Felt making is one of the oldest traditions, bearing an artistic and aesthetic value and symbolism closely associated with folk customs and rituals. The process of collecting wool is twice a year—in autumn and in spring. A story about the historical value and ubiquitous use of rams’ skins. The process and the staged technique of felting. One way to preserve traditional felt making. It is a question of the ecological value of felt, the methods of extraction from natural materials (plants and stones), and the use of certain ornaments associated with nature and animals.

In the quiet Kazakh village of Zhosaly, the threads of tradition, resilience, and love are being woven together—one knot at a time. At the heart of this story is Bakytgul Raimbaeva, a mother whose personal struggle with her daughter’s illness led to the creation of something extraordinary: “Ansagan,” a school of traditional Kazakh folk crafts for children with disabilities.\n\nWhat began in 2007 with just four girls—including her daughter Ansagan, who had been diagnosed with a painful and incurable skin condition—has grown into a life-changing creative community of more than 130 students. Children who once felt isolated and hopeless now find joy, purpose, and healing through the ancient art of carpet weaving, korpe-making, and felting. Here, they learn to create with their hands, share laughter, and rediscover strength they never knew they had.\n\nGuided by the belief that every thread carries emotion and intention, Bakytgul teaches not just a craft but a philosophy: weave only with positive thoughts, and your creation will carry healing energy. With carpets made using traditional Kazakh methods and designs—like ornék looms, tekemet rugs, and sacred motifs—this grassroots school revives and preserves centuries-old techniques once passed from grandmother to granddaughter.\n\nAmong the pupils are teenagers like Kuralai and Inkar, who have mastered complex weaving skills and find pride in their cultural roots. But at the heart of it all remains the story of a mother's devotion. Miraculously, two years after the school was born, Bakytgul witnessed the impossible—her daughter Ansagan stood up and walked again.\n\nToday, “Ansagan” is more than a workshop—it's a sanctuary of cultural revival, inclusion, and hope. Supported by the village and driven by a passionate mission, Bakytgul continues to teach, inspire, and heal through craft, proving that folk art is not just a legacy of the past, but a force for transformation in the present.

The centuries-old nomadic way of life of the Kyrgyz people contributed to the high skill level of women in crafts development. Tush-kiyiz, an embroidered wall carpet, is a fine example of Kyrgyz decorative and applied art. Tush-kiyiz was given a special place in the interior of the yurt. Embroidered panels of cloth—satin, silk, or another fabric—tush-kiyiz is framed with a broad band of black velvet, on which is usually sew one, two, or three fringed triangles. Tush-kiyiz have always been created as a personal family heirloom, symbolizing a newly married couple’s union with family.

List of Intangible Cultural Heritage in Need of Urgent Safeguarding, 2012\nAla-kiyiz is the most vivid example of Kyrgyz handicrafts. Translated as “motley felt,” ala-kiyiz represents a felt carpet with ornaments heaved onto its upper surface. It is mostly a carpet for everyday use rather than as element of decoration.\n\nShyrdak is made with a mosaic technique and is one of the most complex techniques in felt carpet making. One of the most important qualities of shyrdak is its durability. The average lifecycle of a shyrdak is approximately a hundred years, sometimes even longer.