Today, the issue of preservation and popularization of national traditions, customs, and rituals associated with the human life cycle is relevant. Kazakhs have many ceremonies that must be carried out throughout a person’s life. One such significant rite of initiation into a new life is the Tusau Keser ceremony.\n\nTusau keser is fetters cutting on feet, symbolizing the beginning of a new stage in a child’s life—the ability to walk and to learn about the world. Kazakhs believed that if this ritual was not performed, the child would often stumble and be insecure and awkward. This custom is carried out when the child first begins to walk. In most cases, this will be when the child turns one year old. Our ancestors believed that if this custom is not carried out, the future of the child would be bad and if it is held, then a bright future awaits and brings luck and happiness. To hold this ceremony, the child’s parents organize toi (party). To do this, the day before the ceremony, they send invitations to relatives and friends. The next day, the invited people come with gifts as well as sweets for shashu (a festive throwing of sweets). A festal dastarkhan is set for guests and a feast begins. After the festive table, the tusau keser ceremony itself begins.\n\nRite Attributes\nFor holding of a tusau keser a colorful flagellum is prepared—ala jip, or colored interlaced from several woolen threads of different bright colors. This flagellum is called tusau—fetters. The threads consist of three colors: white (a symbol of purity), green (a symbol of health and longevity), red (a symbol of wealth). There is also an old form of fetters called ala jip, which were made of white and black threads symbolizing the philosophy and reality of the world—good and evil, light and darkness, and warmth and cold.\n\nSuperstitions and Beliefs\nThe toddler’s legs are tied with black and white threads. These colors are chosen to distinguish black from white in the future, to be a respectable citizen, and not to cross the road from anybody. Some people, instead of a striped rope, tie the legs with the fatty intestines of an animal so that the child would be rich and authoritative in the future. Such a superstition exists to this day. Sometimes they use a rope woven from grass so that the child would grow up quickly, mature faster, have a large family, and so on.\n\nThere are two ways to decide who will cut the fetters of the child. One option is for the parents to choose. This right is mainly granted to a multi-child, energetic woman or grandmother. The person who cuts the fetters should be smart, energetic, and respected. Our ancestors believed that if such a person cuts the fetters, then the person’s energy will be transmitted to the baby. The person entrusted with this process must bring a knife and a rope. After the feast, everyone goes out into the street. A special carpet is laid. They put the baby on the carpet and the chosen person cuts the fetters. Then two people take his hands and lead him off the carpet. When the baby is led, the people throw gifts and coins in a solemn atmosphere. In some regions, special items like books, mirror, or a whip are placed on the carpet, and the child chooses one of the items to determine the future. For example, if the child chooses a book, he or she will become a scientist or enlightened person. And if the child chooses the whip, he or she will become belligerent man.\n\nA second variant to decide who will cut the fetter is a fast-walking competition among boys. The boy who wins first place will do the cutting. This is done to transmit the energy of this boy to the baby. The boy is then given gifts, most often a sledding horse or a foal.\n\nPhoto : Tusau Keser symbolizing the beginning of a new stage in a child’s life ⓒ Nazym Malibayeva

Kobyz (kyl-kobyz) is a sacred instrument embodying the spiritual world of a nomad. It is perhaps the most magical traditional musical instrument of Kazakh people. From being a sacred solo-instrument that sounded at the hands of nomads to moving to orchestras in large concert halls, kobyz went through a long journey onto the big stage.\n\nKobyz is made of a whole piece of wood, which is one of the most ancient ways of making musical instruments. It is an ancient belief that the living soul of a tree that is projected into the instrument is preserved only in the whole piece of wood. Kobyz is not a factory instrument, so it is always made by craftsmen. Making a high-quality kobyz is an extremely laborious process that requires considerable knowledge and skills. Many musicians admit that Kobyz is very selective and does not match with everyone. According to the local ethno-designers, kobyz might stop producing a proper sound if a person with negative energy is around it.\n\nKobyz Heritage: Importance of Revitalization\nMany valuable and interesting thoughts are contained in the ancient sounds and memories that come to life through the traditional musical instruments. As such, it contains morals about mutual respect, loyalty, justice, love for the motherland, and caring attitude towards elders. Therefore, it is necessary to carefully study and use those knowledge, traditions and customs in our lives today. Korkyt-ata himself, who is creator of kobyz and a legendary historical figure in Turkic world, became a symbol of national revival, the personification of high ideals of spirituality, morality, and love for the motherland.\n\nIt is believed that kobyz has a beneficial and healing effect to its surroundings. Traditionally, kobyz melodies were believed to have an ability to banish evil spirits, sicknesses and death. Sometimes the sound of a kobyz resembles a person’s speech coming from the depths of the soul. It is capable of transmitting the sounds of the wind, the voices of birds and animals, as well as the modern acoustics of the cities. However, the main point is a person’s feelings and soul hidden behind the melody. Having heard a kobyz play once, it is hard to forget its sound.\n\nSafeguarding and Popularization of Kobyz in Modern Musical Culture\n\nAncient ‘kyl-kobyz’ underwent several improvements, and the ‘kobyz-prima’ was born in the bowels of the orchestra. Like many folk instruments, kobyz defended its right to be placed among the popular classic instruments in an orchestra and has demonstrated its ability to adapt to any musical situation. the 20th century became a turning point for many ethnic groups with a predominant vector towards the tendency to rethink folklore within the framework of new aesthetic views. There was a transition from old traditions of solo performance to polyphonic orchestral sounding, which allowed the entrance into the big stage and entailed the improvements of Kazakh folk musical instruments.\n\nRevitalization of kobyz in the 20th century was contradictory: the pursuit of original traditions in national music was accompanied by the intensification of research in the field of folklore ethnography. However, people do not think of adaptation of traditional kobyz to contemporary time as a negative influence, rather they look at it with gratitude that this is how kobyz did not completely extinct as many other instruments. In fact, contemporary kobyz was constantly brought closer to the violin, which made it possible to present the instrument to the whole world, gain international recognition and move on to a new era – the era of reviving the “original ” traditional kyl-kobyz in the 21st century.\n\nphoto 1 : © Jean-Plerre Dalbera\nphoto 2 : “Playing on Kobyz-prima at friend’s wedding celebration” © Zhansulu Issayeva\nphoto 3 : “Kobyz-prima” © Zhansulu Issayeva