Abstract: A number of theoretical and methodological problems connected with substantiation of a new approach and searches of a new research paradigm and the analysis of features of formation and development of the Kazakh stage are considered in the article. The wide spectrum of questions connected with genesis of the Kazakh stage art has caused necessity of consideration of world outlook and social cultural aspects which have affected formation of the given phenomenon in the Kazakh culture. But how can we define the form of expression and aesthetics of the national theatre? Probably, the answer to this question we will find if we apply to deep world view sources, and, as a consequence, it is necessary to study deeply the plot dramaturgy, which is based on myths, rites and eposes, mastering of symbolic gestures and mimics, allegory of a word, etc.
Abstract: Petroglyphs, stone sculptures, burial mounds, and
other memorial religious structures are ancient artifacts which find
reflection in contemporary world culture, including the culture of
Kazakhstan. In this article, the problem of the influence of ancient
artifacts on contemporary culture is researched, using as an example
Kazakhstan-s sculpture and painting. The practice of creating
petroglyphs, stone sculptures, and memorial religious structures was
closely connected to all fields of human existence, which fostered the
formation of and became an inseparable part of a traditional
worldview. The ancient roots of Saka-Sythian and Turkic nomadic
culture have been studied, and integrated into the foundations of the
contemporary art of Kazakhstan. The study of the ancient cultural
heritage of Kazakhstan by contemporary artists, sculptors and
architects, as well as the influence of European art and cultures on the
art of Kazakhstan are furthering the development of a new national
art.
Abstract: This article explores the self-identity of the Kazakh
people by way of identifying the roots of self-understanding in
Kazakh culture. Unfortunately, Western methods of ethno
psychology cannot fully capture what is unique about identity in
Kazakh culture. Although Kazakhstan is the ninth largest country in
terms of geographical space, Kazakh cultural identity is not wellknown
in the West. In this article we offer an account of the national
psychological features of the Kazakh people, in order to reveal the
spiritual, mental, ethical dimensions of modern Kazakhs. These
factors play a central role in the revival of forms of identity that are
central to the Kazakh people.
Abstract: The relics of traditional folk culture in Kazakhstan are ceremonies or their fragments - such as weddings, funerals, shamanism. The world of spiritual creatures, spirits-protectors, spirits-helpers, injury spirits, spirits of illnesses, etc., is described in detail in shamanic rites (in Kazakh culture it is called bakslyk). The study of these displays of folk culture, which reflect the peoples` ethnic mentality or notions about the structure, values and hierarchies of the universe, includes collection and recording of the field materials and their interpretation, i.e. reconstruction of those meanings which were initially embodied or “coded" in folklore. A distinctive feature of Kazakh nomadic culture is its self-preservation and actualization, almost untouched the ancient mythologies of the world, in particular, the mythologies connected with music, musical instruments and the creator of music. Within the frameworks of the traditional culture the word and the music keep the sacral meaning. The ritual melodies and what they carry – the holly, and at the same time unexplored, powerful and threatening, uncontrolled by people world – keep on attributing the soul to all, connected with culture.