Larisa Dodkhudoeva, Muattara Bashirova
Situation Analysis in the Sphere of Fine Arts, Handicraft, Design, and
Museum of Tajikistan
Fine arts are a significant component of any form of development for
it combines spiritual, material, and intellectual features inherent in
the society. They play a decisive role in the determination of the national
and cultural identity, in the formation of self consciousness and mentality
of people, and in the development of a democratic society. At present,
Tajikistan as well as all countries based on an ancient civilization,
belongs to post-provincial states of the third world: their art is characterized
by a bi-cultural identity, preserving both original and western values.
Art here still remains rather efficient due to the innocence and ingenuousness
of the people not very familiar with the achievements of the world culture.
-
Information
1.1 Historical background
Fine arts of Tajikistan are over 5,000 years old. The first rock paintings
were found by archeologists in the Shakhty grotto of the Gorno Badakhshan
Oblast (Pamirs) at the elevation of 4,100 meters above sea level. They
are part of the so-called Markansui culture, the highest Stone Age mountainous
culture in the world.
Traditional culture (crafts) whose origins are lost deep in the past
centuries is a national property of the Tajik people. There are many centers
in the country that have preserved traditional handicrafts: Khudjand,
Kuliab, Istravshan, Kanibadam, Isfara, Darvaz, Karategin, Hissar, Karatag,
various settlements of Badakhshan, and others.
Fine arts of the European school as well as museum activity began developing
in Tajikistan in the 20th-30th of the XX century.
While in the 20th-40th of the XX century art was
going through a transit period from the traditional plastic system with
its plane portrayal to completely opposite principles of European culture,
by the middle of the same century, the basics of modern Tajik art had
already been formed. This was the time when the new phenomenon of modern
Tajik art came into being.
Design that first appeared in the West in the XIX century was developing
in Tajikistan in the 70th-80th of the XX century
in the form of an art construction. Somehow, it has never become popular.
In the Soviet times, success was achieved practically in all spheres
of creative activity: new traditions were developed, including a new style
of social art; several generations of people interested in fine arts were
raised; there appeared new art schools, a number of museums and picture
galleries. In the XX century, Tajik art adopted a bi-cultural identity
having inherited both national and European traditions.
1.2 Current situation
For a number of reasons, fine arts of the post-Soviet Tajikistan considerably
vary from those of the previous historical period. At the same time, they
have preserved features common to other CIS countries. This is, first
of all, the patchiness and eclecticism of the world outlook orientation
characteristic for the whole post-Soviet territory, return to the national
original basis, desire to revive the historical memory of the people and
to incorporate the transitional period into the context of the "great
national tradition" viewed as a catalyst for development. Concurrently,
the artists' creativity aims at meeting challenges of the time and finding
their own ways of problem solving.
While analyzing the processes occurring in the mass mentality of the
population, it is worth noting the conflicting combination and contraposition
of occasionally alternative trends: collective and individual principles,
fundamental, conservative and secular tendencies. The formation of a democratic
society and the development of new reforms are at times associated with
the perception of purely western standards and values while traditional
ideals inherent in the Tajik people are very often rejected. Therefore,
freedom of conscience and freedom of choice and the observance of democratic
rights have become key issues of the socio-cultural policy of the republic
after the civil war.
It is hardly possible to develop a culture without considering the social
situation in the country. Despite the current integration processes that
made it possible for Tajikistan to gradually join the international community,
one cannot forget that archaic forms of social relations, mentality and
behavior are still in place in the social structure of the country where
72% of the population resides in the rural area. Meanwhile, the integrant
role in the world civilization belongs to the urban culture that includes
traditional elements. At present, Tajik culture can be defined as semi-urban
— semi-rural with a considerable part of intelligentsia and elite
having left the urban areas for good. They were replaced by rural residents
who have brought with them not only their aboriginal national traditions
but also the archaic elements of local cultures.
Almost ten years have passed since the end of the war, yet its consequences
still tell upon the development of culture and art that are going through
a real crisis. During the war time, all cultural infrastructure was destroyed.
Those cultural facilities that are still in place have an obsolete material
base and lack new technologies. Visual culture has suffered from brain-drain,
insularity of life and market, decline of art education, lack of qualified
specialists. A distinctive feature of modern cultural life is the absence
of audience in exhibition and concert halls and theaters.
1.3 Legislative basis
At present, the legislative basis of art is not fully developed and has
no clear principles for each of its branches. The main law regulating
this sphere is the Decree on Art adopted on September 3, 1997 that defines
cultural rights of the population, utilization of cultural values, possibilities
for establishing new cultural and art facilities, ways of their activity
and many other things. In 1996, the Government of the Republic of Tajikistan
issued Resolution No. 393 on Museum Collections legally securing rights
and duties of museums that were required to conduct an inventory of existing
funds and receive values from the population plundered during the military
operations. In 2001, a law was adopted on the order of exportation and
importation of cultural values that are national property of the country.
It also regulates the principles of exhibiting works of Tajik art abroad,
defines the legislative norms of cultural exchange with foreign countries
on a temporary basis, etc. The activity of creative unions (for example,
of the Artists' Union of Tajikistan) is based on the Law of the Republic
of Tajikistan "On Creative Associations". Besides, all commercial
activity of creative unions is exercised on the ground of the state taxation
and legal legislative basis.
-
Problems
2.1 Staff and management
Transition to a free market presented a problem for all branches of art
because most of art people lack knowledge of commerce, management, and
finance. They have no idea of alternative sources of income and funds.
Artists feel lost in this secluded circle of lack of funds. A paradoxical
situation has developed. Only in Dushanbe with the population of one million
people, there are around 200 artists. Yet the art market is small consisting
of two private art galleries and an exhibition hall belonging to the Artists'
Union.
Survival problem that are still acute for cultural workers make them
meet the requirements of the consumer market playing up to the public
tastes. Many of them are oriented at the tourists' taste and foreigners
preferring numerous variations of eastern exotics. It very often happens
that an independent and talented master works on a demand basis, another
one alters his occupation having no means for creative work.
Unlike other countries of Central Asia with their numerous independent
associations and creative unions contributing to the development of the
competitive process and the dynamics of life in art, Tajikistan still
has the single professional association of the Artists' Union.
It is very fortunate that in 2002-2003, sponsors represented by the Open
Society Institute, Swiss Development and Cooperation Agency, International
Cultural Center "Bactria" have actively promoted various temporary
expositions. One of them — "Khaft Rang" — a creative
fellowship of talented artists has not yet gained a legal status and,
therefore, cannot be listed as an alternative union. For all these reasons,
the art system still remains centralized having no pluralism of decision-making
so important for a free play.
In the West, an artist is surrounded by thousands of agents, art scholars
and journalists. Our situation is reverse — one or two art scholars
write about all masters and artists.
Children seldom have drawing, music and other art lessons at schools
and kindergartens. They do not visit museums due to the lack of art teachers,
financial resources and material base. There are different esthetic centers
that pay their contribution to training children in fine arts yet these
are few in number (only 7 in the capital city) and very expensive for
most of the population. Besides, all of them are sponsored by international
funds or run on a self-supporting.
The country provides certain conditions for training in fine arts. In
Dushanbe, there is Art College named after M. Olimov (with a branch in
Shahrinau), Art Institute named after M. Tursun-Zade, and the Technological
University (Department of Art Construction). However, their infrastructure,
material base, laboratories, budget, and staff professional qualities
do not meet modern educational standards.
Young artists are seldom trained abroad because the attitude of the international
community to Tajikistan has remained politicized. Therefore, most training
courses cover the sphere of political, economic and social sciences. Moreover,
artists lack knowledge of foreign languages necessary for training in
art centers abroad.
During the past few years, the Ministry of Culture has allocated several
training vacancies in Russian universities. SOROS Foundation and the Swiss
Development and Cooperation Agency assisted in training selected students
and specialists. However, these random opportunities cannot considerably
impact the general educational situation in the country. International
organizations and foundations, not fully aware of the country needs in
fine arts, support artists with modest grants that look like small patches
on the big field of art. For these reasons, UNESCO's aim on the "continuous
education — lifelong and everywhere" cannot be practically
realized in art education.
The picture is even more painful with regard to the country museums lacking
professionally qualified specialists in the sphere of fine arts. This
accounts for the poor implementation of all scientific and practical work
in museums and their depositories with regard to inventory and expositions.
The educational system of Tajikistan has not anticipated training of
museum personnel. At present, the Art Institute and the National University
provide respective training courses yet when delivered by non-specialists,
they can hardly improve the situation in the museums.
Therefore, museum personnel, lacking basic knowledge of inventory and
deposit of exhibits, restoration, and scientific research, are not capable
of creating catalogues of the existing cultural values. The only exception
is the National Museum of Antiquities that has published its first catalogues
with the financial assistance of the French NGO ACTED. Only those museums
that have developed strong linkages with their international colleagues
and foundations have an opportunity to raise the professional level of
their staff abroad as the National Museum of Antiquities. Other museum
personnel have to mostly rely on their self-education. Museum personnel
do not even have their own professional association to protect their rights.
The problem of employment in art has also changed. A graduate now is
free to choose his place of employment. However, it is quite a problem
for artists and designers. The only option left is to exhibit their works
in art galleries. Due to the lack of financial resources, the Ministry
of Culture is no longer capable of supporting masters the way it did during
the Soviet times. The professional association of the Artists' Union (the
only one in the country!) unites many craftsmen all over Tajikistan. Only
joining the AUT, a young artist may hope to get a scanty assistance (mostly
financial) or have an access to a studio. Besides, he will be able to
exhibit his works and will be exempt from taxation and rental fee. Selling
pictures in an AUT gallery requires a discharge of tax.
Artists of different specialties are mostly engaged in painting and graphic
arts applying the techniques in demand by consumers. Graphic artists do
not design books and monumentalists do not create frescos, mosaics and
wall-paintings. Folk art is the only exception due to a high demand in
traditional art caused by a strong consolidation trend of national and
cultural identity.
Artists should be more active initiating various creative unions that
would attract investments in cultural management. There are many of them
in all countries of Central Asia except Tajikistan. They should also avoid
rivalry and give preference to an optimistic competitiveness. Many unclaimed
specialists even have to change their occupation.
All these problems prove lack of an institute of art management and art
specialists who could not only carry out the organizational and administrative
functions but also develop an art strategy including commercial plans
aimed at the self-sustainability of cultural structures. Despite all its
drawbacks, the institute of art management is the most effective one.
In the current situation, when an artist does no longer enjoy the privileges
of the Soviet time and in the absence of a state investment programs,
it is most important to expand the fund of private financial allocations.
This is the task for managers and intermediate sellers who ensure promotion,
finance, marketing and protection of artists' rights.
One of the successful examples of art management is the establishment
of a self-support educational and manufacturing organization within the
National Art College uniting college students and staff. The organization
receives and performs orders thus solving the students' employment problem
and increasing their financial incentive. A certain percentage of profit
is allocated to the purchase and renovation of the college equipment,
maintenance of its base in Takob, provides a rise in staff salaries and
students' stipends, and ensures financial support of most gifted students.
Development of an institute of management will help present and promote
new ideas and initiatives. Management is based on the artists' needs and
museum requirements. Yet management is important and strong only under
the condition there is an art market in the country so that business can
promote and support artists.
2.2 Technical equipment
At present, fine arts in Tajikistan keep using traditional technical
methodologies. The world cultural trends such as conceptual art, installation,
art of minimalism are not popular in the country due to a lack of a cultural
dialogue with other countries and financial resources that could promote
the artists' activity abroad. The low innovation rate and lack of computer
equipment also present a serious problem. At the same time, among Tajik
artists there are subtle and intellectual masters working in traditional
genres.
The only museum that has a few computers, air temperature and moisture
tracking system, air conditioning, a publishing house and transportation
means is the Academic National Museum of Antiquities supported by several
foundations (ACTED, UNESCO, Open Society Institute, embassies of Japan,
USA and Germany, and private sponsors from Switzerland and Japan). Other
museums have no computers or any other technical equipment.
According to the regulations, museums are not allowed to keep their exhibits
in non-equipped basements and attics. The National Museum of Antiquity,
with the support from ACTED, constructed a separate depository for its
exhibits. All other national museums are located in unadjusted buildings
lacking the system of air conditioning, airing, and lighting as well as
exhibition equipment, computers and restoration laboratories. In the XX
century, the only building constructed with regard to its purpose was
the building of the Artists' Union of Tajikistan. Exhibits piled up in
old closets perish of moisture, humidity or dry hot climate. Specialists
identified around 100 harmful microbes in museum depositories that negatively
impact both exhibits and museum personnel.
The obsolete alarm and security system cannot protect exhibits from fires,
natural disasters and thefts. Due to the absence of transportation means,
it is hardly possible to launch scientific and research expeditions to
other parts of the country.
All the above-mentioned problems hamper the development of private museums.
Of them, only Gurminch's museum functions rather actively despite the
lack of technical equipment: its owner is utterly devoted to his deed.
Galleries of modern art (Sukhrob Gallary, Exhibition Hall of the AUT,
Art Gallery) also lack technical equipment required for a valuable exhibition.
Lack of public awareness is to some extent compensated by the creation
of the Development of Tajikistan though Internet Program (Tajik Gateway)
that provides all artists with a free opportunity to display information
and exhibit their works in the Internet.
2.3 Financial security
Financial security of all cultural facilities remains inadequate. Not
a single cultural center has sufficient financial resources for development
with the exception of the National Museum of Antiquity: sponsors provide
it with the necessary technical equipment (computers, air conditioners,
showcases, publishing facilities) yet not with cash. Salaries of all museum
staff are equally scanty.
Meanwhile, the National Museum named after K. Bekhzod provides certain
revenues for the rent of exhibition halls and restoration works. Galleries
of modern art are self-supporting and earn money by selling works of art.
The modest revenue however is used for the maintenance of premises, various
services and state taxes. The AUT appealed to the Government of the RT
to exempt cultural facilities from taxation for a certain period of time
giving them an opportunity to become self-sustainable and invest in their
development. This question remains unsolved to present day.
In the meantime, Uzbekistan carried out an experiment. President I. Karimov
exempted certain cultural facilities and craftsmen from state taxes for
the period of 7 years. No one could even imagine the amount of revenues
this decision has brought to the country. During the past seven years
the development of handicrafts has become unprecedented, especially when
compared to other countries of Central Asia. The state income has grown
several times because the diversity of Uzbek crafts attracts tourists.
Inspired by the success, President of Uzbekistan extended the validity
period of the decree for seven more years. This kind of experience is
worth to be considered in Tajikistan.
The main task of design is of an applied character. It is closely related
to manufacturing, industrial development and new technologies. This fact
can account for a poorly developed basis for the formation of our own
school of fashion design and design in general.
At present, light industry, especially clothing and shoe industry are
not functioning and young clothing design specialists are not in demand.
Material and technical basis of clothing design has completely gone. Fashion
House "Bonu" was transformed in a banquet room. Joint venture
"Sano" in Khudjand went bankrupt due to the lack of qualified
personnel and poor government support.
Fashion houses could earn their own money and use it for the training
of their young staff. However, lack of training, legislative base, investments,
special support and development programs relating to fashion, design and
production of fabric hamper the development of a potentially profitable
sphere of fashion design depriving it of self-sustainability.
However, there is no place for illusions relating to the return of the
old system of financial subsidy. Cultural expenditures have been reduced
or fully cut in state budgets of nearly all countries in the world. It
is important to cultivate cultural needs, support the art market and its
initiatives leaning on the private sector. The new bourgeoisie should
turn to culture and invest in its development: this will give it an opportunity
to declare its life principles and leave a noticeable trace in history.
-
Analysis of creative activities
3.1 Key problem solutions
In the years of independence, the development of Tajik culture was quite
chaotic since cultural development is not feasible without consideration
of the social situation in the country. Of all spheres of life, it is
culture that finds it most difficult to adapt to the new demands of market
economy. The old system of the state customer, society and a creative
performer has been destroyed, and a new one — of institutional management
— has not yet been created.
Conflicts and maximalism inherited from the war days, did not promote
politicizing of the visual art of Tajikistan that became so obvious in
the culture of Russia and other CIS countries immediately after the break-up
of the Soviet Union. This is very helpful for the deideologization of
art necessary for building a democratic society.
All cultural institutions should become independent from government structures
with regard to strategic planning within the framework of national laws.
They should be given financial independence that will allow them be flexible
and achieve self-sustainability. Their activity and outcome must be judged
from the point of view of both world standards and local knowledge: this
will serve as an incentive for attaining new cultural heights. It is important
to share experiences of best practices and advanced initiatives.
3.2 Factors influencing creative development
The most important factor influencing creative development is a human
factor. It is an individual talent and need for creativity that make a
true artist improve his gift by self-education and constant labor. Artists
and craftsmen gain their achievements not thank to but despite of circumstances
and very often remain unacknowledged. Besides, love of their country and
good education received by art people during the Soviet times helps them
maintain a high professional level.
Other factors promoting creative activities include reconciliation, gradual building
of partnership relations with other cultures, assistance provided by various
foundations that help organize cultural events in the country, renewed
interest to history and culture of Tajikistan and other countries of the
world.
3.3 Negative implications of creative development
The main factors negatively influencing creative development of visual
culture is first and foremost the isolation of our country from the development
of world culture and poverty of the overwhelming majority of the population
that has no means for expanding its education and attending cultural events.
Poor equipment of all cultural facilities with new technologies (lack
of computers, audio-visual aids, Internet access), information hunger,
inadequacy of contemporary technical base, funding system, partnership
relations with colleagues abroad — all this increases self-isolation,
carefree calm and self-sufficiency of art people.
Lack of qualified resources in educational art structures and specific
spheres of activity (fashion design, museums, management, etc.) results
in dilettantism, provincialism and profanation of the high concept of
culture. Very often folklore is substituted by folklorism and is raised
to the level of the national idea turning into kitsch and a street show.
Many people still believe in a necessity of a centralized decision-making.
This results in a reluctance to form public associations or NGOs alternative
to governmental cultural institutions. Diversity and multiplicity of ideas
and initiatives can make cultural life of the country more dynamic, along
with the institute of management and patronage.
Moreover, insufficient number of foundations and organizations in support
of culture and the limited amount of their resources result in a monopoly
of the decision-making process, corruption among their staff, and favoritism
while fresh ideas and important projects very often end up losing. Sponsoring
agencies still lack the spirit of competitiveness and a desire to support
innovative and unexpected project ideas to promote the development of
local culture and its integration into the world cultural field.
-
Society and art
4.1 Factors influencing the interest of the society to art
One of the most important problems of modern Tajik culture is lack of
audience that would be interested in attending museums and exhibitions.
Practically, this is an exclusive circle: galleries and museums are attended
by artists, their colleagues, relatives and friends, art students or foreigners.
There are hardly any art lovers or connoisseurs left with the exception
of experts: this proves the low level of esthetic education in the country,
its poverty and insufficient professionalism of artists.
All this is happening because children never visit museums, they are
not introduced to drawing, music and other kinds of art at the nursery
and school level for the same reason of lack of art teachers, funds and
material base. There are several esthetic centers yet the attending price
is high. Besides, all of them are sponsored by international foundations
or are self-supporting.
Little attention has yet been paid to the folk art of ethnical minorities,
its significance and value. Preservation of their cultural inheritance
is still questionable. Materials collected during various expeditions
can soon be lost forever. Meanwhile, attention to the culture of ethnic
minorities promotes unity of the whole society raising mutual cultural
interest.
Despite all political unrest, different cultural centers of Tajikistan
have preserved their crafts: they were motivated by understanding that
a loss of cultural traditions equals to a loss of national identity. Still,
various crafts of ancient Tajik centers — Khudjand, Kuliab, Kanibadam,
Badakhshan and others are isolated from each other and from the capital
city, and their product seldom reaches Dushanbe where the new generation
does not even know what they look like and what the difference is between
various products of handicraft centers of Tajikistan.
We should not lock ourselves in our traditional culture. It is necessary
to actively and considerably speed up the innovative country development
in order to enter the world cultural community that treats our problems
with much understanding. For example, French cinematographers got interested
in the activity of the "M. Style" agency and created a video
of its everyday life and festivities. Same agency is requested to create
dresses for theater and shows, TV and different local organization which
proves the renascent interest to fashion design.
The audience is scared away by the level of expositional culture in museums
and art galleries, lack of conveniences and morally outdated material
and technical equipment (with the exception of the National Museum of
Antiquity).
4.2 Ways to solve the society-art problems
During the last decade, the capital city of Dushanbe has been isolated
from other centers and sources of living inspiration and creativity. This
made some of the Tajik artists search for contacts, go "straight
to the people". During the last five years several caravans of peace
and friendship left the capital for other regions of the country with
no political issues in mind. In 2002, the first national folk festival
"Arjang" took place on the threshold of the 10th
anniversary of the historical 16th session of the Supreme Council
of Tajikistan in Khudjand and Tajik World Forum. Members of the "Khaft
Rang" group from Dushanbe went to the Sogd Oblast on a good will
mission. On June 25, 2003, on the eve of the National Reconciliation Day,
the first national exhibition of women artists will open in Dushanbe.
It will become a review of women's creative forces in art.
In the 90th of the XX century, the subject of cultural and
national identity is becoming more pronounced in Tajik art. Traditional
art faces the same problems as professional art. Masters are their own
agents and managers, buyers and sellers. However, in the anticipation
of the 2,500th anniversary of Istravshan, the city khukumat
created a "craftsmen street": here they take and perform orders
and, on the whole, it makes the ancient center even more attractive. In
April 2003, a regional festival was organized in Khudjand devoted to the
national textile — satin. Everyone could participate. These are
just few examples that show the way to overcome the alienation between
the society and art.
Masters themselves are full of ideas that prove the desire to find their
audience. As of today, it is difficult to bring them into life. Famous
masters from Istravshan (A. Yakhyaev, G. Khalilov, A. Khusseinov) whose
works represented Tajikistan abroad, proposed to the government to create
a crafts center "Borbokhi Khunar" yet did not succeed in getting
the government support in their country. We know though that Central Asian
Association allocated a grant to Tajik chitgar Mirmakhmad Saidov, while
M. Kayumova got an opportunity to display her works in several Central
Asian countries. This proves the importance of partnership relations and
the development of cultural dialogue with our foreign colleagues. Creative
exchange may become a significant mechanism of an open society and its
interest in culture.
-
Gender
5.1 Quantitative data
Access to employment
All women have a free access to employment in the sphere of culture,
especially in creative art. In the 70% of khukumats and djamoats whose
task it is to supervise cultural, art and social sphere, women are employed
as secretaries. The Artists' Union of Tajikistan (AUT) presently unites
160 people, 40 members of which (or 25%) are women. One of them is a Responsible
Secretary of the AUT, others are independent artists or technical personnel.
The situation in the Institute of History, Archeology and Ethnography
of the Academy of Sciences of the RT is as follows: two women are hired
as technical personnel in the House-Museum of Academician A. Semenov.
There are 7 women in the Museum of Ethnography: one of them is director,
others are researchers and technical personnel. In the National Museum
of Antiquity 50% of personnel are women (leading researchers, guides and
technical personnel). In the National museum named after Bekhzod there
are 43 women: one of them is director, 3 — heads of departments,
1 — chief custodian, 4 -— leading specialists with university
degrees. 32 women belong to technical personnel (guides, room keepers,
cleaners, etc.). Fashion design is mostly occupied by women; only two
men also try to create their fashion collections. 90% of art colleges
and esthetic centers staff are women.
The situation in rural area is different. Tajikistan is an agrarian country
where 72% of the population resides in rural area. 60% of those employed
in agriculture are women. No wonder that most kids are first acquainted
with the archetypes of their culture through folklore and traditional
art. In rural areas and remote regions women can only be seen at schools
or libraries. Leading positions in art are occupied by men. In handicrafts
the proportion is equal.
In rural areas women occupy a subordinate position. Men-craftsmen are
usually members of the AUT, while women are not (with few exceptions).
This can be accounted for by their restricted socialization and sometimes
by unawareness of their rights. It is necessary to revive associations
that could promote women's creativity. These are the so-called center
of home-workers.
Creative thinking unites women and allows them adapt in the society.
This kind of creative claim helps women to keep leadership in the society,
even under unfavorable circumstances. This is the so-called "leadership
behind the scenes", Creativity that gives them an opportunity of
self-expression and self-assertion, self-identification. Creating, they
become free and sometimes symbolically or by code, they express their
attitude to the world, their emotions, their attitude to man. This is
their traditional gender role in art — leadership behind the scene
— that makes it possible for them to influence human development.
Influence on decision-making
According to gender surveys, since 1991, the business activity of women
in all spheres of life dropped 10 times. In urban cultural institutions
women can actively influence the decision-making process, especially in
the sphere of creative activity. They can decline any assignment. In museums,
women can exercise their influence on designer projects, restoration methodology
because they are highly professional specialists in this field of work.
In rural areas, fashion business had also presented an opportunity for
development and socialization. It was also an income item because women
produced city designers' patterns, yet now this infrastructure is no longer
operational.
Woman in art
For men-artists, a woman in art is significant first of all because she
is the mother of talented painters and an inspiring muse.
Women-artists of Tajikistan are more interested in spiritual and moral
problems, childhood and world beauty. Contrary to their western colleagues,
their works are free of feminism, cruelty, and aggression that are so
characteristic of European and American women-artists. Professional women-artists
are better prepared for new technologies than their rural counterparts
because they have received modern education and have a better access to
information.
5.2 Ways of solution
Cultural rights of women deserve same degree of protection as human rights.
Legitimization of cultural role models promotes the development of women's
innovate activity.
Civil society of Central Asian countries is just arising. Many ethnic
groups are looking for their roots trying to reassess their cultural inheritance
viewed as a symbol of their national identity. Many basic aspects of traditional
culture and women's crafts are becoming significant elements strengthening
the nation. Knowledge of traditional culture, especially its folklore
is one of the key conditions of educating sympathy, tolerance and understanding
among representatives of different ethnic communities.
To protect the cultural rights of women, it is necessary to:
- Recognize the role of women in the system of visual culture;
- Promote cooperation expansion of professional women-artists on the
global and local levels;
- Strengthen bilateral and multilateral contacts between women of different
countries as well as the dialogue in the civil society itself;
- Involve women in the process of strengthening democratization and
respect of their cultural rights;
- Preserve cultural inheritance for future generations through women's
creativity.
-
Development strategy
6.1 Development perspectives
Since Tajik art owns a great heritage, a high creative potential and
talented masters, it will be capable of overcoming the current problems.
At present, most of the population is aware that culture and art are a
strong catalyst of social development. Mass media criticizes the level
of TV programs, concerts, and exhibitions which proves the desire of citizens
to have a highly developed culture. Besides, formation of new institutions
trying to arrange their work at the level of world standards and attracting
various investments (National Museum of Antiquity) allows comparing their
activity with other cultural centers lacking dynamism, initiative and
understanding that problem solution in art requires new approaches.
Many European sociologists point out that since recently, western youth,
including young women, want to become artists (painting, design, advertising)
because this gives them an opportunity of self-realization. Strange though
it may seem, the same trend is observed in visual culture of Tajikistan
where, despite of all problems, there appeared a new generation of artists,
designers and young craftsmen.
Awareness of the fact that culture does not meet contemporary requirements,
knowledge of achievements of other cultures, comprehension and criticism
of the current situation by the government structures, experts and population
proves that there are young forces in the country longing for a fundamental
change.
-
Conclusion
7.1 Brief situation analysis
Culture is a place of encounter for past and future. Ethnic, cultural,
climatic and natural diversity of the country has found its reflection
in the development of its professional art, design, crafts and trade.
Modern and traditional art of Tajikistan carries out its key mission:
preserves the old historical image and the "cultural memory"
of the people while professional art is "provoked" by the activity
of the society.
All cultural deficiencies (personnel, management, resources, material
base, gender imbalance in rural area) will definitely be solved in due
time yet this may be achieved with an active support of private investors
and based on the government legislative system. The most important thing
is that the country is still rich with talents and masters working in
visual arts have a freedom of choice and creativity.
7.2 Findings
Problems of management, lack of personnel, financial resources and legislative
basis in the sphere of culture considerably hamper its development. There
is still no experience in search for partners within the country and abroad,
in establishing foundations and in the development of sponsorship and
patronage system. There are many professional and folk masters in Tajikistan
who carry on the great traditions of the classical Tajik heritage. Their
new role in the modified social context of the society development and
their strive for democratic freedoms may open new perspectives for their
creative activity.
©SCCA 2001-2002
|