Azernews.Az

By Alimat Aliyeva

A roundtable discussion titled “Teaching Ashig Art in the Modern Era: Challenges and Prospects” was held at the Azerbaijan National Conservatory on November 3.

The event was preceded by a press conference reviewing the outcomes of the First Kalbajar Ashig Festival.

Kamila Dadashzade, rector of the Azerbaijan National Conservatory and professor, said the festival, held for the first time in Azerbaijan in May this year, had secured a distinctive place in the country's rich cultural life.

She emphasised that the festival aimed to preserve and develop the traditions of the ancient Azerbaijani ashig art, promote it among wider audiences both domestically and internationally, and support the creative work of young performers.

“The festival's objectives are in line with the key provisions of the Azerbaijan Culture – 2040 Concept. One of the concept's main priorities is to preserve and develop artistic traditions that represent a vivid expression of our national identity,” Dadashzade added.

Jahangir Selimkhanov, an adviser to the Minister of Culture, highlighted the importance of presenting ashig art through a dedicated festival as a means of promoting and preserving this traditional cultural heritage.

“Support has been provided to ashig art for many years. However, presenting this art form through a festival carries particular significance. This aspiration and initiative have now become a reality. The festival is expected to be held regularly in the future under the name of Kalbajar,” he said.

Selimkhanov noted that the location was chosen partly because Kalbajar is home to the cultural legacy of master ashig Shamshir.

“We believe the festival will bring together ashigs from different regions of Azerbaijan, as well as performers living outside the country,” he added.

He also described the inclusion of ashig art on UNESCO's Representative List of the Intangible Cultural Heritage of Humanity in 2009 as a significant milestone.

However, he stressed that preserving this heritage requires more than simply having it listed by UNESCO or discussing its importance. The art form must be kept alive through continuous practice and, above all, passed on to younger generations.

Drawing a parallel with mugham, Selimkhanov also underlined the importance of supporting young performers in the ashig tradition.

Maharram Gasimli, chairman of the Azerbaijan Ashigs Union and professor, spoke about the need to support young performers and preserve the traditional dastan storytelling heritage to ensure the continued development of ashig art.

He emphasised that dastans are an integral part of the tradition.

“Without mugham, the art of mugham singing would lose its essence. Similarly, when ashig art is separated from dastan storytelling, it becomes limited to playing the saz,” Gasimli said.

He stressed the importance of documenting dastans and passing new examples of ashig art on to future generations.

Kamala Gasimova, a member of the Ashig Shamshir Cultural Centre Public Union and granddaughter of master performer Ashig Shamshir, said she felt particularly happy and proud that the festival bears her grandfather's name.