Abstract
In recent years, the topic of national identity has become a popular subject in folklore for artists in many countries, leading to the creation of various works of art. This has led to the active development of folk traditions, including in the field of choreography. In Kazakhstan, the baksy (shaman) dance has gained particular attention in the repertoire of theatres and ballet performances in the 21st century. Creators, sometimes guided unconsciously by genetic memory and sometimes deliberately exploring historical sources, work to recreate the image of the baksy on stage. This involves the management of national dance practices, ensuring both the strategic preservation of cultural heritage and the presentation of authentic artistic expression. Within the framework of this study, baksy dances in the works of choreographers are examined for the first time in the context of their search for authentic Kazakh dance forms. Ecstatic dancing, improvisation, imitation and the use of folk musical instruments (kobyz, jaw harp, drum/tambourine and asa tayak) become fundamental in the scenic solutions of the sacred image of baksy. The actions that achieve the specified characteristics of baksy’s body movements are recognized by several researchers as the most authentic folkloric movements. Choreographers’ appeal to the image of baksy can also be seen as a desire to overcome the phenomenon of “repressed culture”, in which national culture strives for a balance in addressing lost, interrupted and unspoken aspects.