COVER STORY : MARIIAM TOBOKELOVA “TRADITION IS NOT THE ASH WE PRESERVE, BUT THE FIRE WE PASS ON”

OCA Magazine: Please tell us the most important things about yourself and your creative work. What is your creative and life credo and motivation for your creativity?

Mariiam Tobokelova: My creative name is Mariiam Bektemir kyzy. I was born in Kyrgyzstan, in the small village of Tort-Kol, but my musical talent was evident from childhood, and I was accepted into the Republican Music School named after M. Abdyraev. My life has been inseparably linked to the komuz – the unique national instrument of the Kyrgyz people. For me, it is not just an instrument, but the living voice of the steppe, the mountains, and ancient traditions that I strive to convey through my music. From an early age, I was inspired by traditional kuu-dastans, classical works, melodies, and the creativity of great komuz players such as Atai Ogonbaev, Ybyray Tumanov, and Karimaldo Orozov. A special place in my heart belongs to the legendary manaschi Sayakbay Karalaev – his performances always filled me with a sense of depth and the power of the ancient word translated into music. In 1998, I graduated from the Kyrgyz National Conservatory, and since then, my creative journey has never stopped. I compose kuu, dastans, and songs, perform at state concerts, and collaborate with the Kyrgyz television and radio company. I actively participate in competitions and festivals. As far back as 1988, I had the honour of performing in Turkey at a folk instruments competition, where I was awarded a prize and received a gold watch from the President of Turkey. It was not only a recognition of my work but also an opportunity to show the world the beauty of Kyrgyz culture. Today, I continue this path through music and speak of what is eternal.

OCA: How did you choose your path and who is your role model in the creative field or in life?

MT: The most important thing in me and my art is to be a living bridge – a bridge between the great heritage of the past: the Manas epic, the works (kuu) of Atai Ogonbaev, Toktogul Satylganov, and Ybyray Tumanov – and the modern world. Playing the komuz is, for me, a dialogue with the audience – sincere and profound – where I share the deepest part of myself. I feel responsible not only for preserving the sound of the komuz but also for filling it with living, relevant emotions here and now. I want to make it a language through which my soul speaks and which can touch the heart of anyone in the world, even if they have never heard of Kyrgyzstan. My komuz is not a museum artifact but the voice of my people, refracted through the prism of my life and feelings. My life and creative credo can be expressed as: “Tradition is not the ash we preserve, but the fire we pass on.” I don’t blindly copy the works of my predecessors. Inspired by their legacy, I compose new kuu and melodies to create a new current. I want my music to heal people and reach their hearts, so that the traditional music of our ancestors continues to be passed down from generation to generation.

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025

MT: The most important thing for me in 2024–2025 is the completion and presentation of a cycle of my works that reinterpret traditional compositions in a more contemporary way, as well as my active educational work. This is a special source of pride for me.
OCA: What is the main feature that makes you and your art/work unique?

MT: My uniqueness lies in the synthesis of professional musical education, the highest level of performance mastery, and a deep, living connection with the folk tradition. My creative essence is inseparably linked to the people. I receive invitations from all seven regions of Kyrgyzstan and even from Kyrgyz communities abroad to perform the ancient “Zhar-Zhar” wedding ritual and other major celebrations. We have a saying in our culture: “Even if other holidays are not celebrated, a wedding – the celebration of two young hearts – must be sacred.”

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?

MT: I have long been a member of the Guild — not just a member, but an Ambassador. I deeply appreciate that through the Guild I can tell the world about my homeland Ala-Too, the strength of my ancestors, the pearl of Issyk-Kul Lake, the beauty of Sary-Chelek, and the soul of my people. I enjoy participating in ECG (London) events and festivals, and I want to involve even more talented friends so they too can share their art in London and around the world.

OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

MT: Today, the creative world is undergoing real change. For musicians, the stage and studio are no longer limited to physical space — they can work online, and this has changed everything. Digital space has become the main platform for creativity. Through the internet, a musician from a small town can find listeners anywhere in the world. In our turbulent times, art supports us and reminds us that we can hear each other not only with our ears, but also with our hearts.

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

MT: Art must be sincere. A musical composition must come from the deepest part of the heart and carry kindness, strength, and truth.