Falconry or traditional hunting with birds of prey has been long popularized among people who lived in vast steppe and mountainous areas - the habitat of the birds of prey. Kazakh people tamed different species of falcons, eagles and other birds of prey like Burkyts (golden eagles) and various falco representatives. Every species has been accustomed to certain region and climatic environment - northern regions, mountains of Zhungar and Zaili Alatau, bold mountains or mountains with forested and rocky slopes, plains and steppes with scarce vegetation, desserts and etc. Falconry is the traditional art and practice of training and flying falcons to take quarry in its natural state, and has been practised for more than 4000 years. It is one of the oldest relationships between human and bird. It probably evolved in the steppes of Asia, and spread via cultural and trade links to other countries, first to Europe, North Africa and East Asia and later in the 16th century to the rest of the world. The practice of falconry in early and medieval periods of history is documented in many parts of the world. Falconry as intangible cultural heritage is integrated into communities as a social recreational practice and a means of connecting with nature. It is perceived by the communities as cultural heritage, a social tradition of respect for nature and the environment. Originally a way of obtaining food, falconry has acquired other values over the centuries, and is identified with camaraderie, sharing, and expressions of freedom.

Kazakhstan 2016

Hunting with eagles (kaz. "burkit", lat. Aguila Shrysaetus - “Golden Eagle”) is an ancient practice of social and cultural heritage of traditional Kazakh people of hunters - kusbegi ("qusbegi"), eagle ("burkitshi") who tamed and trained eagles for hunting. Originally training eagles for hunting was predominantly the hobby of ordinary people and was a kind of craft for them. This type of hunting has supported nomad budget. Therefore, Kazakhstan has always been traditionally a place, above all, catching the birds and training them in order to use for hunting in the future. Birds were tamed in two ways: adults caught on bait, or raise the chicks out of the nest. Kazakhs believe that the best hunters are obtained from adult birds that hunt with a special zeal, once accustomed to the owner. Hunting always passes on horses usually together with the Kazakh national dog - a hound "tazy". Kazakhs divide the hunting with birds of prey to specific hunting with eagles and falcons, hawks, merlin. Golden Eagles are used primarily for the purpose of making a job. They were used for hunting wolves, foxes, karsaks and mountain goats. Merlins used mainly for sports and recreational purposes, as it was a favorite pastime of the nobility. Falcons assisted in hunting for small wildfowl, and hawks let geese, bustards.

Salburyn is a festive event and an important component of Kazakh equestrian hunting with falcons and tazy greyhounds. It is a traditional ritual of transmitting hunting knowledge from skilled hunters to beginners and apprentice participants. Salburyn lasts 5-7 days, it is held in the winter hunting season. It is conducted at a large open space where the participants establish a camp of Kazakh yurts and tents as common areas. During the initial 2-3 days the experienced hunters share their knowledge and hunting methodology with young hunters. The hunting commences in the early morning after the elders give their blessing (bata). First part is compiled of pathfinders (yz kesushi) who read the game traces and establish the hunting ways. Participants split into the groups compiled of both more and less experienced hunters. Golden eagle hunters (berkutchi) detect the target and throw the eagle vectoring their flight trajectory with the hand movement. The tazy greyhounds are used in pairs. Some hunters are employing both eagles and tazy together. The triumphal celebration is organized for the hunters returning back, where elder women shower them with sweets. The hunters then bestow the pray to the elders hunters.

The exact origin of the Khöömei art is unknown, but researchers suppose that it could have been developed in connection with argil (a throat timbre) epic telling vocal technique, shamanic calling and the play of the wooden tsuur flute. The history of Mongolian Khöömei dates back hundreds of years. The popularity of Khöömei among Mongolians has arisen as a result of close interaction between natural environment and human culture. Ethnomusicologists studying Khöömei mark it as an integral part in the ancient pastoralism that is still practiced today. This art has developed to mimic and imitate the sounds of animals, nature, wind and water. The wonder of the Khöömei art is its simultaneous melodies-overtone. In this way the Khöömei is a phenomenon which differentiates from other traditional arts based on human vocal organs. This is the reason of calling the Khöömei performer as “Human-Music” (Khun khugjim) which highlights its specificity from a “normal singer”. The meaning of Khöömei for its community is enormous. As the traditional art form, Khöömei is in close cohesion with the daily life of the Mongolian nomads. They perform Khöömei in the variety of social occasions ranged widely, from grand state ceremonies to the household festive events, associated with respective rituals, and customs. Khöömei is not only performed in social events, because Khöömei performance is often found during the herding, and even when lulling the baby, as well as in the evenings in the ger (Mongolian traditional yurt) in domestic context. Hence, Khöömei is an essential part of the identity, pride and continuity of Mongolian society. Therefore, it provides the concerned community with sense of unity and harmony, as well as continuous creativity. One of Khöömei’s social functions is that, it is used as a traditional pedagogic instrument in the social and art education and upbringing. This is because during the Khöömei transmission, a comprehensive knowledge, philosophy and wisdom on the correlation of human life and nature are transmitted at the same time. As an art form created and developed by the Mongolians, Tuvinians and other ethnic groups, and regarded as the classic art of nomadic civilization, Khöömei is one of the core performing arts that shape the Mongolian national arts in today’s Mongolia. Thus, it shows great influence on ensuring the visibility and enhancement of the living art of Mongolia. Khöömei is born by variety of ethnic groups as Khalkh, Bayad, Dörvöd, Uriankhai, Zakhchin, Tuva, Tsaatan in different locations, therefore there are a number of sub-classifications of Khöömei style, reflecting the special features and local flavors. This diversity is what constitutes the richness of Khöömei composition, and thus, each communities concerned are proud of their own unique styles and techniques while expressing themselves with such diversity. The governments of Mongolia, Russian Federation and PR China have been undertaking variety of measures for the effective enhancement and spread of Khöömei tradition, such as holding international meetings, workshops, competitions and performances on Khöömei. This shows the significance of Khöömei for the bearers and their will to safeguard, transmit and develop it in multinational level, which also promotes international interaction, mutual respect and intercultural dialogue. Researchers classify Khöömei’s vocalization into 2 styles: -The Kharkhiraa (deep Khöömei) vocal emission: The singer sings a drone in a normal voice, then he inhales deeply and, simultaneously pressing on his pharynx and abdomen, he produces a deep harmonic sound which vibrates one octave lower than the fundamental note produced. What you hear is in a very low-pitched register. The singer actually vibrates not only his vocal cords but also his arytenoid cartilage. It is this deep harmonic sound that is heard in the foreground and that characterizes the kharkhiraa style, although in some variants a melody of high-pitched harmonics can be heard above the fundamental sound. -The Isgeree Khöömei (whistled Khöömei) emission: Also called Nariin Khöömei, Uyangiin Khöömei, Altain shingen Khöömei. The singer sings a drone in a normal voice, then he inhales deeply and, still pressing simultaneously on his pharynx and abdomen he produces a harmonic sound, which vibrates several octaves above the fundamental sound. A melody of harmonics with a very high-pitched whistle can then be heard. In both cases, the harmonic melody is sung in the same fashion. The singer modulates his mouth cavity by opening and closing his lips or by moving his tongue backwards, sticking its tip on his palate, or else by moving the central part of his tongue from front to back, its tip against his bottom teeth. To this are added techniques aiming to enrich the tone colour and others of ornamental character. Moreover, all these techniques can be combined. Inside more than 20 techniques, we can find the Bagalzuuriin Khöömei (throat Khöömei) Tsuurai Khöömei (echo Khöömei) Khamriin Khöömei (nasal Khöömei) or Dangildakh Khöömei (syllabial Khöömei). The singers use the Shakhaa vocal emission to sing the magtaal praise songs with a throat timbre as well. It is necessary to intensifying and deepening the Khöömei research and studies particularly on the originality and authenticity of the heritage in order to identify and reveal the deeper form, techniques and specifications furthermore.

Mongolia 2010