On March 25, the Astana Ballet Theatre will present “The Heritage of the Great Steppe” concert program, which will immerse the audience into the atmosphere of travelling through the vast Kazakh steppe. The event dedicated to the celebration of Nauryz holiday will be held with the assistance of the Ministry of Culture and Sports of the Republic of Kazakhstan.
The program of the evening features the theatre’s hallmark, which is enthusiastically welcomed both in Kazakhstan and abroad. The audience will be presented with the creative work of Aigul Tati and Mukaram Avakhri, Honoured Figures of Kazakhstan, who are some of the most outstanding choreographers in the history of Kazakhstani dance art. The national divertissement harmoniously combines ethnographic elements and modern choreographic solutions, as well as vivid images and interesting dramaturgy. Each choreographic miniature is a legend reflecting the multifaceted philosophy of the worldview of the nomadic people.
Focusing on the achievements of the past, choreographer Aigul Tati maintains the national identity in the search for new stylistic techniques in revealing dance images, as well as for new combinations of music, plastique and costumes. Besides, she sets herself the task of bringing it to a new level of comprehension: “I did not want to stay in the format of directing techniques which had been used before us, because there was a certain style of productions before us. I wished to go beyond the traditional Kazakh dance, create something new, dig deeper, look for new forms, and somehow reveal our Kazakh individuality and flair”.
The basic concept of the national set of performances can be described in a few phrases: Love for the origins. Maintaining and careful attitude to traditions. Perfection of new forms.
“While working, she finds a response and consonance in us, quite young performers, and we dance her pieces with great pleasure. All her choreographic miniatures are very colourful and vivid, the amazingly beautiful costumes should not go without mention, which help to create the necessary national flair, and along with music and choreography, play an important role in representing the idea that we embody in dance,” said Aidan Kalzhan, the second soloist of the theatre.
“Kazakh dance can be recognized by the plastique of the hands, by the demeanor, by the manner of courtesy, as well as by the way the girl walks. However, now the boundaries are expanding, and young dancers improvise in modern choreography, adding new elements of plastique. This especially concerns ballet. I think that experiments should not be forbidden, but it is also necessary to maintain the identity. If we are talking about national folklore dance, there is a strict canon, you need to maintain both the costume, style, and music,” choreographer Aigul Tati shared.