Abolizisadike
01 · Lineage & Regional School
Abolizisadike, Male, Uyghur, from Xinjiang, is a sixth-batch national representative bearer of Uyghur Wind and Percussion Ensemble (Ⅱ-127). The tradition is documented in Xinjiang. Within the regional tradition and school record of Uyghur Wind and Percussion Ensemble in Xinjiang: Uyghur drum-and-wind music serves chiefly the recreational dancing of the masses; at festivals, celebrations and rites of passage it is played by bands in the street or in courtyards, and the players are mostly hereditary families who are also able to add ornaments and variations on the spot. Because it has not yet been systematically and comprehensively collected and sorted out, with the death of the older generation of players some bands have ceased to operate; the surviving bands of Yining, Shache, Turpan, Luopu and elsewhere each still follow their own line in their instrumental combinations and repertories. The combination of the sunay and the naghara has long been in use at weddings and festival processions in the oasis towns of Xinjiang. Bands are mostly built on a family basis, taught from master to apprentice and handed down orally from heart to heart, and the players often add ornaments and variations on the spot according to the atmosphere of the occasion. Since the twentieth century, influential drum-and-wind bands have appeared one after another in Yining, Kashgar, Turpan, Shache and elsewhere; their repertories borrow from one another and from the muqam and song-and-dance tunes, forming a pattern of scattered points, each with its own school.
02 · Mastery & Signature Works
The bearer record for Abolizisadike is anchored in the documented technical standards of Uyghur Wind and Percussion Ensemble in Xinjiang. Within the documented technical tradition of Uyghur Wind and Percussion Ensemble in Xinjiang: Uyghur drum-and-wind music has a long history; it is a genre of instrumental music peculiar to the Uyghur nation and is widely distributed in the various Uyghur settlements of Xinjiang. Uyghur drum-and-wind music usually has one sunay playing the melody, with three pairs of naghara and one dongbaku marking the beat. It can play relatively fixed suites of drum-and-wind music such as the Twelve Suites of Ili Uyghur Drum-and-Wind Music, and can also play fragments of the Uyghur muqam and Uyghur song-and-dance music current in various localities. Drum-and-wind music is rich and varied in kind, and the repertories current in different Uyghur settlements often differ from one another; suites such as the Ili Uyghur Drum-and-Wind Suite and the Turpan Uyghur Wedding Drum-and-Wind Suite each have their own distinct repertory. Uyghur drum-and-wind music has many sources: some pieces derive from folk songs, some from folk song-and-dance tunes, and others from folk storytelling and singing and from classical muqam music. The drum-and-wind combinations of the different regions share some features but also differ; for instance the drum-and-wind music of Luopu County in Hotan Prefecture forms one group with three naghara, whose beat is quite distinctive and markedly different from elsewhere. Uyghur drum-and-wind music is used chiefly to accompany the recreational dancing of the masses, playing a very important part in the various Uyghur festivals, celebrations and rites of passage; it has extremely high technical and cultural research value. Its melody is flowing and undulating, its metre complex and changeable, and it is good at creating a warm, joyous festive atmosphere. Drum-and-wind music in the Turpan region can play the melodies of each suite of the Turpan Muqam from beginning to end, and enjoys a fine reputation in the Xinjiang region. Representative repertoire, works and technical entries recorded for the project include: "Ili Uyghur Drum-and-Wind Suite": Drum-and-wind music is rich and varied in kind, and the repertories current in different Uyghur settlements often differ from one another; suites such as the Ili Uyghur Drum-and-Wind Suite and the Turpan Uyghur Wedding Drum-and-Wind Suite each have their own distinct repertory. "Turpan Uyghur Wedding Drum-and-Wind Suite": Drum-and-wind music is rich and varied in kind, and the repertories current in different Uyghur settlements often differ from one another; suites such as the Ili Uyghur Drum-and-Wind Suite and the Turpan Uyghur Wedding Drum-and-Wind Suite each have their own distinct repertory. "Luopu three-naghara grouping": The drum-and-wind music of Luopu County in Hotan Prefecture forms one group with three naghara, whose beat is quite distinctive and markedly different from elsewhere.
Ili Uyghur Drum-and-Wind Suite
Drum-and-wind music is rich and varied in kind, and the repertories current in different Uyghur settlements often differ from one another; suites such as the Ili Uyghur Drum-and-Wind Suite and the Turpan Uyghur Wedding Drum-and-Wind Suite each have their own distinct repertory.
Turpan Uyghur Wedding Drum-and-Wind Suite
Drum-and-wind music is rich and varied in kind, and the repertories current in different Uyghur settlements often differ from one another; suites such as the Ili Uyghur Drum-and-Wind Suite and the Turpan Uyghur Wedding Drum-and-Wind Suite each have their own distinct repertory.
Luopu three-naghara grouping
The drum-and-wind music of Luopu County in Hotan Prefecture forms one group with three naghara, whose beat is quite distinctive and markedly different from elsewhere.
03 · Transmission & Safeguarding Status
In 2025, Abolizisadike was announced in the sixth batch of national representative bearers for Uyghur Wind and Percussion Ensemble, with Xinjiang as the declared area. Within the documented safeguarding record of Uyghur Wind and Percussion Ensemble in Xinjiang: The project was inscribed in the national inventory in 2008 (batch 2), with Xinjiang as its declared area, and Xinjiang Art Research Institute (Xinjiang Intangible Cultural Heritage Protection and Research Center) as its safeguarding unit. Since the project was inscribed in the national inventory, its declared area and safeguarding unit have carried out documentation, transmission and presentation within the national safeguarding framework. Together, the inventory record and the project archive form the public documentary basis for the bearer’s transmission practice.
04 · Associated Heritage Item Dossier
Historical origin
The combination of the sunay and the naghara has long been in use at weddings and festival processions in the oasis towns of Xinjiang. Bands are mostly built on a family basis, taught from master to apprentice and handed down orally from heart to heart, and the players often add ornaments and variations on the spot according to the atmosphere of the occasion. Since the twentieth century, influential drum-and-wind bands have appeared one after another in Yining, Kashgar, Turpan, Shache and elsewhere; their repertories borrow from one another and from the muqam and song-and-dance tunes, forming a pattern of scattered points, each with its own school.
05 · Fellow National Bearers Lineage
National representative bearers recorded under the same item code, ordered from the first to the sixth batch. Batch order is not a teacher–student relationship.
| Bearer | Declared area | Roster code | Relation |
|---|---|---|---|
| Yusufujiang Yakupu | Xinjiang | 03-0885 | Same declared area |
| Abolizisadike | Xinjiang | — | This page |
06 · Archival Sources & Bibliography
This static English edition is rendered at the edge for search engines, AI crawlers and readers without JavaScript. Compiled from official national representative bearer archival records and the associated project dossier, organized by topic and translated into English. 阅读中文版。