Kazakhstan Revives National Traditions Through Cinema
Kazakhstan’s film “All on Mosles: Battle of the Generations” revives the traditional game asyk atu, aiming to reconnect youth with cultural roots. The film blends nostalgia with modern storytelling, encapsulating shared Turkic traditions while promoting national identity. Despite its cultural mission, the filmmakers face challenges in distribution against a highly commercialized film market, highlighting the need for government support to enhance the visibility of cultural projects.
Kazakhstan is revitalizing its national traditions through cinema, exemplified by the film “All on Mosles: Battle of the Generations.” This comedy has sparked nostalgic feelings among audiences as they rediscover a nearly forgotten traditional game called asyk atu. The film incorporates this ancient game into a modern cinematic experience that appeals to both children and adults alike.
The asyk atu game involves players trying to knock opponents’ ram’s knuckle bones, known as asyks, out of a designated area using a throwing asyk called a sak. Once popular across Soviet Kazakhstan, it has been revived and is now recognized as part of UNESCO’s Intangible Cultural Heritage.
Yerken Gubashev, one of the film’s creators, emphasized the project’s inception, driven by a desire to reintroduce asyki back into children’s playgrounds as a shared cultural experience. Seeing youths more engaged with technology than traditional games inspired him to create a narrative where asyki was a celebrated sport, eventually leading him to collaborate with fellow creators, Yerkebulan Bekturov and Mikhail Ulanov.
The filmmakers aimed to craft a story that resonated with modern youth through dynamic storytelling and strong visual elements, while still maintaining depth. They integrated nods to international cinema, including references to films like “The Gentlemen” and “Kill Bill,” to broaden its appeal.
Beyond entertainment, the film presents a cultural mission of rekindling connections to Kazakh heritage and emphasizing the importance of traditional games. The directors noted that asyki not only represents Kazakh culture but serves as a cultural bridge among Turkic peoples, celebrating shared traditions that extend beyond national borders.
The filmmakers also discussed the potential of visually captivating storytelling to spark interest in nomadic culture. Using engaging narratives may encourage international audiences to explore Kazakhstan’s culture, as visual media is often the first interaction someone has with a new culture.
Despite the film’s cultural significance, reaching audiences in Kazakhstan remains a challenge. Gubashev pointed out the commercial nature of the local film market, where financially driven projects often overshadow culturally valuable ones.
Distributor competition complicates this further, as major backed projects benefit from more resources and visibility. Yet, Kazakh cinema appears to be growing, with a surge in domestic film releases and increased audience engagement driven by direct community support and social media.
The filmmakers acknowledged the need for government support in cinema, focusing on regulation and audience accessibility rather than just financial backing. They expressed hope that such support would ensure cultural films have the opportunity to reach wider audiences, thereby fostering a more vibrant cinematic landscape in Kazakhstan.
In summary, “All on Mosles: Battle of the Generations” is more than a film; it serves as a vehicle for cultural revival in Kazakhstan through the game of asyk atu. The filmmakers are dedicated to revitalizing traditional practices within the context of modern cinema, aiming to resonate with both local and international viewers. However, challenges persist, particularly regarding distribution and market competitiveness, suggesting that government support could play a crucial role in promoting cultural cinema in Kazakhstan.
Original Source: timesca.com
