[Rang Sakura] "Live Homer" Giuseppe Mayi
during the recovery season, 61-year-old boujuri gave birth to her 27-year-old son, giuseppe mamai <
, whose life was legendary.
he was born in april 1918 in the village of mirkage pastoral in the town of calabrak, in the south-west border of xinjiang, in the district of ahachi.
ahouche district is a small town with a large kolkuz population, located in the high and cold mountains of the south of tianshan, in remote and inaccessible areas.
güsoup maimai lives in her village, in a remote and deep mountain, and has to ride for two to three days to enter the county.
because of its remoteness, which is less affected and influenced by modern civilization, the ancient folk culture of the korkuz people is preserved in a more complete manner.
here, the manas performance is very active, and the singing of manas is heard everywhere on the occasion of the popular festival.
from time immemorial, the district of ahouche has been an important area for the transmission of manas and a treasure for the master of epics.
at the beginning of the twentieth century, the well-known masters of manas, giuseppe ahun and ephraim, and others, were from the ahouchi district.
as a child, giuseppe mamai lived in a rich folk culture and in a people who loved manas.
with regard to the birth of giuseppe mamay, there is also an amazing experience: his mother, bururi, had 26 children and survived with one son and one daughter.
as she had 26 children in a row and only two children had survived, 24 others had died, and she was very sad and was feeling very tired and weak.
the husband, mamai, went out with his wife to turusan, aksu and kash, where he gave his wife rest and rest, and to the springs and the tombs of the saints, to pray for good.
when i got back, the 60-year-old burru had a miracle pregnancy.
one day, she had a dream that an old couple was walking by her side, and my old lady gave her a bag, and she said, "you've suffered so much, you have something for you.
the yak is a sacred animal, and the yak god will bless you!” the old man mysteriously disappeared.
she woke up from her dream, which she saw all along, and believed to be a good sign for the baby in her womb.
in april 1918, during the recovery season, 61-year-old boujuri gave birth to her twenty-seventh child, giuseppe mamay.
when the baby landed, it was full of thick baby hair, which was taken out after 40 days.
the legends of the birth of giuseppe mamai coincided with the portrayals of the birth of heroes in manas and turkic epics.
heroes of turkic-speaking nations such as korkuz, kazakhstan, and uighur are generally the beginnings of epic narratives with old couples going out to pray, praying, old wives being magically pregnant with divine help in their dreams.
güsp mamy's family is a typical folk art home, and his father, mamy, is a pompous pastoralist, who loves historic manas; and mother bururi and his sister are well known local folk singers。in order to provide children with a good education and to inherit the culture of their own people, mamai used the only horses in his family as school fees, sending his two sons, barabbas and güsup mamai, to learn about culture at a place of honour.
the brother of guzup mamay, barabbas, is a collector of korkuzian folk literature.
he often wandered along the silk road with the camels, and his footprint spread throughout the countries of central asia.
every place he goes, he goes to visit the storytellers, to record their stories of folk; to visit singers, to record the narrative poems they sing; to meet manazchi, he goes on to record the manas; and to buy books, however expensive, with manas, as long as they have a handwritten copy of manas or books containing works of folklore.
his greatest achievement was the recording of the manas by the great curator of poetry in the district of ahouche and by ephraim, and the artistic processing of it into eight full manas.
he collected, documented and collated information on manas and handed it to his younger brother, güsup mamay.
güsup mamayi has been studying manas since he was eight years old in the care and instruction of his brother barabai.
every night, their parents light kerosene or candles, so that their sons can recite heroic epics for them and repeat them once and for the third time.
barabbas has also often allowed his brother to recite the poems and to check his familiarity with their content.
he also teaches the techniques of epic singing, for example, by telling him to follow the developments and changes in the epic scenes with gestures, changes in expression, changes in tone, etc.
heroes must be more vocal and more serious when they kill; they must use a great deal of proverbs and mottos in their exhortation, both positive and negative; they must use better and more compassionate language in their portrayal of women; and they must be duly reduced in their expressions of distress and sadness and display a sense of sadness.
the movement of gestures and sound combines to create a perfect environment for emotional convergence.
from 8 to 16 years of age, güsup mamay had taken only eight years to recite the eight manas, which had been written and processed by his brother balabai.
the performance of the eight generations of the sons and daughters of manas, hundreds of individuals, dozens of big and small events, was clearly in his mind.
when asked about any one of the characters in the epics, he was able to tell the story of his ancestors from their ancestor, the relationship between his ancestors and the manas family, and then give a detailed account of what he had done throughout his life, as well as the experiences of his children.
the impact of barabbas on güsup mamay is enormous, and he has played a decisive role in the future as güsup mamay as the master of manas.
giuseppe mamayy was full of respect and gratitude to his brother, and whenever he learned to sing manas, he referred first to his brother barabai.
however, like other famous manas singers, giuseppe mamayi insisted on “dream teaching” when talking about his ability to sing manas。he had told people that he had had a dream when he was eight, in which he saw the heroes of manas, bakay and al-manbeit epics, who told him, “don't sing manas until he's 40 and you'll be grand manaschi after he's 40”.
when he wakes up, he'll sing manas.
from the beginning of the 1960s to the end of the 1980s, mr.
güssup mamai insisted on “dream teaching”.
it is worth noting that giuseppe mamayi has repeatedly mentioned not to sing manas until he is 40, sometimes because his parents refused to let him leak his dream lecture before he was 40, and sometimes because the heroes of the dream told him not to sing manas until he was 40.
on this point, he explained in an article he wrote in june 1990 that: “my father often told me not to sing an epic in front of everyone until i was 40.
because manas is sacred, it's not good to be in a young age.
i have listened to my father's advice, and i have never been able to sing in public, despite having learned all the epics in my back.” "dream teaching" is prevalent among epic artists, a legacy of epic sacrosanctity and mystification in oral epics.
in the 1930s, giuseppe mamayi, who was under 20 years of age, lost two of his closest relatives in succession — his father and his brother barabai.
the death of the father and the brother was a major blow to güsup mamayi.
when he enters the mountains to shepherd the sheep or to hunt the eagles, he sings manas to extricate the sorrow and loneliness of his heart.
he also often sings manas in his sleep, with a loud voice and wakes up his family, and he sings sweaty, and can't stand to wake him up.
and he whispered to himself, as if he were drunk, to greet him, and he could not hear.
the villagers thought he was mentally ill.
giuseppe mamai, who spent his whole life in a twist and wrenching state, who was a pastoralist and a sheep herd in the mountains; who rode horses and horses to race horses; he had hawks and hunted in the gobi jungle; he had been a farmer and planted wheat in the field; and he had been a teacher and taught the children of kolkuz to read and read.
these experiences of work and life have greatly helped him to sing manas and raise the standard of manas.
he said to the people around him, "there's a difference between what you see and what you don't see.
it is not possible that what we have witnessed can have a certain impact.
my life experience has certainly had an impact on my singing of manas, for example, manas in tullupan, zhumatai toolle in semayyi, falcons in tolertoi, and zemitei's worm, which is certainly much more vivid now than i was when i learned to sing.
i think that's why it's not so good to see." the manas, which he sang, inherited the tradition of manaschi, and at the same time incorporated his creation into his life's work experience and life's experience and reflection, thus making the epic more eclectic and colorful。the youngest child in the family was güsp mamy, and the oldest parents married him when he was 9 years old in order to be able to meet his son.
the bride and groom, though young, had a great wedding.
three years later, they go round.
at the age of 24, giuseppe mamai had offered to marry a young, beautiful, mute woman.
however, it is not difficult to be affected by the family of the dumb woman aytibi.
with the connivance of the girl, güssup mamayy was assisted by a boyfriend of the same age to carry out a successful bride theft.
his two wives lived side by side with their sisters.
after liberation, under the law on marriage, monogamous marriage was introduced, and güsp mamy chose the childless dumb daughter aytibi, who was divorced from her wife, serihan, who had two children.
after the divorce, giuseppe mamayi remained in close contact with his ex-wife and children and took care of her life.
there are currently three children, including an adopted daughter, and seven grandchildren, six granddaughters and one grandchild.
they all live in their homeland, in the ahuki district, in medical, religious and political fields, but the vast majority of them are pastoralists who live in the mountains.
giuseppe mamay is a loving parent in this extended family who cares about the growth of every future generation.
güsp mamy is an incredible and talented man of epic.
more than 2,000 years ago, with the gifted homer, the greek epics of ilyat and odyssey became the precious cultural heritage of humanity.
two thousand years later, the homa-style güsp mamy emerged among the people of kolkuz.
because of his presence, the great hero's epic manas can be presented in its entirety.
it is feared that a millennium will be hard to find after the advent of the twenty-first century, when a brilliant epic artist like güspürmai has been killed for a hundred years.
his wisdom, knowledge, talent, extraordinary memory, and his vast accumulation of korkezian folk culture will grow more precious with the passing of years.
as a researcher of manas, we have the privilege of living with him in the same age, having the opportunity to be with him, to speak to him and to ask him for advice.
since he was eight years old, giuseppe mamayi has learned to sing " manas " , and he has worked so hard, he has read so hard, he has shown amazing memory, he has learned to sing a few times, he can remember everything.
güsup mamy has a rich life experience, a high level of art and a strong folk culture.
he was a master of manas with knowledge, culture, knowledge and knowledge.
he is familiar with the social history, astronomical geography, folklore and religious beliefs of the korkuz people.
he is familiar with the myths, legends, epics, narrative poems, songs, folk stories and folk proverbs of the culture of the korkuz folk, and he is a treasure of the kolkuz folklore.
güsoup mamy was found in the 1961 census of manas.
he was 43 years old, half a day of work and half a day of singing。in order to allow him to concentrate on his epics, he was received by atush, the capital of the autonomous region of quetzal sokolkuz.
he was very involved in his singing, when aji yusei, who participated in the collection, recording and translation of manas, said: “gussup mamayi was very young and passionate at the time, and if he sang, he would sing so loudly that he could sing for three or four hours in a row, that the person who wrote the record could not write it, but he was still passionate and he was not tired.” liu hae-jun, who was in charge of this work, said: “gusup mamai sings eight to 12 hours a day, and the gay hand is numb and can replace another person, but the singer is irreplaceable.” singing for seven months and five manas.
in 1964, the manas working group, composed of the china folklore research association, xinjiang union and the quetzlès-surklkuz autonomous oblast, was established, of which güsup mamayi was a member.
during this period, he supplemented five more epics, with an increase of 61,000 lines, as well as a new performance of the sixth, aslbacha and bekbacha.
by 1964, six of the 196,000 lines of " manas " performed by güsup mamay had been recorded.
during the “cultural revolution”, most of the transcripts and translations were lost.
at the end of 1979, güsoup mamay was brought to beijing, where he recommenced his first song.
the greatest gain in this by-election was his new addition of the 7th sombilek and the 8th chigdai.
a total of 8 copies of manas, the corkezian song by giuseppe mamay, were published in 1995.
as a result, eight manas songs by giuseppe mamay were recorded, processed, published and preserved in their entirety.
it is particularly surprising that, in addition to manas, giuseppe mayi will sing many heroic epics.
after the record was completed with the epic manas, he was inspired by poetry, such as a gushing spring, such as a flying horse, which could not be contained and continued to sing and record 10 heroic epics.
eight publications have been published: el toshtok, kurmanbek, bagsi, toltoi, sayikale, mamakshopok, grand class, and seven khans.
two more are forthcoming: ajibaye and jiang ermurza.
he recorded the memory of the kazakh epic " seven khans " , the first one being 147,000 lines, which, after its publication in 1993, had caused a great amount of excitement in xinjiang, and the kazakh people expressed their sincere gratitude to güssup mamay for the preservation of their lost heroic epics.
at the publishing symposium, kazakhs expressed their highest ceremonialism — the gift of horses, the gift of robes, and the expression of respect and worship to the masters of epic.
in kolkuz, a number of folk stories were also recorded by güsup mamy, whose stories were rich, long and distinctive.
the achievements of guzup mamay have attracted considerable attention from the academic community at home and abroad。german epic researcher risher visited güssup mamy and listened to his songs and stories, and this german scholar was surprised and shocked.
at an international academic conference, he reported on the achievements of güssup mamy, who was hailed by national scholars as “the living homer” and as an exceptional master of epics.
the well-known writer of kyrgyzstan, cheong gis atmatov, gave a very high rating to güsup mamayy, who said he was “the representative of the cultural heritage of the entire korkuz people”.
güsup mamay has been a great success in the preservation of manas and the corkez traditional culture.
in 1980, he was elected vice-president of the union of the xinjiang uighur autonomous region and moved his family to the city of urumqi, where he lived in an apartment built by the union for senior intellectuals in xinjiang uighur autonomous region.
in recognition of his contribution to the epic manas excavation and rescue work, on 26 december 1990, he was awarded the title of senior researcher by the xinjiang uighur autonomous region title assessment office.
in 1995, at the opening of the international seminar on manas, held in bishkek, the capital of kyrgyzstan, the president of the kyrgyz republic personally presented a gold medal to güssup mamy, in recognition of his immortality in the promotion of the korkuz national culture.
in 1998, the kyzl sokorkuz autonomous oblast held a solemn birthday celebration for the 80th birthday of güsup mamy, a solemn ceremony for horses, robes and poetry, and he became a proud national hero of the korkuz nation.
the kolkuz people loved the great singer, and they admired him, worshipped him and considered him a saint.
women competed with each other to hold the baby and give him a child's blessing, and they believed that wisdom and luck would pass on to the child with the hands of the elderly; and that people in the countryside would wear his clothes, and they believed that wisdom and luck would pass on to themselves with his clothes.
by li kobayashi, by yoshiro saku (institute of ethnic literature, chinese academy of social sciences)