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The Ger is a traditional dwelling of the nomadic mongols. Ger is not only housing but is also model of the Universe and a symbol of national identity. Generally, it consists of a wooden framework, a felt cover and ropes. Ger is portable, light, compact and ecological home. It comprises all types of traditional arts.

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Ayghyr kosu is a rite succeeding the milking. Young men lead stallions (ayghyr’s) out and keep them in check until women take milk away with them. Then the bridles are taken off and the stallions join their herds.\n\nTraditional spring festive rites of the Kazakh horse breeders – taking place in Terisakkan Village – mark the end of the previous 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. 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. Faced with the forced transition in the twentieth century from a nomadic way of life to a settled one, bearers have adapted the traditional form of horse breeding to meet present-day conditions to ensure its continued viability.

On the day of biye baylau, the first milking is always performed by women. Men assist them, bringing foals, one by one, to mares for suckling and then taking them back to allow for milking.\nTraditional spring festive rites of the Kazakh horse breeders – taking place in Terisakkan Village – mark the end of the previous 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. 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. Faced with the forced transition in the twentieth century from a nomadic way of life to a settled one, bearers have adapted the traditional form of horse breeding to meet present-day conditions to ensure its continued viability.

Mongol Tuuli is an oral tradition comprising heroic epics that run from hundreds to thousands of lines and combine benedictions, eulogies, spells, idiomatic phrases, fairy tales, myths and folk songs. They are regarded as a living encyclopedia of Mongolian oral traditions and immortalize the heroic history of the Mongols. Epic performers are distinguished by their prodigious memory and skills, combining singing, vocal improvisation and musical composition coupled with theatrical elements. Epic lyrics are performed to musical accompaniment on instruments such as morin khuur and tovshuur. Epics are performed during social and public events, including state affairs, weddings, a child’s first haircut, naadam and worship of sacred sites. Epics evolved over many centuries, and reflect nomadic lifestyles, social behaviors, religion, mentalities and imagination. Epic performers cultivate epic traditions from generation to generation, learning, performing and transmitting techniques within kinship circles, from fathers to sons.

Mongolian traditional folk dance “Bii Biyelgee” is an outstanding form among traditional performing arts of Mongolia, and unique and distinguished art expression which has embodied and originated from the nomadic living style of Mongols. Bii Biyelgee expresses the customs, traditions and spiritual practices through dancing elements, and its movements are typically confided to small space inside the Nomad’s dwelling-ger. Biyelgee is performed while half sitting or cross-legged sitting, coupled with fist and hand opening and waving, stiff and swift movements of chest and shoulders, shrugging and shaking them, crossing legs, steps and walks, as well as flexible body movements involved in prevalence. In doing so, biyelgee performers imitate the expressions of their lifestyle, household activities, courage, love, prides and livestock to the accompaniment of morin khuur, ikel khuur, tovshuur, tsuur, coupled with ethnic costumes.

Khöömei is a wonder of culture created by nomadic Mongols, a unique phenomenon of Mongolian traditional music, an ancient art, the highest form of independent art of speaking organs and artistic discovery contributed by the Mongols to the music art of the world. Mongol khöömei lies in producing two or more pitches simultaneously, of which one is a fundamental pitch from the chest and the other is a higher pitch resonating to the hard palate or whistling khöömei. The melodies of khöömei are the music that only Mongol khöömei can describe as well as the sound of nature, mountain, water, wind, animal calls, correlation between nature and human and the inner world of human soul. khöömei is divided into two basic categories of “Kharkhiraa” or bass, fundamental pitch and “Isgeree or shingen” or “whistling or high pitch”.