanov's book "Strings of Centuries." This is one of the most important works for understanding the history of Kazakh traditional music and the legacy of the great kyuishi."So, a performer must be not only a musician but also, to a certain extent, a researcher?""Absolutely. It's not enough to simply learn a piece correctly and perform it technically. It's necessary to understand who created it, the circumstances under which it was created, the mood, and the idea the author intended to convey."When a performer understands the context, their approach to the piece changes. They feel the kyu's content more deeply and can convey it more convincingly to the listener. Only then does the performance become not a mechanical reproduction of music, but a living narrative.– Is there a kyu that is particularly close to you in its sound or story?– I am very drawn to the works of Kurmangazy and Dina Nurpeisova. Their kyus possess depth, power, and a sublime spirit that invariably inspire me.But I can't name just one work. The same kyu is perceived differently at different periods of my life. Sometimes calm, pensive music resonates with my inner state, while other times I want to perform a piece filled with energy and movement.The choice of kyu largely depends on how I feel at a particular moment. Therefore, the works that resonate with me can change over time.– Even someone unfamiliar with traditional music has probably heard the terms "tokpe" and "shertpe." How can I explain the difference between them to the average listener?These are the two main styles of Kazakh dombra. Shertpe-kuy, as its name suggests, is performed primarily with a soft strumming of the strings. It is characterized by lyricism, thoughtfulness, and inner focus. These pieces usually sound calm and measured, as if the musician is engaging in a leisurely conversation with the listener.Tokpe-kuy is characterized by a more rapid, energetic performance and technical complexity. Its sound is broad, powerful, and forceful. It often conveys movement and a strong emotional impulse.The listener may not know the names of these styles, but after hearing several shertpe and tokpe-kuys in a row, they will quickly sense the difference. Each style has its own character, rhythm, and method of musical expression.What period can be considered the peak of Kazakh kuy?The period of maturity and flourishing of this art is often called the golden age of Kazakh kuy. It was during this time that Kurmangazy, Dauletkerey, Tattimbet, Kazangap, Dina, and other outstanding kyui players lived and worked, raising national musical art to new heights.Their works reflected the history of the people, the desire for freedom, joy, tragic events, and personal experiences. Thanks to these masters, kyui finally established itself as a special form of the people's spiritual memory.It is important to understand that kyui was never just entertainment. It could recount events, convey the author's attitude toward events, preserve the memory of people, and express what could not be spoken openly.At the same time, different regions of Kazakhstan developed their own performance traditions. How many main schools are there, and how do they differ from each other?Traditionally, seven main schools are distinguished: West Kazakhstan, Arka, Zhetysu, Syr Darya, Karatau, Altai-Tarbagatai, and Mangistau.The West Kazakhstan school is known primarily for its tokpe-kuis. It is characterized by a fast tempo, powerful energy, and complex performance technique.The Arka school is associated with the shertpe tradition. Its works are distinguished by lyricism, philosophical depth, and a subtle conveyance of a person's inner state.The Zhetysu tradition is particularly melodic and influenced by song. The kuis of the Syrdarya region are closely linked to the epic heritage and the zhyrau tradition.The Karatau school is recognizable by its profound content and distinctive, restrained sound. The Altai-Tarbagatai tradition has preserved the melodic turns characteristic of the eastern regions. The Mangystau school is distinguished by complex sound production techniques and its own musical language.The existence of such diverse traditions demonstrates the richness of the art of kuis. Each region has contributed its own sound, character, and worldview.– Today, the kyu is increasingly being played on social media and modern digital platforms. Is this changing young people's attitudes toward traditional music?– Social media helps the kyu find a new audience. A young person might accidentally see a short video, become interested in the piece, then learn its history and gradually discover a whole layer of national culture.But it's important not to turn the kyu into just a beautiful backdrop or a striking musical fragment. Each piece has a specific meaning. Therefore, along with the performance, it's necessary to talk about its composer, origins, and tradition.Modern platforms offer great opportunities for popularizing national art. The main thing is to use them responsibly and maintain respect for heritage.– What advice would you give to children and young musicians just beginning to master the dombra?– First of all, you need to have a sincere love for the dombra. In art, it's impossible to achieve lasting results without constant effort, patience, and inner interest.I would advise young dombra players not to limit themselves to technique alone. It's important to study the history of each piece, learn about the composer, and understand the specifics of the performance tradition.When a musician feels the inner meaning of a kui, they are able to convey it to the listener sincerely and convincingly. After all, the performer's task is not only to play the piece correctly, but also to preserve its spirit and pass it on to the next generation.The kui lives on as long as it is performed, listened to, and understood. Times change, new stages and digital formats emerge, but the language of the dombra remains recognizable. Through it, the people continue to tell their story—without unnecessary words, but with astonishing precision and power.
