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Өте дұрыс айтасыз. Пікіріңіз үшін көп рахмет!

Иә, Сізге көп рахмет!

Әзеке, ойың өте орынды. Шақырған соң, барғанбыз. Бірақ негізгі ойларын түсінген соң, қоя салдық. Біздің министрлер осы ресейдің министрі сияқты, бірінші тіліміз үшін тұра ала ма екен...?🤔

@@didar_arnasy Öte jaqsı & özekti súraq!!!👍 Meniñşe joq-aw((( Barların şettetip tastadı ğoy!!!

Кәсіби маманның пікірі біз үшін маңызды, көп рахмет, Нұрлыайым!

Yes you are right! Cyzon is a great musician.

Концертті толық түсіруге техникалық мүмкіндік болмады. Видеодан көргеніңіздей залда да, сахнада да жарық жетіспеушілігі болды. Бары осы.

PART II: After graduating from the Academy of Arts in Leningrad (currently Saint Petersburg), Yesken Sergebayev returned to Almaty and started his own sculpture classes in Almaty Arts School between 1969 and 1972. In parallel, in the year of 1969 he attended the all-Union contest for the monument of Abu Nasr Al-Farabi, whose 1110 years anniversary had been celebrated in the following year of 1970. Overall amount of projects for the contest was 60, sculpture artists from different Soviet Union countries participated on that contest, among participants were artists from Azerbaijan, from Russia and etc. Yesken Sergebayev with his architect colleagues Sergey Kokhanovich and Marat Jaksylykov won the contest. At the same time in 1978 contest for the installation of Mukhtar Auezov, a famous Kazakh writer, monument has been announced. Yesken Sergebayev took participation and won the contest in the year of 1979. Overall amount of projects submitted to the contest was circa 50. The contest went through several elimination stages. On each stage the jury of the contest been eliminating up till 10 works. «I myself have submitted 14 projects, out of which only the last one, the 14th one got approved by the jury» Yesken Sergebayev is saying. The contest jury, in the amount of 20 people, included well - known Soviet artists, writers, poets such as Olzhas Suleimenov, for example, architects and sculptures as well as the Ministry of Culture representatives. Monument had to be installed by the year of 1980, timelines were tight and pressure on meeting the deadlines was very high. But the author had to resist the high pressure and he took the required amount of time to go to Semey in order to visit Abay Kunanbayev places. Abay Kunanbayev is the well - known Kazakh poet and philosopher, he’d become the central subject of two novels and an opera written by Mukhtar Auezov. Yesken Sergebayev got acquainted with the family members of Mukhtar Auezov, they’ve been providing all of the rare photographs and materials available, which Yesken Sergebayev utilized while working on the monument. «By the year of 1980 monument was ready to be casted with bronze» Yesken Sergebayev continues, «but due to the Olympic games that started in 1980, Moscow and Leningrad went to lockdown, which was done because of pre-Olympic preparation works. Hence Moscow and Leningrad foundries were not reachable, so it was decided to proceed with the bronze casting in the foundry that was based in Baku, Azerbaijan, where the whole process took almost 3 months.» Bronze casting process, its timelines were controlled by Dinmukhamed Kоnayev, Geidar Aliyev, the First Secretary of the Communistic Party of Azerbaijan and Tahir Salakhov, famous painter from Azerbaijan, who was the First Secretary of the Union of Artists of the USSR. «Auezov monument, casted out of bronze, was shipped by the Caspian sea from Azerbaijan to Kazakhstan and the opening was planned on the 5th of October, 1980». Yesken Sergebayev continues, «a day, prior to the official opening, I am getting a phone call from Kоnayev administration, informing me that Kоnayev can’t be present on the official opening, so we are now required to organize the technical opening at 10 AM, which was the only available timing when Kоnayev can be present at the monument opening. Official opening was planned later on that day. I remember that after seeing the monument, Kоnayev proclaimed ‘what an outstanding work but who is the author?’, then he shook my hand and told me that he appreciates the work that was done». That’s how Yesken Sergebayev got introduced to Dinmukhamed Kоnayev, the First Secretary of the Communist Party of Kazakhstan, Full Member of Politburo of the Central Committee of the CPSU. In 1982 Yesken Sergebayev got The State Prize for the monument of Mukhtar Auezov. In 1983 Yesken Sergebayev got The Honored Art Worker State Prize. In 2008 Yesken Sergebayev got The Order of Nobility (Order of Parasat) as a notable figure in the arts field of Kazakhstan. ‘When you’re young, the efforts, the energies you’re spending on creating something big and significant apparently is being forgotten with the time passing by. Now when I look at Mukhtar Auezov monument, which is 4 meters high, I wonder how I managed to work on it on my own without any external help. But, yes, each and every stage of the monument creation I did on my own’. ‘I’ve never been asking for anything in my life’ Yesken Sergebayev says, ‘Whatever Prizes, whatever Orders or State Recognitions I’ve been receiving, it was happening without me targeting any of these, I’ve been doing what I am good at, and they’ve been granting the Prizes without me doing anything intentionally for it. Maybe it’s a wrong approach in life, who knows?’

PART III: ‘We’ve once had a this conversation with Asаnali Ashimov’ he continues, ‘he’d been saying that he’s envious of me ,of what I am doing, of what I am creating, which was a surprising thing to hear from such successful and popular cinema actor back in the days and even now. He kept on explaining that the cinema, films are only temporary, they’ll disappear with the time passing by, but the statues, the monuments and the sculptures will remain for the eternity’. ‘Come to think of it’ he continues, ‘indeed, what is left for us from the ancient civilizations up till now is only the remains of their cultures such as Egyptian Pyramids, or the Sphinxes in front of them, through cave drawings, through ancient sculptures we’re studying the history of the humankind and having the opportunity to understand on how developed the ancient civilizations such as Ancient Egypt or Ancient Greece were. Which means, that we, the sculptures, are the very first historians, we’re writing the history without using verbal or written words.’ Regarding the question about the national symbols, Yesken Sergebayev replies: ‘In the US they’re having their Liberty Statue, which is the abstract collective figure, Paris is having their Eiffel Tower, Saint Petersburg is having their statue of Peter The Great ‘Bronze Horseman’, these are the examples of national symbols. Or, say, for example, there’s no actual touristic sightseeing’s in Mongolia, but still tourists are doing their pilgrimage to Genghis Khan the Emperor places in Mongolia. He is the national symbol and we need our own national symbols too. Why not to make Abu Nasr Al-Farabi or Abylai Khan as our own national symbols? As an example, Uzbeks are proud of the fact that Al-Biruni and Avicenna were born on the territory of modern Uzbekistan. Then why not to install the monument of Al-Farabi, which was born on the territory of Turkistan city (previously called Otyrar, south of Kazakhstan)? There was a Soviet Union - wise big contest 43 years ago for Abu Nasr Al-Farabi monument installation on the territory of modern Kazakhstan. I’ve prepared the project of Al-Farabi monument for the contest.’ But that contest had to be postponed due to China - Soviet Union border conflict on Damansky Island. USSR went into the pre-war preparation phase and there was an order to utilize all the bronze material in military purposes only and as a result Al-Farabi contest had to be postponed for 5-6 years. And then during Gorbachev times, with beginning of perestroika, Al-Farabi monument contest was forgotten. ‘My initial plan is to place the monument on the intersection of Al-Farabi and Dostyk prospects’ Yesken Sergebayev continues, ‘right in the heart of the city, couple of blocks away from Abay Kunanbayev statue, which I find very symbolical. According to the plan, behind the statue will be the 16 meters high arch, panels of the arch will depict greatest philosophers from Pythagoras and Al-Farabi up till Mukhtar Auezov. Height of the monument is proposed to be 8 meters. The monument of Abu Nasr Al-Farabi, the one that has been placed in front of the Al-Farabi Kazakh National University, is not a monument that has been requested by the governmental institutions, it was a private requisition to me from the University administration back in the days and which was sponsored by private funds. This year itself 1150s birth anniversary of Al-Farabi was supposed to be celebrated. This current quarantine will come and go, it’s temporary, but Al-Farabi will remain for the eternity.’ ‘Whatever that has been and will be implemented and installed on the territory of Kazakhstan, of course, needs to be done on a required quality level. Most of the works are lack of professionalism or quality or are not relevant at all. Triumphal arch «Mangilik El» in Astana city can’t be used as an example of Kazakh national symbol, simply because it has no relevance to the history of modern Kazakhstan. First triumphal arch of Titus was constructed ca. 2000 years ago in Rome to commemorate the victory of Romans over the Jewish rebellion in Jerusalem. So the idea was that soldiers coming back home from the war need to pass through the triumphal arch as the symbol of the triumph, as the symbol of victory. The same is with the triumphal arch in Paris or in Saint Petersburg. And which war exactly modern Kazakhstan participated in? As part of the State Commission for granting the Prizes in arts field, I was strictly against granting any Prize or any recognition for «Mangilik El» triumphal arch in Astana. Triumphal arch received its Prize though and this was actually the reasoning why I left the Commission. Yes, and The Golden Warrior monument in Almaty can be used as our national symbol, but then again, all these small sculptural compositions underneath the pedestal of the Warrior are ruining the whole ensemble. The monument of The Warrior itself is done on a very professional level, with all of the proportions being correctly followed’. ‘There’s a big difference between contests during USSR times and what we’re having now, back in the days these were big competitions between artists, sculptures from different countries of the Union, but what we have now are small local so called contests. Sculptures, monuments are done in a very short timeline and as a result, quality of most of the works that being installed here and there is very low. Once I’ve been asked to work on Abay Kunanbayev monument that has been placed in Oskemen city, so I am getting the call from the head of regional administration, whom I knew in person, and he’d say that they’re needing the monument to be ready for the opening in July. And this conversation was happening in April. Me, my artel and the so-author, Bakhytzhan Abishev, we had to work on meeting these unrealistic timelines. And these were unrealistic because the request was to have the monument which must be much bigger in scale than Abay Kunanbayev monument we have in Almaty. But such scaled monuments are taking time, say, for example, my own Mukhtar Auezov monument was created in one year and a half, or it took 8 years for Etienne Maurice Falconet to create the Peter The Great, The Bronze Horsemen monument in Saint Petersburg.'

PART IV: Regarding the higher education in arts, Yesken Sergebayev replies ‘When looking at Covid-19 statistics in Russia, we’re seeing that spread of the disease is high, but death toll remains on relatively low level, which, in general, is happening due to healthcare system legacy from the Soviet times, which was one of the strongest in the World back in the days, same as Soviet education system. Well, we’re now on the ruins of Soviet education system, come to think of what’s happening with higher education of sculpture in our Academy of Arts, instead of 16 hours per week on a practical lessons of sculpture now we’re having only 4 hours, which inevitably leads to the lowering of the quality of professional education. I myself have had 20 hours per week of sculpture practical lessons during my studies. This current situation with e-learning showed insolvency of teaching sculpture online. For example, how can you teach surgeons on how to do the surgery online? Same with teaching sculpture, these should be done in ‘Professor and students face-to-face’ manner only, you need to help students with carcass installation or with how to place the model and etc. And what’s with reducing the overall academic years from 5 years to 4? Bologna processes of higher education which we’re applying are only ruining the quality of higher education and not the way around. What’s with the materials our students are currently utilizing, yes, most of them are in Russian language, we’re not having required books, materials translated in Kazakh language, which is the big gap, of course. We should propagandize the Kazakh language, this is for sure. I myself didn’t speak the Kazakh language up till my 40s, I’ve been a professor of Kazakh Theatre and Arts School in late 70s, when I first got this remark from Askar Tokpanov on why I don’t speak my own Kazakh language?’. ‘We’re needing to replicate the same approach of division of higher education in sculpture as they did in Russia, for example, The Surikov Art Institute in Moscow or Imperial Academy of Arts named after Ilya Repin in Saint Petersburg is specialized on easel painting direction, and then Higher School of Art and Design named after Vera Mukhina or Stroganov State Academy of Arts are specialized in monumental and decorative direction. Why not to apply same approach in our Academy of Arts? Moreover, look at the building where Kazakh State Academy of Arts is based. The academy exists for 44 years already and we’re still using some post - administrative building, which was initially projected for the state official workers, but not for art workshops or for actors repetitions. Our classrooms are not meeting the requirements of arts education standards at all. Take a look at the building of the Imperial Academy of Arts named after Repin in Saint Petersburg, which was built in the year of 1757, almost 300 years ago, with all of the standards of higher education in arts being perfectly met. Now everything is being moved to the capital city of Kazakhstan, Astana, but the whole arts establishment, culture workers remains here in Almaty, you can’t gather everything in one single city. For example, Washington DC is administrative center of the US, most of the population living in Washington DC are state officials working for White House or for their Governmental institutions. But their cinema industry is based in Hollywood, in Los Angeles. Once again we shouldn’t have mix everything in one single city Astana only, cultural life remains in Almaty.’ ‘What we’re seeing today in sculpture in Kazakhstan is nothing but the utilitarian approach to the sculpture itself, say, for instances, requests for monuments and statues appearing due to upcoming significant dates of local nobleman’s, local heroes and such requests need to be implemented in unrealistically short period of time. Why they’re not casting in bronze these decorative statues, very professionally created, in front of the stadium in Almaty, they are made of concrete, which will get demolished with the time passing by. Sculptures, statues, monuments will remain for the eternity, sculpture is eternal, which is why Michelangelo Buonarroti and Leonardo Da Vinci were canonized, they are saints, what they’ve created is eternal, marble masterpieces of Michelangelo are eternal. Why we’re not talking about our own sculptures such as Tolegen Dosmagambetov or Khakimzhan Nauryzbayev? They’re being forgotten, why not to organize the museum of Nauryzbayev where he worked? Once again, our profession should be recognized because what we’re creating will remain in the history forever’.

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