“The dombra is an ancient chronicle of a nomadic people,
the melody of the soul of an elder who has seen much”
Ahmet Zhubanov
Among the various forms of art practiced by the Kazakh people, the tradition of dombra playing and kui performing constitutes a unique branch with a centuries-old history – the dombra is an important symbol of spiritual culture and a national musical instrument that reflects the history, worldview, and customs of the Kazakh people.
According to archaeological and ethnographic data, instruments akin to the dombra were used in the Eurasian steppes thousands of years ago. Some sources indicate that its history spans a period of 2,000 to 6,000 years. The formation of this musical instrument dates back to ancient times. The dombra was widely played among Turkic-speaking peoples from Altai to Anatolia. The Altai Mountains, regarded as the golden cradle of the Turkic peoples, are considered the place where the first dombra instruments originated.
Academician Akhmet Zhubanov said: “The dombra, the most cherished and sacred musical instrument of the Kazakh people inhabiting the vast steppe, has a pleasing sound that is sometimes resonant, sometimes plucked – its silvery ringing tone touches the heart and unlocks many a secret.”
The most ancient versions of the dombra were found in caves on the Jargalant Khairkhan ridges in the Altai-Mongol mountains, where a two-stringed, fretted dombra was discovered. The soundbox of this first unearthed musical instrument bore ancient inscriptions. These inscriptions were read by Berlin-based Turkologist Peter Zieme and, according to Turkologist K. Sartkozhauly, read as follows “The fragrant melody of the kui immerses us in love.” This valuable artifact dates back to the 5th-6th centuries BC.
The dombra is a two-stringed, multi-fretted plucked instrument and is considered an integral part of Kazakh spiritual and cultural life. It is mainly tuned to a right (quartal) or left (quintal) tuning. The dombra consists of several parts: the head, tuning pegs, frets, neck, soundbox, soundboard, and bridge. The dombra is carved from wood.
In various regions of our country, different forms of the dombra can be seen. Dombras found across different parts of the Kazakh steppe have evolved and changed depending on local conditions, way of life and traditions, song, epic, and kui schools, the performing style of each artist, and the craftsmanship of the instrument makers.
The performing art of music on the Kazakh dombra developed particularly in the 19th century. Two main systems of playing kui on the dombra were established among the Kazakh people: the Tokpe kui tradition and the Shertpe kui tradition.
In the history of the nation, kui composers who made the dombra the essence of their lives – such as Kourmanghazy Saghyrbaouly, Tattimbet Kazangapuly, Seitek Orazaliev, Sugir Begendikuly, Dauletkerey Shygayuly, Qazanghap Tilepbergenuly, Yesbai Balustauly, Kozheke Nazaruly, Alshekei Bektibayuly, and Dina Nurpeisova – formed traditional kui schools through the Kazakh dombra. The musical instruments of many great kui performers are preserved at the Ykhlas Dukenuly Museum of Folk Musical Instruments in Almaty.
Among the prominent kuis of Kazakh instrumental music is “Saryarka”, composed in the 19th century by the great composer and folk musician Kurmangazy Saghyrbaiuly. This kui is rightly recognized as a symbol of the Kazakh steppe, reflecting the spirit of freedom, inner strength, and boundless expanse of Saryarka (Central Kazakhstan).
The history of the kui is closely linked to the composer's dramatic fate, his struggle against social injustice, and periods of persecution. According to folk legends, the vast steppe landscape inspired the creation of the piece. In that steppe, the composer, feeling an internal spiritual breakthrough and a yearning for freedom, conveyed his mood through the sound of the dombra. “Saryarka” is not merely a musical composition, but also an artistic embodiment of overcoming hardships and affirming the power of the human spirit.
In terms of musical language, this kui belongs to the Tokpe kui tradition. It is characterized by dynamism, a clear rhythmic structure, and powerful performing energy. The music vividly depicts images of swift movement and inner impulse, creating a sense of space and freedom.
Another famous work by Kurmangazy is the kui “Adai”. It was created during a period of social upheaval and national liberation movements, and is dedicated to the Adai clan, a warrior tribe that historically inhabited the Mangyshlak Peninsula.
This composition reflects their resilience, unity, and uncompromising struggle for independence, as well as respect for the freedom-loving spirit of the entire Kazakh people.
This work also belongs to the Tokpe kui tradition of Western Kazakhstan and is distinguished by its rich chordal technique and brisk tempo. Moreover, the kui is not limited to artistic depiction; it carries philosophical content, celebrating the triumph of willpower and inner strength over external circumstances.
In the contemporary musical space, the kuis “Saryarka” and “Adai” hold a special place in Kazakhstan's national cultural heritage and are widely performed both in traditional forms and in orchestral and modern arrangements.
Today, the dombra is not merely a national instrument but a spiritual value that has become the cultural brand of Kazakhstan. Contemporary performers and professional orchestras are elevating its development to a new level and promoting it within the global cultural space.