The journey alongside Nazira and Mariam was accompanied by Sabina Khorramdel, a friend of the artist, co-founder of Ruyò, and co-producer of Hafta. Sabina and Nazira spoke about the experience of creating Hafta, the stories and blessings encountered along the way, and the themes of environment, extinction, and grief in the region.

 

Sabina- How did the concept of seven generations of men in Central Asia translate into seven women before you?

 

Nazira- Generally speaking, my work was always centred on Central Asian women. So it appeared naturally. The traditional knowledge of jety ata (seven grandfathers) is a very popular concept circling in Kazakhstan when discussing the genealogy trees. And lately, the conversation on jety apa (seven grandmothers) has gained popularity. It’s something I’ve also encountered on social media, like Instagram, where women share photos of their genealogy trees (jety ata) in their living rooms and add the names of women. Such contemplations are floating in the air of Kazakhstan. Möldir Qarabaikyzy recently held a solo exhibition called Jety Apa. You can see it also in the work of Ermina Takenova, which has an illustration of seven women whose braids are intertwined. I want to get a tattoo of it and Ermina kindly gave her permission. It also symbolises the way I think about my work. The most important thing to note is that it is not an isolated instance for me to contemplate about seven women. Guzel Zakir's recent film Ili Ili portrays five women, which is not connected to jety apa but still represents its reflections and echo. The stories of the lives of women expose the environment around them. 

 

Sabina- It’s also so interesting biologically. A child has a stronger connection with a mother because she birthed them, whereas they don't know who their father is unless their mother tells them about him. 

 

Nazira- Also, I didn’t get to experience having grandparents as my parents had my sister and me later in life; their parents were already gone. I grew and witnessed women's relationships with their grandmothers and realised that it’s such an important element in the development of a woman, whereas I lacked that contact. So I imagined the lives of my great-grandmothers through Hafta.

 

Sabina- In the process of making Hafta, you reach those aspects within yourself and process that absence. I’m curious about your mother's role in the film's production, how she approached your idea, and the encounters you’ve had during filming, which were all arranged through her. 

 

Nazira- Technically, the film started with the video made during the Fabrica residency in Treviso, Italy. Back then, I filmed my mother and aunts for two weeks. My family is very supportive. She was already familiar with my idea. I developed it and told her how I would like to expand it by adding elements of grief and ancient places of sorrow, funeral songs, and prayers. As I developed a route, I couldn’t decide whom to travel with. So I invited my mother, who, in four days, reached out to her friends and family to organise the journey. I travelled with her through her eyes and through her people.