The Times of Central Asia features an interview with Merey, a young female Kazakh singer, poet and lyricist who plays the dombra and finds inspiration in traditional Kazakh poets Mukaghali Makatayev and Fariza Ongarsynova:
Kazakh cultural space is generally sensitive to newness and I love experimenting. My song Carpe Diem, where I touch on female sexuality in the Kazakh language, caused a strong reaction. More recently, a live performance of my song Betperde went viral on TikTok, where I experimented with vocal delivery and that triggered a wave of criticism.
People need time to adjust to new things. At the same time, if you look at the Western scene, experimentation with form and presentation is seen as an essential part of artistic expression. For example, Mitski uses the microphone as an expressive, sometimes provocative stage object; Chappell Roan works with visual imagery, including deliberately exaggerated elements; Lana Del Rey turns the stage into a cinematic space; Fergie adds strong physical expressiveness and elements of performance. Western audiences have largely moved beyond expecting “just beautiful singing.” Today, listeners care not only about how an artist sings, but what they communicate through performance, image, and concept.
There is still a fixed idea of what a Kazakh female singer is supposed to look like: long hair, restrained style, long dresses, traditional aesthetics. When an artist presents a different visual language, it can create dissonance. I believe the development of a music scene is impossible without experimentation. Artists must stop being afraid, and listeners must learn to accept the new. Kazakhstan’s music scene still has significant room for growth. That growth begins when artists stop fearing experimentation and audiences become more open to innovation.
Altaic Storytelling 