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Islam, poética y subversión en Kazajistán. El vídeo musical de Maslo Chernogo Tmina
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Authors
Advisor(s)
Abstract(s)
Los vídeos musicales de Maslo Chernogo Tmina, como Kensshi (Minero, 2019), Steppe
(Estepa, 2020), Unknown world (Mundo desconocido, 2020) dirigidos por Aisultan
Seitov, expresan las problemáticas socioculturales en el actual Kazajistán, a través de
un lenguaje islámico, identitario y visionario. Narraciones densamente afectivas,
patéticas y políticas; por tanto, perteneciente al éxtasis cinematográfico promovido por
Serguei Eisenstein; es decir, ‐al acto de salirse de uno mismo‐, y en el que el espectador
se desborda ante la confrontación de imágenes emotivas‐cognitivas, provocándole una
reacción psíquica de manera epistémica. Por lo demás, los espacios recogidos, sórdidos
y acciones místicas presentes, son semejantes a rituales sagrados, que destacan como
partes conceptuales de sus trabajos, y en la que además predominan las escenas
urbanas desoladas y paisajes desérticos. En relación con la letra hay que comentar que
es básicamente deprimente, con intenciones de denuncia ecológica y social,
acompañada por melodías populares de género abstract hip hop o trip hop, conjugadas
con el folklore kazajo. Por otro lado, las tradiciones y valores ancestrales túrquicos y
animistas del país, regresan de manera sincrética en los imaginarios de los videoclips
del autor. Aludiendo a un intenso y crítico contraste, entre un occidente materialista decadente y un oriente retornado verdadero. A pesar de este atisbo de esperanza, la
obra en general de Maslo Chernogo Tmina nos advierte de un reverso oscuro del
próspero y contemporáneo Kazajistán, a consecuencia de la desintegración de la Unión
Soviética y la nueva entrada al modelo capitalista global. A la par que se centra en la
vida trágica acaecida en las calles de las nuevas generaciones euroasiáticas.
Maslo Chernogo Tmina's music videos, such as Kensshi (Miner, 2019), Steppe (2020), Unknown world (2020) directed by Aisultan Seitov, express the sociocultural problems in present‐day Kazakhstan, through a language Islamic, identity and visionary. Dense emotional, pathetic and political narratives; therefore, belonging to the cinematographic ecstasy promoted by Sergei Eisenstein; that is, ‐the act of getting out of oneself‐, and in which the viewer overflows before the confrontation of emotional‐ cognitive images, provoking a psychic reaction in an epistemic way. For the rest, the secluded, sordid spaces and present mystical actions are similar to sacred rituals, which stand out as conceptual parts of his works, and in which desolate urban scenes and desert landscapes predominate. In relation to the lyrics, it should be noted that it is basically depressing, with the intention of ecological and social denunciation, accompanied by popular melodies of the abstract hip hop or trip hop genre, combined with Kazakh folklore. On the other hand, the ancestral Turkic and animist traditions and values of the country return in a syncretic way in the imaginary of the author's video clips. Alluding to an intense and critical contrast, between a decadent materialist West and a true returned East. Despite this glimmer of hope, the overall work of Maslo Chernogo Tmina warns us of a dark reverse of the prosperous and contemporary Kazakhstan, as a result of the disintegration of the Soviet Union and the new entry into the global capitalist model. At the same time it focuses on the tragic life that occurred in the streets of the new Eurasian generations.
Maslo Chernogo Tmina's music videos, such as Kensshi (Miner, 2019), Steppe (2020), Unknown world (2020) directed by Aisultan Seitov, express the sociocultural problems in present‐day Kazakhstan, through a language Islamic, identity and visionary. Dense emotional, pathetic and political narratives; therefore, belonging to the cinematographic ecstasy promoted by Sergei Eisenstein; that is, ‐the act of getting out of oneself‐, and in which the viewer overflows before the confrontation of emotional‐ cognitive images, provoking a psychic reaction in an epistemic way. For the rest, the secluded, sordid spaces and present mystical actions are similar to sacred rituals, which stand out as conceptual parts of his works, and in which desolate urban scenes and desert landscapes predominate. In relation to the lyrics, it should be noted that it is basically depressing, with the intention of ecological and social denunciation, accompanied by popular melodies of the abstract hip hop or trip hop genre, combined with Kazakh folklore. On the other hand, the ancestral Turkic and animist traditions and values of the country return in a syncretic way in the imaginary of the author's video clips. Alluding to an intense and critical contrast, between a decadent materialist West and a true returned East. Despite this glimmer of hope, the overall work of Maslo Chernogo Tmina warns us of a dark reverse of the prosperous and contemporary Kazakhstan, as a result of the disintegration of the Soviet Union and the new entry into the global capitalist model. At the same time it focuses on the tragic life that occurred in the streets of the new Eurasian generations.
Description
Keywords
Maslo Chernogo Tmina Vídeo musical Artes visuales Islam Kazajistán Eisenstein Musical Video Visual arts Kazakhstan . Faculdade de Artes e Humanidades
Citation
Pascual Galbis, P. (2021). Islam, poética y subversión en Kazajistán. El vídeo musical de Maslo Chernogo Tmina. ANIAV-Revista de Investigación en Artes Visuales, (9), 105-121. https://doi.org/10.4995/aniav.2021.15852
Publisher
Universitat Politècnica de Valência