Uyghur Muqam of Xinjiang
01 · Historical Records
Uyghur muqam art began in folk culture and developed in the courts and official residences of the oasis city-states; through integration and development it formed an artistic style that is diverse, comprehensive, complete, improvisatory and popular, and became a distinguished form of expression of the Uyghur people.
02 · Core Techniques & Process
The sung texts of Uyghur muqam art of Xinjiang include the maxims of sages, the admonitions of prophets, village ditties, folk tales and the like, comprising both folk songs and the poetry of men of letters; they are a vivid expression of the mind of the Uyghur people. Uyghur muqam art is rich and varied in musical form, with many kinds of tonal system, elaborate modes, and accompanying instruments of many different metres, rhythms and combinations of formation; it displays a distinctive national character and a strong power of appeal. The Twelve Muqam consist of twelve suites of large-scale pieces, each of which comprises three main parts: the Qongunaiman (literally the “great tune”, a series of narrative and lyrical songs, instrumental pieces and song-and-dance pieces), the Dastan (a series of narrative songs and instrumental pieces) and the Meshrep (a series of song-and-dance pieces). Each suite contains twenty to thirty pieces and the twelve suites together number close to three hundred, so that a complete performance requires more than twenty hours. The Twelve Muqam current in Kashgar, Hotan, Aksu and Ili are of the same origin, yet in structural pattern, melodic style, the use of instruments and other respects each has features of its own. The Twelve Muqam are the form of art most beloved by the Uyghur people, sung and danced at public gatherings and family parties of all kinds.
Rak Muqam
One of the twelve suites of large-scale pieces of the Twelve Muqam, and also the opening suite of the Turpan Muqam.
Chebiyat Muqam
One of the twelve suites of large-scale pieces of the Twelve Muqam.
Nawa Muqam
One of the twelve suites of large-scale pieces of the Twelve Muqam.
Three-part structure of each Muqam
Each suite of the Twelve Muqam consists of three main parts, the Qongunaiman (great tune, comprising a series of narrative and lyrical songs, instrumental pieces and song-and-dance pieces), the Dastan (a series of narrative songs and instrumental pieces) and the Meshrep (a series of song-and-dance pieces); each suite contains twenty to thirty pieces, and a complete performance of the twelve suites requires more than twenty hours.
03 · Regional Records & Related Items
Uyghur muqam art of Xinjiang is a large comprehensive art form that combines singing, dancing and instrumental music; it is distributed mainly in the Uyghur settlements of southern, northern and eastern Xinjiang, and is also current in large, medium and small towns such as Urumqi. In the course of its development within its cultural space, Uyghur muqam art of Xinjiang formed the schools of the Twelve Muqam, the Turpan Muqam, the Hami Muqam and the Dolan Muqam, which are the most representative of them.
Other submitting regions for the same item: Uyghur Muqam of Xinjiang · Uyghur Muqam of Xinjiang · Uyghur Muqam of Xinjiang.
04 · Cultural Value & Contemporary Safeguarding
Because the relatively independent oasis environment in which the Uyghurs lived has gradually changed, the mode of production and the customs of daily life of the people have changed with it, and the art of the Twelve Muqam has therefore met with a crisis of transmission. Yusufutuoheti (as recorded in the official dossier of an associated inheritor): also known as Yusup Tuoheti, male, Uyghur, born in 1952, a native of Shache, Xinjiang. Representative inheritor of Uyghur muqam art of Xinjiang (Twelve Muqam), a national-level intangible cultural heritage project in the second national-level batch. Yusufutuoheti can sing and accompany seven of the suites of the Twelve Muqam on the dombra; he has also studied the other plucked instruments of the muqam, is familiar with the structure and the pieces of the Qongunaiman, Dastan and Meshrep of the Twelve Muqam, has taken part many times in national cultural performances, and has been honoured with such titles of the autonomous region as “Outstanding Folk Artist” and “Golden Hand Drum”. Abulaitisailai (as recorded in the official dossier of an associated inheritor): also known as Abulaiti Salai, male, Uyghur, born in 1958, a native of Shache, Xinjiang. Representative inheritor of Uyghur muqam art of Xinjiang (Twelve Muqam), a national-level intangible cultural heritage project in the second national-level batch. Abulaiti Sailai can sing and accompany seven of the suites of the Twelve Muqam on the satar; he has also studied the other plucked instruments of the muqam, is familiar with the structure and the pieces of the Qongunaiman, Dastan and Meshrep of the Twelve Muqam, has taken part many times in national cultural performances, and has been honoured with such titles of the autonomous region as “Outstanding Folk Artist” and “Golden Hand Drum”.
05 · Associated Representative Bearers
Representative bearers recorded under this item, organized by national nomination batch:
- Yusufu Tuoheti 02-0315
- Abulaitisailai 02-0316
- Tunisha Salayiding 02-0317
- Wusiman Aimaiti 02-0318
- Maimaiti Wulayin 02-0319
- Tuerxun Simayi 02-0320
- Aisaiti Mohetaer 02-0321
- Yusuyin Yaya 02-0322
- Abudoujilili Rouzi 02-0323
- Yigaimubaierdi Aisan 05-2089
- Sayitijiang Sidike 05-2090
- Aihaiti Tuoheti 05-2091
- Aimaitisupi
- Yushan Maihemuti
06 · Authoritative Sources & Bibliography
Sources
China Intangible Cultural Heritage Network (ihchina.cn)
This static English edition is rendered at the edge for search engines, AI crawlers and readers without JavaScript; it mirrors the bilingual dossier. 阅读中文版，或返回 英文名录。