Congkak is a popular board game played by at least two players. A Congkak match consists of several rounds of play in order to decide the winner of a match. An elongated, boat-shape vessel is used as the main component of the game. Players will strategise to capture as many seeds as they can in each round. The player who transports the maximum seeds to their kampong or storehouse wins the game. Rules and board sizes vary according to players.\nTraditionally, this game is mostly played by females. It is very well received by the Malay community and other ethnic groups in Malaysia.\nAnother variation of this game in Malaysia is Pallangguli. It is a folk game of the Indian Muslim community which uses a rectangular vessel as the main device.\nPallangguli can be presented as part of marriage gifts to the newlywed couple so that they can get-to-know each other better while playing the game.

Traditional spring festive rites of the Kazakh horse breeders – taking place in Terisakkan Village in the Ulytau District of Karaganda Oblast – mark the end of the old and the beginning of the new yearly horse-breeding cycle. Rooted in traditional knowledge about nature and the age-old relations between man and horse, the rites involve skills inherited from nomadic ancestors, adapted to present-day reality. Preceded by year-long preparations, the main constituents of the practice are: ‘Biye baylau’ (literally, ‘tethering mares’), the ancient ‘first milking’ rite encompassing the separation of mares and foals from the herds, milking the mares, and celebrating with songs, dances and games; ‘Ayghyr kosu’ (figuratively, the ‘stallion’s marriage’), a recent rite for adjoining stallions in herds; and ‘Kymyz muryndyk’ (metaphorically, the ‘initiation of koumiss’), the ‘first koumiss sharing’ rite, opening the season of its production and sharing. The rites take around three weeks in total, until the koumiss sharing ceremonies, which take place in every household, are over. The rites open a new yearly cycle of reproduction and manifest traditional Kazakh hospitality.

Traditional spring festive rites of the Kazakh horse breeders – taking place in Terisakkan Village in the Ulytau District of Karaganda Oblast – mark the end of the old and the beginning of the new yearly horse-breeding cycle. Rooted in traditional knowledge about nature and the age-old relations between man and horse, the rites involve skills inherited from nomadic ancestors, adapted to present-day reality. Preceded by year-long preparations, the main constituents of the practice are: ‘Biye baylau’ (literally, ‘tethering mares’), the ancient ‘first milking’ rite encompassing the separation of mares and foals from the herds, milking the mares, and celebrating with songs, dances and games; ‘Ayghyr kosu’ (figuratively, the ‘stallion’s marriage’), a recent rite for adjoining stallions in herds; and ‘Kymyz muryndyk’ (metaphorically, the ‘initiation of koumiss’), the ‘first koumiss sharing’ rite, opening the season of its production and sharing. The rites take around three weeks in total, until the koumiss sharing ceremonies, which take place in every household, are over. The rites open a new yearly cycle of reproduction and manifest traditional Kazakh hospitality.

Traditional spring festive rites of the Kazakh horse breeders – taking place in Terisakkan Village in the Ulytau District of Karaganda Oblast – mark the end of the old and the beginning of the new yearly horse-breeding cycle. Rooted in traditional knowledge about nature and the age-old relations between man and horse, the rites involve skills inherited from nomadic ancestors, adapted to present-day reality. Preceded by year-long preparations, the main constituents of the practice are: ‘Biye baylau’ (literally, ‘tethering mares’), the ancient ‘first milking’ rite encompassing the separation of mares and foals from the herds, milking the mares, and celebrating with songs, dances and games; ‘Ayghyr kosu’ (figuratively, the ‘stallion’s marriage’), a recent rite for adjoining stallions in herds; and ‘Kymyz muryndyk’ (metaphorically, the ‘initiation of koumiss’), the ‘first koumiss sharing’ rite, opening the season of its production and sharing. The rites take around three weeks in total, until the koumiss sharing ceremonies, which take place in every household, are over. The rites open a new yearly cycle of reproduction and manifest traditional Kazakh hospitality.

Traditional spring festive rites of the Kazakh horse breeders – taking place in Terisakkan Village in the Ulytau District of Karaganda Oblast – mark the end of the old and the beginning of the new yearly horse-breeding cycle. Rooted in traditional knowledge about nature and the age-old relations between man and horse, the rites involve skills inherited from nomadic ancestors, adapted to present-day reality. Preceded by year-long preparations, the main constituents of the practice are: ‘Biye baylau’ (literally, ‘tethering mares’), the ancient ‘first milking’ rite encompassing the separation of mares and foals from the herds, milking the mares, and celebrating with songs, dances and games; ‘Ayghyr kosu’ (figuratively, the ‘stallion’s marriage’), a recent rite for adjoining stallions in herds; and ‘Kymyz muryndyk’ (metaphorically, the ‘initiation of koumiss’), the ‘first koumiss sharing’ rite, opening the season of its production and sharing. The rites take around three weeks in total, until the koumiss sharing ceremonies, which take place in every household, are over. The rites open a new yearly cycle of reproduction and manifest traditional Kazakh hospitality.

Traditional spring festive rites of the Kazakh horse breeders – taking place in Terisakkan Village in the Ulytau District of Karaganda Oblast – mark the end of the old and the beginning of the new yearly horse-breeding cycle. Rooted in traditional knowledge about nature and the age-old relations between man and horse, the rites involve skills inherited from nomadic ancestors, adapted to present-day reality. Preceded by year-long preparations, the main constituents of the practice are: ‘Biye baylau’ (literally, ‘tethering mares’), the ancient ‘first milking’ rite encompassing the separation of mares and foals from the herds, milking the mares, and celebrating with songs, dances and games; ‘Ayghyr kosu’ (figuratively, the ‘stallion’s marriage’), a recent rite for adjoining stallions in herds; and ‘Kymyz muryndyk’ (metaphorically, the ‘initiation of koumiss’), the ‘first koumiss sharing’ rite, opening the season of its production and sharing. The rites take around three weeks in total, until the koumiss sharing ceremonies, which take place in every household, are over. The rites open a new yearly cycle of reproduction and manifest traditional Kazakh hospitality.

The epic culture, folk tales and music of Korkyt Ata are based on twelve heroic legends, stories and tales and thirteen traditional musical compositions shared and transmitted across the generations through oral expressions, Performing artss, cultural codes and musical compositions. Korkyt Ata appears in each story as a legendary figure and wise individual, a sage of minstrels whose words, music and expressions of wisdom relate to traditions of birth, marriage and death. In the musical compositions, the main intonations are reproduced using a musical instrument called the Kobyz through the sounds of nature, and imitation soundscapes are characteristic of this medium (such as the imitation of a wolf’s howl or a swan’s note). The musical compositions are all interconnected by the epic stories that accompany them.

In the past, weddings were similar to a game. On horseback, the bridegroom and bride played a game of catch up wherein the bride is given the best horse and given a head start. The groom followed the bride to catch her and then kissed not only to prove his love for the bride but also to strengthen his authority in the marriage.

Nurota artistic embroidery, with its coloring and small pictures, differs from embroideries of other regions. Though Rukhsora Opa was not born in Nurota, she learned this art from her mother-in-law. Now she transmits her secrets to her daughter-in-law and her 3-year-old granddaughter. Every girl in Nurata learns embroidery from the early age and until marriage, so she can finish at least one suzana for her future house.