Abazino-Adyghe tunes

Umar Abidet ve Kaffaeher

These Circassian songs were composed by the Queen of Pshina: Abeeda Womar!
I have recorded, rearranged and produced this amazing song, and played it live in Jarash festival (2022), in participation with Al Jeel Al Jadeed

Abeeda Fusion

Abeeda Fusion | Jarash 2022

BETWEEN FOLK HISTORY AND FOLK MUSIC: THE ENVIROMENT iN WHICH GOLLU EMERGED

Karachays and Balkars (who refer to themselves as “taulula”) are a Turkic-speaking people mainly residing in Karachay-Cherkessia and Kabardino-Balkaria. Traditional Karachay-Balkar music is rarely performed on the independent stage or within the folklore niche. Modern and retro pop music can be found (e.g., on the Makame Dahe label), but ritual or heroic songs are seldom performed by modern musicians, both amateur and professional. There are a few ensembles that honour the legacy of Soviet vocalist and folklore collector Omar Otarov, but original harmonists and accordionists who preserve the original Karachay-Balkarian sound are hard to find even in villages. On the other hand, there are numerous recordings of Karachay-Balkarian music in humanities faculties, conservatories, and archives, ranging from musical notes from the late 19th century to audio collected in the field during the 20th century.

A comprehensive study is required to fully understand why this is the case, but one of the reasons is evident without further analysis: the deportations of Karachays in 1943 and Balkars in 1944. This forced resettlement had a significant impact on traditional ways of life and cultural development.

There are also internal issues: most Karachai and Balkar artists focus on either pop music or connecting directly with the heritage of ancient Alans. At times, pop music and songs about enchanting antiquity can be one and the same. This trend causes musicians to ignore songs and melodies that existed several decades ago, instead prioritizing nostalgic visions of a golden age.

Another problem is the proliferation of folk history and the tension between its proponents and some members of the intelligentsia. There are tensions between the peoples of the two republics. The stereotype that Circassians in KChR and KBR dislike Balkars and Karachays and vice versa is deeply ingrained in people's minds, even though there are no obvious clashes or historical justifications for such hostility. When examining the culture of the Western Caucasus as a whole, these conflicts appear artificial or far-fetched.

Stylistically and genre-wise, Karachay-Balkarian music is very similar to that of Circassians, Abkhazians, Abazins, and Ossetians, all of which have an almost identical set of instruments: violin, longitudinal flute, rattles, accompaniment. The Circassian shichepshin is no different from the kobuz, and the kamyl flute is identical to the Karachay-Balkarian sybyzgy. Instead of exploring cultural intersections and parallels, Karachays, along with Balkars, Circassians, and Ossetians, argue over who stole whose heritage. It seems that these problems are linked to colonialism and state cultural policy, but this requires a separate discussion.

REGIONALISM iNSTEAD OF ETHNO-PATRIOTISM: EARLY CHANGES

Over the past few years, communities have emerged in the Western Caucasus that, if not aimed at creating a common cultural field directly, are at least focused on promoting their music, rather than engaging in disputes with neighbors. In the 2010s, it was Zhyu from Adygea, followed by Kyon from Ossetia, and now hopefully, our label from Nalchik. These musical projects arose independently and developed in parallel, forming one environment, if not a scene.

The new folk musicians in the Caucasus transformed their competitive moods into a creative outlet: the success of their peers motivated them rather than causing resentment. The region was also influenced by global musical trends, such as experimental hip-hop, new pop music, and underground metal, which found their way into the playlists of musicians and listeners in the Caucasus. 
more: https://oredrecordings.bandcamp.com/album/caz

10 Sandıraq

Disclaimer: We are releasing this album to show our support for our friends and some of the key figures behind Jrpjej's distinctive sound - Diana Kulova and Alan Sheudzhen. Everything is going well for them - they recently welcomed a beautiful daughter. With this release, we want to share in their joy and celebrate the years of collaboration, the countless miles traveled, and the heaps of inappropriate humor (coming from us). Below, we've provided Diana and Alan's contact details - feel free to send them your best wishes.

Back in 2021, when the coronavirus pandemic lseemed like the worst nightmare, casting a shadow over life, Ored Recordings, alongside Jrpjej and Zaur Nagoev, embarked on their inaugural international tour to the Netherlands.

Today, we look back on that period as one of the brightest chapters in the label's and the band's history - a time of voyages, strolls, responsive audience, and the genuine delight of provincial Circassians who ventured on an actual European tour.

Yet, reminiscing about all the meticulous groundwork with documents and logistics, it wasn't the simplest of journeys.

More:https://oredrecordings.bandcamp.com/album/katzwijm-sessions

08 Nabgiş Zefakue

Nalmes Pshinawaxer P2

Абзагу, Радица, Сарида - Цвижба - Абхазское Попурри

chechen lyric tunes

Alan Shawdjan is a Circassian repatriate from Syria, a descendant of mukhagirs, who had to move from Caucasus during the Russian-Caucassian war in 19 century. The outcome of the war tragic for Circassians, it spilled them all over the world and shattered the whole nation. But everything turned out wi to be interesting results in culture: dissimilar dialekts and styles appeared in the most diasporas.
Globalization reaches them ,too. That is why Turkish, Jordan and Syrian Circassians often copy the manner of variety musicians from Caucasus (more often Kabardinian)

Circassians in the diaspora often romanticize their historical homeland and some perceive their sound as “wrong” and non-authentic. Sometimes the transition to pop style occurs unconsciously.
Therefore, it is important for us that Alan plays exactly in the Syrian style. Yes, he also fell under the influence of fashion and can play the standard “kavkaz”, but this is not about patterns, but diversity.
The Circassians of Syria were kept apart from the Arab musical tradition: few people use oud or daf - only some exceptions. Most of the tunes are not Arabic, but Circassian. But oriental melody is heard in all the “original” material. If Circassian music for harmony and accordion from other regions is primarily accompaniment to a song or dance, while the “Syrians” play all the melodies meditatively. Perhaps this is more music for listening than for folk parties. Here you can draw analogies with maquam music of the East, but so far these are our superficial impressions.
Alan’s approach is also interesting. He is not an old man who preserves traditions, but a young enthusiastic musician playing for pleasure. He heard most of the tunes during the traditional parties, but more often from the playlist on the phone. He just listened and played. Shawdjan did not go into the context of Circassian music, he is not even sure about the names of the melodies (that is why they were published by untitled tracks). However, he knows a lot of material and easily improvises in the traditional framework.
We recorded Alan at Timur Kodzoko’s home, in a room with terrible acoustics, but an amazing atmosphere.

Alan Shawdjan - accordion
Beabars Appesh - vocals and percussion

Sound recording: Timur Kodzoko
Cover photo: Mitya Lyalin
Cover art: Milana Khalilova
Notes: Bulat Khalilov
Recorded in Nalchik, Kabardino-Balkaria, Russia,
04.2020

10 Sandıraq

kavkazmusic

Related tracks