Séminaire « Critical Heritage Studies »:
« Patrimonialiser les pratiques de l’art contemporain, au pays ou en exil, de l’Asie centrale à l’Europe »

— Dilda Ramazan (Eur’Orbem – CNRS / Sorbonne Université), Aitys, Or The Central Asian Art Of Improvisation, In Works Of Contemporary Artists
Aitys presents itself as a form of oral poetic joust, improvised and performed through spoken word or song, generally accompanied by a traditional musical instrument. It is a competition in which two performers confront each other in a dialogic exchange on themes proposed by the audience, combining humorous retorts, critical observations, and philosophical reflections. Recognized in 2015 by UNESCO as Intangible Cultural Heritage of Humanity, aitys occupies an important place in the cultural life of Central Asia today. It is mobilized in a variety of contexts — from community celebrations to national events — and frequently serves as a vehicle for expression on contemporary social issues. This presentation proposes to examine a significant evolution in the role of aitys within current cultural dynamics. In particular, it will analyze the tensions between, on the one hand, attempts by state institutions to depoliticize this art form
and, on the other, its critical appropriation by contemporary artists, who turn it into a space for contestation, engaged creation, and the reconfiguration of social imaginaries.

— Razia Sultanova (Cambridge Muslim College & Université de Sarajevo), From Vision To Institution: Cultural Leaders And The Shaping Of Central Asian Musical Heritage
This paper examines the institutionalisation of Central Asian music in the post-Soviet era, with particular attention to the interplay between state policy, transnational networks, and individual leadership. Since the early 1990s, following independence, cultural institutions across the region have expanded their capacity to host international events and participate in global cultural exchange. Kazakhstan has taken a leading role through structural reforms in higher education, the Bolashak scholarship programme, and the successful organisation of major international events such as the 2015 ICTM World Conference. Comparable initiatives in Uzbekistan — most notably the regular Sharq Taronalari, Boysun Bahori, and Raqs Sehri festivals, the recent First International Contemporary Art Bukhara Biennale (2025), and the establishment of the Academy of Shashmaqam — and in Kyrgyzstan, with large-scale projects such as Rukh Ordo and Ruh Sanaat, reveal both regional emulation and competition. At the core of these developments lies the growing role of nonstate actors and cultural leaders, alongside attempts to establish transnational governance structures (e.g., TURKSOY and the Turkic Culture and Heritage Foundation) at the intersection of Western and local musical traditions. The study argues that the institutionalisation of music in Central Asia is not a linear process but a dynamic negotiation between state policy, international cultural diplomacy, and the visions of individual actors. This convergence has elevated the global visibility of Central Asian musical heritage and reshaped the region’s cultural identity on the world stage.

Pour recevoir le lien Zoom, veuillez contacter : aleksandra.kolesnik@uni-bielefeld.de