WELCOME TO KAZAKHSTAN

For the Kazakh people, the dombra is more than just a musical instrument; it is a symbol of cultural continuity and spiritual support. Its significance has evolved over centuries and is today perceived as an integral part of national identity. It is through the dombra that history, worldview, and value system have been passed down from generation to generation in Kazakh society for centuries. To understand how this tradition continues today, we spoke with dombra player and master Martebeli Bauyrzhankyzy, a specialist who develops the dombra not only as a performing art but also as a professional instrument-making craft.– What, in your opinion, is the place of the dombra in Kazakh culture and spiritual life?– I consider it exceptional and truly sacred. The dombra is an instrument that conveys the soul of the people, its history, and its destiny. Through its sound, people have expressed joy, sorrow, dreams, and innermost experiences. Kui is a kind of oral history. It reflects difficult periods in history, heroic deeds and heroism, melancholy and hope. Therefore, the dombra is rightfully considered the custodian of the people's spiritual memory.Moreover, the dombra cultivates unity, endurance, and depth of thought. Its soft, velvety sound warms the soul, brings inner peace, and purifies. Even today, the dombra has not lost its significance. On the contrary, it is becoming an important tool for preserving national identity and educating the younger generation.Its educational role was historically especially noticeable during turning points. Before military campaigns, sages, elders, and batyrs gathered the youth, performed terme and heroic epics to the accompaniment of the dombra, raising morale, and giving instructions. By glorifying the exploits of their ancestors, they awakened a sense of honor and courage in the hearts of the young. While in other countries the formation of spiritual and cultural guidelines is more often associated with the work of scientists and philosophers, in Kazakh society this mission was largely fulfilled by the kuishi, zhyrshy, and zhyrau. They served as spiritual mentors, shaping public consciousness and setting a moral direction.Therefore, the dombra and the entire repertoire associated with it—songs, kuis, termes, and epics—represent a priceless heritage, reflecting the centuries-old history of the people and their undying spirit.—How did you get involved in art? Where did your interest in dombra come from?—It's a truly interesting story. My love for dombra stems from several factors. My maternal grandmother was very fond of this instrument. She tried repeatedly to enroll my mother in a music club, but for various reasons, it didn't work out. Before I was born, my mother, having given birth to three sons, no longer hoped for a daughter. And then my grandmother said: if it's a girl, name her "Märtebeli"—may her dignity and status be high. This was a blessing of sorts. Since my grandmother held the dombra in such high regard, I'm told she prayed for a girl who would be a kyuishi player, gifted and creative. When I was seven, my late father brought home a dombra. This was in 2004—back then, there weren't any gadgets like today, at most a television. The instrument hung on the wall in our house, and I constantly looked at it with curiosity.My older brother was a creative person, and my father also loved to sing, but there were no professional musicians in the family. It was my brother who first introduced me to the dombra and began teaching me simple melodies. My mother, however, dreamed of me becoming a doctor, not a musician, so at first she didn't take my passion seriously. From the age of seven, I asked permission to go to music school. It wasn't until fifth grade that I was accepted into the dombra class at the Kazalinsky District Music School. Since then, I've continued to learn, develop, and grow alongside the dombra.– Tell us about your workshop. How are dombras made?– I've been working in this field for about ten years. Dombras are generally divided into amateur, semi-professional, and professional grades, depending on the quality level and requirements of the instrument. Accordingly, production times vary.For a professional dombra, the quality and aging of the wood are particularly important. We source most of our materials from abroad. We use birch, spruce, pine, maple, hornbeam, mahogany, and others. Dombra making is a complex and painstaking craft. The instrument must be not only aesthetically beautiful but also acoustically precise: the sound must be clear and full-bodied, the body comfortable for the player, and the neck resistant to deformation. The varnish coating is also very important. If the coating is too thick, the instrument is literally "muffled" and loses its sound. Dombras come with 7, 9, and 11 rivets. One of the key stages is shaping and assembling the body from individual parts. Intermediate-grade instruments are produced more quickly, as their components are easier to machine and glue together. However, woods such as hornbeam, amaranth, maple, or mahogany require lengthy drying and particularly careful assembly. Therefore, crafting a professional dombra can take several months.To ensure a clear and resonant sound, special attention is paid to the top. It should not be excessively thick, as its precise craftsmanship directly affects the timbre and depth of the sound. A combination of patience, experience, and an innate sense of the material plays a crucial role in this process.There are also dombras carved from a single piece of wood. In this case, the body is not assembled from parts, but is carved from a single block. This is a more complex technology, so these instruments vary in cost, production time, and quality. Sometimes, at the customer's request, the neck or body can be additionally decorated—for example, with gold or silver trim. – What do you see as the main meaning of your creative work and your work as a master?– For me, the most important thing is to make this instrument truly relatable and understandable to young people. The history of the people, their epics and terme—these are our inner cultural code. When its strings sound, a Kazakh's heart invariably responds, awakening a sense of belonging and pride. It's not just a musical instrument, but a part of our deepest identity, passed down from generation to generation.– What advice would you give to young musicians?– The modern world demands professionalism and the ability to compete. Music is constantly evolving, new forms and approaches are emerging. Therefore, it's important to be open to new things, think broader, and continually improve. This instrument isn't a local attribute of celebrations or a piece of folklore. It's a cultural heritage worthy of the world stage. And if you choose this path, you need to take it seriously—as a profession, not just a hobby.