Azerbaijan has an immensely rich musical tradition, one that has many influences and has left an indelible mark on the world. If anyone can represent Azerbaijan’s musical tradition, it is Uzeyir Hajibeyov. Having lived through some of the most dramatic and formative periods in Azerbaijan’s history (1885-1948), Hajibeyov’s music reflects the dramatic times in which he lived, while holding true to Azerbaijani folk music. In true innovative form, Hajibeyov successfully merged indigenous musical forms with orchestra and even opera. In fact, he was the first Muslim to write an opera. Though non-Slavic art forms tended to be marginalized in the Soviet Union, Hajibeyov, not only survived during the period, but thrived during it. He was awarded and decorated on many occasions for his contributions to music in the Soviet Union. His fame extends far past the borders of the former Soviet Union; his music is celebrated by the international community.

Born in Azerbaijan when it was part of the Russian empire, Hajibeyov learned Azerbaijani music and Western music. It was his knowledge of both forms of music that characterized his music. He learned traditional Azerbaijani styles like mugham while growing up near Shusha (an important artistic center for Azerbaijan) and studied Western music at Gory Seminary in Tblisi. So talented was Hajibeyov that he wrote his first opera, Leili and Majnun, at the age of 22. Considering his age when he wrote the piece makes this opera impressive enough, but that fact that it was the first opera to be written by an Azerbaijani and a Muslim elevates the status of this work. This opera fuses mugham and Western operatic styles by using both kinds of instrumentation. He would go on to write operas and musical comedies before and during the Soviet era.

Unlike many pre-Soviet artists, Hajibeyev soared in popularity and influence. Even in a political climate that saw the marginalization of many minorities in the Soviet Union, Hajibeyov continued to create music that incorporated both mugham and Western operatic styles. It should be said that Hajibeyov was no fan of the Bolshevik revolution, and often wrote under a pen name criticizing it and the forces behind it. Many of Hajibeyov’s contemporaries were in fact arrested or killed. Even more fascinating is the fact that Hajibeyov was honored by the Soviet government (which he had spoken against) many times, and was even personally congratulated by Stalin himself.

Among his best accomplishments is his effort in preserving traditional Azerbaijani music. His synthesis of mugham with opera allowed folk instruments to be used in classical orchestras. Hajibeyov also took a vital role in preserving pure Azerbaijani folk music through publishing collections of songs and writing The Basis of Folk Music in Azerbaijan in 1945. His legacy cannot be underappreciated: he preserved Azerbaijani music while taking an active role in its evolution. Many institutions and organizations exist today which he either directly or indirectly took part in founding. If any single figure can personify the flowering of Azerbaijani culture in the 20th century, it is certainly Uzeyir Hajibeyov.

Post Written by Andrew Loughery, Karabakh Foundation Intern

Additional Sources

Khalilov, Anar and Ramazan. “110th Jubilee: Composer Uzeyir Hajibeyov.” Azerbaijani International. Autumn 1995. Web. 13 May 2011

Obrien, Matt. “Soviet Music and Society: Under Lenin and Stalin: The Baton and the Sickle.” Azerbaijani International. Spring 2005. Web. 14 May 2011

Selimkhanov, Jahangir. “Music Then and Now.” Azerbaijani International. Spring 1995. Web. 13 May 2011

Natavan. Poetess, Philanthropist, Princess. Born on August 15, 1832, Khurshid Banu Mehdi Quli khan was born in Shusha, Karabakh. Her grandfather, Ibrahim Halil Khan, founded Shusha and was the last independent Karabakh khanate. Khurshid Banu spent her childhood in Shusha, receiving an exemplary education that included literature, arts and crafts, and the study of Russian, Persian, and Arabic. Her education no doubt heavily influenced the significant contributions she would later give to Azerbaijani culture. While best known for her lyrical poetry, Natavan also received acclaim for her embroidery, paintings, drawings, and social work done for her native town of Shusha.

The most notable poetess in Azerbaijan’s history, the princess is acclaimed for her lyrical ghazals. Originating in Arabic poetry of the 6th century, ghazals are composed of a rhyming couplet and refrain with each line also sharing the same meter. Natavan began to write poetry in the 1850s, evoking themes such as love, nature, and beauty. However, after her son died prematurely at the age of sixteen, her poetry became darker and more pessimistic.

In addition to her personal literary work, Natavan also held interest in poetry being written by her contemporaries. She created Shusha’s mejlisi-uns (“Society of Friends”) in 1872, which produced a forum for poets and musicians to share ideas and debut their latest works. Coinciding with the development of mejlisi-uns, Khurshid Banu changed her penname from “Khurshid” to “Natavan” for the first time. Her new poetic signature translates into “helpless,” probably reflecting emotional turmoil from her personal life. Natavan financially supported the forum, which invited poets and musicians from all over Azerbaijan to partake in the meetings at Shusha. It is during this time that Shusha became a flourishing cultural capital with many reverberating cultural developments still expressed in modern Azerbaijani culture.

Natavan’s influence resonates beyond Azerbaijani literary circles. Scholars have argued that she influenced Uzeyir Hajibeyov, one of Azerbaijan’s most renowned composers. Since Hajibeyov’s father was employed by Natavan and his mother grew up in the same household, Hajibeyov spent part of his childhood listening to the musical and poetic meetings held by the mejlisi-uns. He no doubt heard Natavan sharing her newest poetry at the meetings she organized.

Known for a progressive outlook, many of Natavan’s literary and artistic works incorporate prominent themes found in the Age of Enlightenment. She was known for blending the Orient and West to produce a new genre in art. While she often depicted scenes from her native homeland, such as mountain landscapes, village and town scenes, sea shores, and decorative flowers, Natavan often painted these images using Western styles and techniques.

As if her cultural contributions were not enough, Natavan was also a dedicated philanthropist for residents of Shusha. After the death of her second husband, she became increasingly invested in social works. Natavan created a public park for Shushsa residents to enjoy. The princess additionally installed Shusha’s first pipe system as a way to provide water to residents. She proposed a second system to be installed from the Araz River to the Mil plain, but never saw it come to fruition during her lifetime.

A gifted and influential poetess, dedicated philanthropist, and Princess of Karabakh: Natavan Khrushid Banu.

Post Written by Athena Smith, Karabakh Foundation Cultural Affairs Coordinator

Additional Sources

Mammadova, Farida and Vasif Guliyev, editors. Old Shusha. Baku: Şərq-Qərb, 2009. pp. 240-252.

Naroditskaya, Inna. “Azerbaijan Female Musicians: Women’s Voices Defying and Defining Culture.” Ethnomusicology. Vol. 44, No. 2, pp. 241-242.

Efendi, Togrul. “Natavan: The Artist Princess.” Visions of Azerbaijan. Summer 2009, Volume 4.2. pp. 72-74.

Many of the carpets that we think of as “Caucasian” or even more simply as “Oriental,” are in fact from Azerbaijan. Despite this great misunderstanding and a general lack of knowledge among citizens of the United States concerning Azeri carpets, carpet making has played a significant role in Azerbaijan’s own culture and identity, as well as the larger culture and identity of oriental rugs.

Carpets have been a defining element of Azerbaijan’s culture long before the country’s modern borders were defined. Indeed, archeological findings confirm that carpet related products have been produced in Azerbaijan since at least the 2nd millennia BCE. The ancient production of carpets within Azerbaijan has been additionally confirmed by the writings of the many who recorded their visit to the country throughout history. From ancient Greek historian Xenophon to Venetian traveller Marco Polo, a student of Azerbaijani carpets can ascertain the influence, beauty and ubiquity of the creations. Carpets were also frequently referenced in Western European paintings and Azerbaijan’s own national literature, speaking to the national and international cultural significance of the rugs.

Today, Azerbaijani carpets are part of the UNESCO List of Intangible Cultural Heritage, but they have always been significant as both a luxury object and an everyday item. Since ancient times, the number of quality carpets a family had was a sign of their wealth. Holding great monetary value and suggesting prestige, in the Middle Ages the local population paid their taxes with carpets and the royalty gifted them to rulers of other states. But carpets were and continue to be more than a luxury object. One of the most important items of everyday life, the Azerbaijani people not only weave carpets but also sit on them, pray on them, eat on them and drape them over their furniture and walls, for warmth and decoration.

Carpet making has always been well integrated into Azerbaijan’s society, existing as a point of pride, a defining element of culture, and a source of income for many. However, certain processes of rug production have not only helped shape Azeri culture, but also speak to the qualities inherent within the people who produce them and the land where they are produced. The process of preparing the wool so that it may be converted into yarn, dyed, and eventually woven into a carpet, for example, is quite labor intensive and was fulfilled with the help of close relatives and neighbors. Called imajilik, this type of mutual help is quite typical of the country. It is not just the people that are fit for carpet making, but the land too, possessing rich flora and numerous plants with qualities that make them capable of creating dyes. The stability and beauty of these natural dyes have won Azerbaijani carpets international fame. It is not just Azerbaijan that is suited for carpet making; carpet making is suited for Azerbaijan.

Post Written by Kelsey King, Karabakh Foundation Program Officer

Additional Sources

“Azerbaijan Carpets.” Ministry of Culture and Tourism of the Republic of Azerbaijan, 2010. Web. 20 May 2011.

“The Development of Carpet Weaving in Azerbaijan.” The Azerbaijan Carpet Museum. Web. 20 May 2011.

“The Traditional Art of Azerbaijani Carpet Weaving in the Republic of Azerbaijan.” UNESCO. Web 13 June 2011.

Azerbaijan’s long and complex history is often mirrored in its rich culture. If there is one aspect of Azerbaijani culture that reflects the mystery and complexity of Azerbaijan’s society, it is music. The country’s folk music is indeed unique, while still reflecting influences from Persian, Turkish, Arab, and other Caucasian folk music. Though there are several forms of Azerbaijani music, none, perhaps, are as famous as mugham. It has taken centuries for mugham to develop and the beloved art form has seen deep changes take place particularly within the last century. Pure mugham is still performed today, but many artists have chosen to blend it with other forms of music.

Closely related to Turkish, Arabic and Persian maqam, mugham is a modal form of music based on improvisations from preexisting melodies. There are several forms of mugham, often specific to a region or a cultural event. This form is highly complex and has undergone centuries of evolution. The instruments used in mugham are often related to those used in countries and regions with cultural and historical ties with Azerbaijan. The balaban, kamanche, tar, and daf are some of the typical instruments used in mugham. The tar is similar to a lute, and originated in Persia, but has been adopted by Azerbaijani folk music. The balaban is a wind instrument, which is related to other woodwind instruments ranging from Russia to Iran. An example of percussion used would be the daf, which is similar to a tambourine. Though these instruments and other traditional instruments are used in traditional mugham, the music form has undergone significant evolution in the past century.

Since the early 20th century, mugham has been blended with several modern and Western forms. Uzeyir Hajibeyov famously and beautifully blended mugham with opera by using its instrumentation and certain elements of the form in tangent with Western instruments and the opera form. Hajibeyov was also a key figure in preserving mugham during the Soviet era. He published basic teachings on the subject, which are still used to teach mugham to this day. Azerbaijan also experienced a jazz age, in which mugham was blended with jazz. Vagif Mustafazade is the man responsible for first creating jazz mugham. A talented pianist, Vagif blended elements from mugham (bringing its modal scales) into jazz compositions. The blending of traditional Azerbaijani music with jazz is a very logical one as both have a heavy reliance on improvisations. In recent decades, mugham has been fused with many varieties of popular music in Azerbaijan.

Throughout history, mugham has undergone constant changes, be it from a technical standpoint, or as a result of the political realities facing Azerbaijan. In the 20th century alone, mugham has changed considerably. In order to preserve the form, musicians have successfully blended mugham with classical, opera, and jazz. As a result of this diversification, mugham will be available for future generations to appreciate, and perhaps allow them to of their own.

Post Written by Andrew Loughery, Karabakh Foundation Intern

Additional Sources

Aliyeva, Farah. “Music Runs in the Family: Famous Musical Families of Azerbaijan.” Winter 1997. Web. 14 May 2011.

Safarova, Zemfira. “Ancients: Hypotheses of Early Azeri Scholars.” Winter 1997. Web. 14 May 2011.

Samadoglu, Vagif. “The Emergence of Jazz in Azerbaijan: Vagif Mustafazade: Fusing Jazz With Mugam.” Azerbaijani International. Winter 1997. Web. 14 May 2011.

The Fire Keeper

From the mountains that “produce” fire to a land which has been the scenario for so many battles, it is very easy to understand why Azerbaijan is known as the land of fire. From amazing carpets to a unique architecture, it is impossible not to notice how this place is so full of culture and history engraved on its textiles and city’s walls. So much to see, so much to hear, so much to feel. Azerbaijan is the country that inspires one who is passionate for art, food and history!

While visiting Azerbaijan recently I received constant reminders that the country regained its much desired independence not so long ago. I remained impressed by how the country had maintained its rich culture over centuries in the face of many obstacles.

It is difficult to identify my favorite experience during the recent trip. But the theme of fire keeps returning to me. The natural fire from the mountains, a sign of the natural gas that is one of the country’s many assets, stand out in my mind. When I arrived at Yanardag (Burning Mountains), I noticed some tables and chairs about 10 meters away from that fire that never stops and never spreads to anywhere else, it is just always there for people to admire it, and during the winter I guess it becomes a place to protect the people from the harsh winter.

It was just a great experience and a great way to understand how the land of fire relates to so many different aspects of their culture, as shown in their carpets designs and ancient temples. The fire in those mountains is so beautiful and amazing that it becomes evident how it became a source of inspiration to so many artists when expressing themselves in carpets by designing pictures of fire and on the walls of the temples used to worship the god of Zoroastrians: Fire.

In Azerbaijani the word “Azer” means fire, which explains how important the fire figure is to its culture and history. In Turkish language the word “Azer” also means “a brave man”, “the fire keeper” , which may have been the source of inspiration to so many warriors who fought to protect their land. A brave man, the fire keeper who fights to keep its land protected, who fights to protect the Land of Fire – Azerbaijan.

Throughout its history Azerbaijan has been a land where so many empires and dynasties fought over constantly. Because of its extremely rich land, source of so many resources and extremely valuable ones such as oil, it attracted much interest from major empires of the world and due to so many influences, Azerbaijanis present a culture and architecture that mixes together with the Turkic, Caucasus, Persian, Arabic, European and Asian cultures, that all together form an unique, beautiful, rich and mysterious culture, worth fighting for and protecting.

To understand its culture one must understand the Azerbaijani history and how it became such a diverse country. History tells us that from the 11th century, Azerbaijani’s land was increasingly dominated by Turkic people, which gradually consolidated the local dialects with an Oghuz Turkic that evolved into the modern Azerbaijani language. In the 13th century the Great Seljuk Empire and the Atabek State of Azerbaijan could not resist the Mongol-Tatar invasion, who ruled over the lands until the 15th century. Then, nearly the entire 15th century the region was dominated by two Turkic empires, the Qara Qoyunly and Ag Qoyunly, when in 1501 a native Azeri dynasty emerged, establishing the Safavid Empire, and promoting the conversion of the population into Shi’a Islam (to distinguish itself from other Turkic people, such as the Ottomans, who were mostly Sunni).

In the 18th century, the Safavid Empire fell, was replaced with another Turkic empire of the Afshars, which once again fell apart in 1747, when Azerbaijan was divided into independent khanates (states). Although, Azerbaijan remained in Iranian’s cultural and religious sphere of influence until the 19th century, when Russian Empire finished its ambitious plans to conquer the Caucasus and later became the Soviet Union.

Throughout its history, Azerbaijani cities were marked by such influences. The walls of the Old City in Baku show the influence of the Persians, Sheki shows influence of the Caucasian Albanians, the Russian Fort in Zagatala gives a hint of eastern Europe, the historic buildings in the outer city of Baku expresses the similarities with western European architecture and the carpets are definitely a perfect mixture of Azerbaijan’s history with oriental designs and patterns.

Under so many different influences it is amazing how Azerbaijan overcame many conflicts and thrived to become a unique country with its own unmatchable culture. This mixture of amazing architecture and inspiring art gives to Azerbaijan the title of a mesmerizing and breathtaking country, full of history, culture and mystery worth exploring and understanding. A land that lights the fire in the soul of the visitors who taste Azerbaijani culture and heritage. Now, I will also spread that fire.

Post Written by Andrea de Souza – Office Manager of the Karabakh Foundation in Washington D.C. and a recent graduate in International Affairs and Economics from GWU in Washington DC. She has an extensive background and experiences in many different countries including Brazil, Switzerland and Mozambique, where she recently went on a Mission Trip. Mrs. De Souza is now enrolled in the Peace building and Development program at American University, also in located in Washington DC.

Additional Sources

http://azerbaijan.tourism.az/?/en/topmenu_content/9/ 
http://www.azerb.com/az-hist.html

Qobustan (“land of dry riverbed”) is a site in central Azerbaijan that contains 6,000 rock engravings and evidence of habitation that spans 40,000 years. In addition to the rock art, archaeological excavations have revealed inhabited caves, settlements, and burials. All of this shows just how important the site has been to the habitation of Azerbaijan from the Upper Paleolithic through the Middle Ages. During my first adventure in Azerbaijan, I was lucky enough to visit this treasured site.

The history told through these ancient glyphs reveal fascinating insight into the life of past inhabitants. While walking around, I saw that the previous inhabitants drew long row boats, much like the rock art glyphs found in Nordic sites. However, the Qobustan rock art pre-dates the Nordic depictions. Does this mean that long row boats were a simultaneous culture development in both regions or was their established contact between the two groups that resulted in an exchange in culture? The reality is that we currently do not know the correct answer, but it sure is fun trying to solve this mystery. What scholars do know is that boats were one of the first man made architectural artifacts that must have held significant cultural importance due to the prevalence of depictions. To the left you can see an image I took of a boat during my visit. This image is from the upper terrace of Boyukdash Mountain, one of the three mountains housed within the park.

Many of the glyphs contain depictions of fauna, such as dogs, deer, cattle, goats, wild boars, bulls, and gazelles. These rock engravings tell visitors the types of animals living in the region, as well as subsistence practices. Other glyphs show clothing, tattooed women, warriors, shamans, and hunting. One of my favorite glyphs (shown on the right) displays a man holding a bow and arrow with rain pouring down. Is the man on a hunting expedition or is he a practicing shaman conducting a ritual? The amazing thing about Qobustan is that the glyphs can be interpreted in many different ways, leaving it up to the visitor to reconstruct the past.

To accompany the engravings, archaeologists have uncovered tools, weapons, and other artifacts, allowing them to better interpret the images and reconstruct the lifestyles of earlier inhabitants. Historic graffiti has also been left by Persian and Roman visitors. The Roman graffiti identifies the visitors as members of the 12th Roman legion during the reign of Emperor Titus Flavius Domitianus (51-96 AD).

In 2007, Qobustan gained world-wide recognition when it was designated as a World Heritage Site by UNESCO. Unfortunately, when the petroglyphs were exposed to the elements, damage occurred. Efforts have been made by conservators to preserve the site, but they cannot stop the decaying glyphs. In response to this alarming fact, some of the drawings have been re-covered, allowing the ground to provide natural protection from wind, rain, and visitors.

Post Written by Athena Smith, Karabakh Foundation Former Cultural Affairs Coordinator

Additional Sources

Abbaszade, Nigar. “Gobustan: The Ancient Petroglyphs of Gobustand.” Azerbaijan International. Summer 1998 (6.2), 38-39.

Amiraslanov, T.I. “Gobustan is the Ancient Location of the World Culinary Culture.” Azerbaijan Culinary. Azerbaijan National Culinary Center at Ministry of Culture and Tourism of Azerbaijan Republic.

UNESCO. “Gobustan Rock Art Cultural Landscape.” http://whc.unesco.org/en/list/1076