World culture boasts thousands of dance forms, each carrying the memory of its people: from the fiery Brazilian sambo to the majestic Chinese court dances.

Kazakhstan occupies a special place in this category with its rich choreographic heritage: folk movements, everyday dances, and vibrant stage productions reflect the history and character of the steppe people.

Dance in Kazakhstan has long been more than just entertainment, but a way to tell stories of the past, express the inner world, and convey the rhythm of nomadic life. Through movement, the character, mood, and even philosophy of the Kazakhs were conveyed. This is why national choreography has always been more than just a performing art—it is a form of self-expression and cultural memory.

Today, this heritage continues to resonate with particular power on the stage of the legendary Saltanat State Dance Ensemble, which celebrates its 70th anniversary this year. Over the decades, the ensemble has become a hallmark of Kazakh art, demonstrating to the world not only the beauty of movement but also the depth of the national soul. Alongside such renowned ensembles as "Saltanat," the legendary "Gulder," and the "Birlik" song and dance ensemble, new names are appearing on the country's cultural map: for example, the "Altai" ensemble in East Kazakhstan Oblast, which has been continuing the cultural heritage for five years, introducing contemporary sounds into its repertoire.
We decided to talk with the ensemble's artistic director, Timur Kozhakhmetov, about the true history of national choreography. According to him, the true mission of ethnic ensembles is simple: to unite the cultural heritage of the different peoples living in Kazakhstan through music and dance.

There are more than 30–40 types of national Kazakh dances, but Kozhakhmetov believes the depth of Kazakh culture is especially vividly revealed in the "Kamazhai" dance, where every gesture, every turn of the head, enshrines centuries-old traditions.
The Qazaq Culture editorial team also asked the expert about the "Kara Zhorga" dance, which has become the subject of cultural debate and symbolic exploration. Is this dance truly unique, and where does it originate? Read about this and much more in the interview below.
Timur, Kazakhstan is currently experiencing a genuine cultural upsurge, and the question of the origins and preservation of national dances is reaching the national level.

Your ensemble, "Altai," has relatively recently become part of Kazakhstan's cultural life. What is your mission as artistic director? What challenges are you facing today?
- Yes, that's right. The "Altai" ensemble is only five years old—by stage standards, we're still young. I assembled the group myself, and today it's the only ensemble in Eastern Kazakhstan that performs folk dance. In a region with a predominantly multinational audience, it was especially important for me to showcase the beauty and depth of Kazakh choreography. From the very beginning, we made a name for ourselves: we won the Shara Zhienkulova Competition in our first appearance and received the Umai National Prize. But for me, the awards are just confirmation that we're moving in the right direction.
My main mission is to preserve cultural heritage while simultaneously developing Kazakh modern dance. I want the ensemble's artists to have diverse visions, to be able to seek out new things and not be afraid to experiment. I never rely on other people's repertoire—I create each piece myself, and I see this as the source of our uniqueness.
We understand that national choreography is part of a larger cultural strategy by the state, aimed at preserving heritage and promoting Kazakhstani identity. Is it difficult to preserve traditions and develop ethnic culture in today's reality? What is the situation in the region?
- I'm sure everything depends on the director: they determine how the artist will feel about the material and how the audience will perceive it. For us, the audience is a kind of client, and it's impossible to deceive them. If a production is truly powerful, it immediately resonates. When working on a dance, I always study the historical context and try to convey it to the dancers. For example, in Kazakh culture, women have traditionally been considered modest and shy—and this trait is important to reflect in the movements, the body language, and the image. My task is to help the dancer immerse themselves in the role so that the scene becomes not just a dance, but a small story told through movement. Of course, those interested in folk dances understand that the development of ethnic culture preserves the cultural code of a nation.
And yet, it must be difficult to direct an ensemble that is just beginning to make a name for itself. For example, take the song and dance ensemble "Birlik"—in less than two years, they've presented an impressive repertoire, including Kazakh, Russian, Uzbek, Tatar, Kyrgyz, and Tajik dances, as well as neo-Kazakh choreography. What were the main challenges you faced in creating the ethnic ensemble?
- The most challenging thing for me is working with new artists. Each time, it's like a potter's work: you begin to mold a person into a work of art, shaping them as a personality on stage. Of course, there aren't always enough costumes, and financial difficulties happen—that's a normal part of our reality. But training and nurturing the artists is my direct responsibility. It's important that they don't just appear on stage, but become part of the ensemble, feel the team, and live its spirit.
Through such collaborative efforts, the artists begin to understand that dance is not just a set of movements, but the living history of a people. In each performance, we strive to convey not only aesthetics but also character, mood, and tradition. And here it's impossible not to mention "Kara Zhorga"—a dance that continues to spark controversy and has become a symbol of Kazakh identity.
Yes, could you tell us what makes this dance unique?
- This is, of course, my personal opinion, but I can't consider "Kara Zhorga" a full-fledged dance in the form it's most often performed today. It's full of conventions: they sing about a "black horse," girls' shoulders swaying to the rhythm, the same repetitive movements. For me, it's closer to a street format than to stage art. However, the uniqueness of Kazakh choreography isn't limited to "Kara Zhorga." There are performances that truly reflect the depth of our culture. For example, "Kamazhai"—in my opinion, it's a true calling card of the Kazakh people, combining character, tenderness, and history into a single artistic image. Again, this is purely my personal opinion.

So, the roots of this dance don't come from Kazakhstan?
- I could be wrong—I'm not a historian, after all—but as far as I know, "Kara Zhorga" came to us from China. Its movement and vocabulary are very reminiscent of Chinese folk dances: there's no turnout, no choreographic foundation, the movements are reduced mainly to shoulder swaying and a repetitive set of elements. From a professional standpoint, it can't be called a full-fledged dance in the academic sense.
The older generation may still perceive "Kara Zhorga" as a symbol, but for the younger generation, it's often less relatable. After all, the new generation is looking for more depth, variety, and associations with tradition. In this sense, productions like "Kamazhai" are much more expressive: they feature movements that reflect the national character—the braiding of the hair, the gaze in the mirror, femininity, and restrained beauty. These details convey a cultural code, whereas "Kara Zhorga," in my opinion, doesn't quite fit the image of a "dance of the great steppe." From a professional choreography perspective, I would pay more attention to such productions.
We are now witnessing a new dawn for the "Gulder" creative group. A new generation of dancers, under the guidance of experienced choreographers and conductors, has restored the ensemble's "golden fund," preserving such iconic productions as "Bipyl" and "Asatayak." Young soloists are already winning international awards in Germany, Latvia, and the United States, demonstrating that the Kazakh dance school is competitive on a global level. What new ideas and elements are you striving to introduce into your productions today? Kazakh authenticity always remains my foundation. Our repertoire includes pieces like "Kiyzbasu" and "Buyn Bi"—true masterpieces of national culture. At the same time, we strive to stay relevant: the ensemble is soon traveling to China for a festival, and we'll be performing "Kara Zhorga" as one of our numbers. But even in this dance, I've made some changes—I've made the girl's image more modest, closer to our traditional concepts. It's important to me to preserve the uniqueness of the Kazakh people while simultaneously incorporating modern choreographic techniques to ensure the dance resonates vividly and relatably with today's audiences.
Considering that you often travel and represent our country abroad, how do foreign audiences perceive our dances? What do they most often note?

If you perform a true masterpiece, it will always be received with enthusiasm. Foreigners really appreciate our folklore because the Kazakh dance vocabulary is incomparable. Other nations' cultures may be more localized and limited, but ours is rich, multilayered, and developed in various directions. This is why our dances appear vibrant and rich to foreign audiences; they sense their depth.
Performing at prestigious festivals from Turkey and Germany to Japan and France, Kazakhstani artists confirm that national dance is capable of competing on a global level while remaining a guardian of cultural memory. What prospects, in your opinion, does national choreography have in the context of global cultural integration?
- Kazakh dance has every potential for growth and entry onto the world stage. But to achieve this, it's important not to isolate itself, but to constantly travel abroad, present its art, and learn new things. Artists cannot remain in one place—only through sharing experiences and performing abroad can their imaginations develop, their repertoires be enriched, and new visions emerge. Of course, government support is also essential: without systematic support for ensembles and projects, popularizing national choreography will be much more difficult. It would be wonderful if a national competition for the best national dance production were held annually among all ensembles in the country, with the Ministry of Culture and Information overseeing this process and discovering new talent.
It seemed that, thanks to your experience and unique vision on stage, you have realized all your creative ideas. Or are there still numbers and productions you'd like to realize but haven't yet?
- Of course, we have big plans and many ideas. All of this will definitely be realized as soon as sufficient funding becomes available. It's important to me that each project is thought out and perfected, so creative ideas await their turn and the resources to be realized.

In conclusion, I would like to add that national dance in Kazakhstan today is no longer limited to the stage – it is becoming part of a larger cultural strategy in which art connects generations, strengthens identity, and builds bridges with the world.