Global Journal of Human-Social Science, A: Arts and Humanities, Volume 22 Issue 5

cultural heritage with them, and folk singer-storytellers who spread stories and songs in their most complete form. Therefore, the song parts of the work are relatively stable, while the narrative parts, the evaluation of which depends on the narrator, undergo much more changes. They depend on the ethnic group, which preserves and develops what suits its thinking the most. In the XVI-XVII centuries, new monuments of the epic heritage were created. The text of the legend about the Oghuz Khan, included in the “Genealogy of the Turkmens” by the Khiva Khan Abulgazi (1603-1664), can be interpreted as the history of the Oghuz and as a work of fiction [26]. In the oral works of the 17 th century, people discovered history for themselves, learned about the traditions and customs of their ancestors. A fertile, favorable ground is being created for the development of oral literary creativity, in which the exploits of historical and legendary heroes of the past are sung. The people needed examples that could excite strength and desire to fight, this was facilitated by the mythical and fantastic elements of the epic. The spreaders of the legend, the folk bagshy-dessanchy, were able to understand and satisfy the new demands of tribal associations. The development of epic art in Turkmenistan is closely intertwined with the history of national literature. The 19 th century turned out to be generous in talents for the Turkmen people. Many of the bagshy's songs are based on the poetic creations of the poet and philosopher Magtymguly Fragi . Researchers are unanimous in their opinion that “Magtymguly's works are not intended for reading, but for song performance” [21, 65]. The poet spoke with the people in the language of song, through the mouth of a singer-bagshy. The immortal legacy of the classic of Turkmen literature has become an inexhaustible source of inspiration for folk singer-storytellers. The moral and aesthetic traditions of Magtymguly were continued by the classical poets Seidi, Kemine, Myatadji, Zelili, Dovan Shahyr, Kyatibi, Zynkhari, Sayyly, Changli, Pidayy, Misgingylych, Dosmamet, Baily Shahyr , whose inspirational work had an exceptional impact on the art of the Turkmen dessanchy. IV. C arriers of T radition and P erforming D irections The creators and bearers of oral professional art in Turkmenistan are bagshy. “The Turkmen bagshy has a professional singer-musician, a living book” [23, 131]. The profession of bagshy is ancient and respectable. A number of proverbs are dedicated to them in Turkmen folklore: “Her işi ň wagty ýagşydyr; toýu ň gelşigi bagşydyr” (“Every deed is good in its own time, bagshy is an attribute of toy 1 1 Toy (Turkmen) – holiday. ” ) or “Ýurda bela geler bolsa, töre bilen tozan geler; ýurda döwlet gonar bolsa, bagşy bilen ozan geler” (“ Tore 2 Most of the territory of Turkmenistan is occupied by the Karakum desert . The specific living conditions of the Turkmen tribes in the past left an imprint on their spiritual culture. Evolutionary processes led to the formation of five local bagshy schools. Initially, tribal features prevailed in the names of these schools ( Akhal- teke yoly, Yomut-goklen yoly, Salyr-saryk yoly and Chovdur yoly ), but starting from the middle of the 20th century, the territorial feature began to dominate in the names of schools [27, 15]. To date, the bagshy schools and dust will appear – expect trouble for the country; bagshy will appear – expect happiness for it”). Unlike other genres of folk art, the performance of songs by Turkmen bagshy is not associated with everyday rituals and ceremonies. Bagshy sing about everything, at any time, under any circumstances. Their songs, the most diverse in content, are heard at family celebrations and national holidays. Thanks to folk singers, who memorized many songs and dessans by ear, the creations of folk art were passed down from generation to generation and have survived to this day. Separation from the folklore tradition of the carriers of epic art – bagshy-dessanchy – is the result of many thousands of years of development of the culture of Turkmenistan as a whole. Since ancient times, there has been an idea among the people that the singing and poetic gift descends on people at the behest of the spirits. The idea of poetic inspiration as a miraculous prophetic gift, born from above, was connected with the survivals of such a faith. “In the eyes of the population, the bagshy possessed miraculous powers. In the past, Turkmens had a belief that singers and musicians were patronized by supernatural beings – “ubiquitous” erens, fabulous saints, characters of pre-Muslim, shamanistic legends, pagan mythology” [10, 132]. Turkmen storytellers continue the creative traditions of the Oguz ozan, the earliest examples of art of which date back to the period of the Turkic Kagans. The Turkmen language has preserved the word “bagysh” (“gift”, “donation”), from which comes the verb “bagyshlamak” – “to give”, “to dedicate”, “forgive”. According to the assumptions of the researchers, the performers of the “bagysh” (“sacrifice”) rite, which was carried out with the use of music and singing, were called “bagyshchy”. Then this word turned into “bagshy” [7, 109]. Simultaneously with the process of the formation of storytelling art, the genre formation of the performing repertoire took place. Depending on the genres they perform, Turkmen bagshys are classified as instrumentalists ( sazanda ), singers ( tirmechi-bagshy ) and performers of epic genres ( dessanchy-bagshy ). Each direction characterizes its repertoire and arsenal of performing possibilities. 2 Tore (Turkmen) – Priest. © 2022 Global Journals Volume XXII Issue V Version I 13 ( ) Global Journal of Human Social Science - Year 2022 A Turkmen Epos: Origin and Modern Conditions