Among the Kazakh-Kyrgyz Turks and in the Altai region, the tradition of the baksı (also known as bahşı, bahşa, kam, shaman) still persists. The baksı performs a ritual by dancing to music played on instruments like the dombra and kilkopuz. During this ritual, the baksı imitates the movements of the animal he invokes. Additionally, he recites poems and songs that come from tradition, inspiration, or are taught to him by the summoned spirit.
The word baksı means one who sees, one who looks. Therefore, a baksı is a person who sees what others cannot. He is also an artist who performs music and dance. As he has access to intuitive knowledge, he is a medium. By meeting the needs of the community, he takes on the roles of sociologist, educator, and psychologist. He is a healer for the sick and a spiritual guide for those with spiritual needs.
During the ritual, the baksı enters a trance and receives the necessary information. This knowledge is conveyed and expressed through movements and words.
The Baksı Dance has been introduced as an active music therapy practice by Rahmi Oruç Güvenç. This practice differs from the traditional baksı session in two ways: First, in Güvenç’s practice, the patient themselves dance. The therapist may or may not accompany them. Second, the dance in Güvenç’s practice is structured in a way that can be easily learned and performed, with some parts left to improvisation. In traditional baksı dance, there are no rules regarding movements or sequences.
In Güvenç’s Baksı Dance practice, participants initially perform similar movements as a group. After movements involving the hands, arms, shoulders, and head, the participants move their entire bodies in the improvisation section, following their inner impulses. The improvisation section is the peak of the practice as it facilitates the trance. After this, the movements are repeated in reverse order to return to normal.
Studies have shown that group Baksı Dance sessions have significant effects on participants’ body rhythms and increase synchronization within the group.
The trance state experienced during the improvisation section encourages participants to recognize their needs and produce their own solutions.
Another benefit of Güvenç’s Baksı Dance practice is that it ensures the patient genuinely dances. This dance is organized with physiotherapy principles in mind, allowing even the elderly, patients, or children to participate and perform the movements.
Tarz-ı Vefa Kervanı conducts Baksı Dance sessions, with explanations and instructions, during its events.