ABSTRACT

Although post-Soviet Central Asian societies self-identify as Muslim, spiritual identity is a highly contested subject in the region and one influenced by Russian imperialism and Soviet atheist ideology. In Kyrgyzstan, a transnational Islamic movement, the Tablighi Jama’at Network (TJN) calling for a purification of Islamic practices, competes not only with the practitioners of ‘Soviet traditional Islam’ deeply rooted in Kyrgyz ethnic customs and traditional culture, but also with the proponents of the pre-Islamic beliefs of Tengriism, all against the background of deeply-ingrained Soviet notions of modernity. On the basis of a close analysis of two Kyrygz films, Ernest Abdyzhaparov’s Saratan. Village Authorities (2004) and Aktan Arym Kubat’s Centaur (2017), this article examines negotiations of spiritual identity in contemporary Kyrgyz cinema at the intersection of global and local Islam, pre-Islamic traditions, and Soviet-imparted spiritual secularism as a complex process navigated by the Soviet generation of filmmakers who are apprehensive of Islamic global movements and emerging dominant religious narratives as an ‘alien’ ideology aiming to suppress Central Asians’ cultural diversity and authenticity. Responding to Russo-Soviet ideological imperialism and Islamic fundamentalism, these artists negotiate their culture’s multiplicity and ambivalence while drawing on regional diversity and nomadic roots.

摘要

尽管后苏联的中亚社会自我认同为穆斯林，但精神认同是该地区备受争议的主题，并且受到俄罗斯帝国主义和苏联无神论意识形态的影响。在吉尔吉斯斯坦，一个跨国伊斯兰运动-塔比利吉·贾马特网络（TJN）呼吁净化伊斯兰习俗，不仅与根植于吉尔吉斯斯坦民族习俗和传统文化中的“苏联传统伊斯兰教”的从业者竞争，而且还与坚戈主义的前伊斯兰信仰的拥护者，都是在苏联根深蒂固的现代性观念的背景下提出的。在仔细分析两部Kyrygz电影，Ernest Abdyzhaparov的Saratan的基础上。乡村当局（2004）和阿克坦·阿里姆·库巴特（Aktan Arym Kubat）的半人马座（2017），本文考察了当代吉尔吉斯斯坦电影院在全球伊斯兰教与地方伊斯兰教的交汇处，伊斯兰教前的传统以及苏联赋予的精神世俗主义的谈判过程，这是一个由苏维埃时代的电影制片人驾驭的复杂过程。伊斯兰全球运动和新兴的占主导地位的宗教叙述作为一种“外国人”意识形态，旨在压制中亚人的文化多样性和真实性。这些艺术家响应苏俄的意识形态帝国主义和伊斯兰原教旨主义，在汲取区域多样性和游牧根源的同时，谈判了其文化的多样性和矛盾性。