A Kazakh’s dream of mastering the dombra
Published: 02:12 PM,Dec 14,2023 | EDITED : 06:12 PM,Dec 14,2023
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azakhstan is a vast Central Asian nation renowned for its sweeping steppes and majestic mountains. Within the country is a symphony of diverse ethnic groups, languages, and customs, all interwoven into a rich and captivating cultural mosaic.
At the heart of Kazakhstan’s cultural identity lies its music—an intricate blend of nomadic, folk, and classical influences that mirror the nation’s diverse heritage. Traditional Kazakh music embodies a profound connection to nature, echoing the rhythms of nomadic life and the lyrical beauty of the steppe. Instruments like the dombra, a two-stringed lute, and the kobyz, a bowed instrument with a haunting resonance, carry the soulful melodies that have been passed down through generations.
The dombra is one of the traditional instruments in Kazakhstan’s culture. Resembling the oud instruments but with only two strings, it carries a sound with deep meanings that express the pain and suffering of the Kazakh people and their history. The dombra is considered a symbol of strength and steadfastness, and Kazakhs find in its sound an expression of their feelings and historical experiences.
Omarov Beglan, an emerging musician who wanted to specialise in playing the Dombra as part of his effort to preserve his heritage, recently told the observer in Oman that the dombra is considered an integral part of the region’s heritage music. It has been present at social and cultural events, where local artists play it to convey stories and feelings through its great sound.
“Although the dombra has a traditional character, efforts are being made to develop it and use it in the company of some contemporary instruments and works of art,” proudly said Beglan.
The dombra is a popular instrument across Turkic and Iranic communities in Central Asia. It shares certain characteristics with the komuz and dutar instruments and is usually characterised by its long, thin neck and oblong body shape.
Beglan describes the spirit of the Kazakhs when hearing the sound of the dombra, saying, “When the historical instrument is played, you feel as if you are on the back of a horse running at top speed. You also feel motivated and strong, with blood flowing in your body. The Kazakhs also feel a sense of belonging to this land subconsciously because it is part of the history of their country and the history of the Turkish countries. It is dear to their hearts.”
In appreciation of it, the people of this land always place it in the highest place in the house. Despite its low price, it is dear to their souls.
Beglan adds, “I am trying to master this instrument and play it as my fathers and grandfathers played it, but I was unable to do so because it is harmful to the wrist and requires high speed to produce the intensity of its sound due to relying on only two strings.”
Omarov Beglan’s mother insists on her son learning this ancient instrument. Zahnnat has always dreamed of becoming an artist, but she was unable to catch up with the ranks of artists due to family restrictions. This job does not provide good financial income to support her and her family from her parents’ point of view, but she was able to pass this dream to her son, Beglan, to fulfil it. She told him to learn and play this instrument, explaining, “It is an instrument that everyone loves, and everyone will love him through it.”
At the heart of Kazakhstan’s cultural identity lies its music—an intricate blend of nomadic, folk, and classical influences that mirror the nation’s diverse heritage. Traditional Kazakh music embodies a profound connection to nature, echoing the rhythms of nomadic life and the lyrical beauty of the steppe. Instruments like the dombra, a two-stringed lute, and the kobyz, a bowed instrument with a haunting resonance, carry the soulful melodies that have been passed down through generations.
The dombra is one of the traditional instruments in Kazakhstan’s culture. Resembling the oud instruments but with only two strings, it carries a sound with deep meanings that express the pain and suffering of the Kazakh people and their history. The dombra is considered a symbol of strength and steadfastness, and Kazakhs find in its sound an expression of their feelings and historical experiences.
Omarov Beglan, an emerging musician who wanted to specialise in playing the Dombra as part of his effort to preserve his heritage, recently told the observer in Oman that the dombra is considered an integral part of the region’s heritage music. It has been present at social and cultural events, where local artists play it to convey stories and feelings through its great sound.
“Although the dombra has a traditional character, efforts are being made to develop it and use it in the company of some contemporary instruments and works of art,” proudly said Beglan.
The dombra is a popular instrument across Turkic and Iranic communities in Central Asia. It shares certain characteristics with the komuz and dutar instruments and is usually characterised by its long, thin neck and oblong body shape.
Beglan describes the spirit of the Kazakhs when hearing the sound of the dombra, saying, “When the historical instrument is played, you feel as if you are on the back of a horse running at top speed. You also feel motivated and strong, with blood flowing in your body. The Kazakhs also feel a sense of belonging to this land subconsciously because it is part of the history of their country and the history of the Turkish countries. It is dear to their hearts.”
In appreciation of it, the people of this land always place it in the highest place in the house. Despite its low price, it is dear to their souls.
Beglan adds, “I am trying to master this instrument and play it as my fathers and grandfathers played it, but I was unable to do so because it is harmful to the wrist and requires high speed to produce the intensity of its sound due to relying on only two strings.”
Omarov Beglan’s mother insists on her son learning this ancient instrument. Zahnnat has always dreamed of becoming an artist, but she was unable to catch up with the ranks of artists due to family restrictions. This job does not provide good financial income to support her and her family from her parents’ point of view, but she was able to pass this dream to her son, Beglan, to fulfil it. She told him to learn and play this instrument, explaining, “It is an instrument that everyone loves, and everyone will love him through it.”