Genrikh Ignatov

kuturar will guide the host of the episode Serafima through the overgrown after the fire forest and tell her about art inspiration and shamanism energy that invisibly appear in their music. Serafima will hang out at the kuturar concert on the rock festival "Kholbon" and travel on a boat to a scenic island on the river Lena, where a live performance of kuturar will be held and only crows will see it.

Meeting with the buryat rapper Bair Tarbaev and his project LUTAAR. Bair takes the host of the episode to his native ulus Sanaga, tells her all about nearby mountains' names and shows a religious service in datsan.We will see not only the beautiful buryat nature but Bair's parents house and his apartment-music studio as well.

This is meeting with vainakh underground from probably one of the most conservative region of North Caucasus. This is a story about young people for whom it's important not to loose connection with their culture and nation. This is a story about desire to change your region in a better way, however it's also about vacuum in Ingush community, understatement and feeling of the looking glass.

The group studies and performs karachay-balkarian folklore. Gollu is a traditional dance for vernal equinox. The band's name is a metaphor because just like spring is the time for revival, Gollu revive, reinterpret and develop traditional culture of their nation. The connecting thread of this film is legend about debate of person and devil. Fragments of the legend are followed by live performances and footages from archive shooting and all of that create a difficult metaphorical drama about journey from darkness to the light.

Thanks to the leader of qaynar Radif Kashapov the host of the film Lera will open Kazan from a new side. They will take a walk along the embankment of river Kazanka, visit the national library of the republic of Tatarstan, go deep into the history of old tatar sloboda, rehearse in studio and more.

The main protagonists of this slow-paced film are abandoned or suspended spaces associated with the production, distribution, and viewing of cinema in various localities across North Ossetia. The discussion of the decline of the film industry also serves as a way of pointing to the ambiguous position in which the progressive modernist project found itself in the late twentieth and early twenty-first centuries. Ignatov proposes poetic ways of establishing new relations with this project in response to the need to reinvent the links between past and future. The abandoned spaces are brought to life by two visiting musicians playing the uadynz, traditional Ossetian flutes.

Meeting ethno-electropunk band HAGRIN from Kalmykia and going on a journey in Dark Steppe. But also it's a rave at the dawn, singing sands, burning water, kamlanie, mantras and beats. Journey begins with Kalmyk tale about wise Kooky, who wished to receive as a gift khan's left eye and instead gained everybody's recognition of her wisdom and married khan's son. Continue in the steppe, which is full of spirits. Here myths and legends become reality and something strange imagining in dawn's mist.

Ragon bal remake traditional ossetian music, they structure national identity in a new way. The band has no need in national clothes for their performances, because traditions already live inside the musicians. Ragon bal present the subculture of caucasian post-folk. This music exists in conditions of global world and is not mainstream, but it's difficult to imagine cultural context of the region without it.