The history and meaning of Betashar in Kazakh life
The Betashar, the Kazakh traditional wedding ritual, was included to the UNESCO Representative List of the Intangible Cultural Heritage of Humanity. Kazinform News Agency invites readers to explore the history and meaning of Betashar.
On the significance of Betashar
The Vice Director of the Kazakhstan Central State Archive of Cinema, Photo and Sound Recording Documents and Doctor of Historical Sciences, specializing in Source Studies Saule Sataeva, shared her opinion on the significance of the Betashar tradition:
"The foundation of the cultural-genetic code of the Kazakh nation lies in its age-old customs and traditions, which are treasures of folk wisdom and centuries-old experience in educating generations. For Kazakhs of past centuries, customs and traditions were the main law of life. The cultural code is the key to understanding any culture. The priceless traits inherited from ancestors are passed down from generation to generation. And Betashar is encoded information that allows us to identify Kazakh culture. It is one of the components of our cultural code, one of its main parts," notes Sataeva.
The expert notes that Betashar is a unique ritual that combines several traditions and values.
"Betashar is a comprehensive ritual. It encompasses song creativity, musical art, and folk applied art, as the bride's costume is the pinnacle of folk craftsmanship. It also represents the institution of family, the continuation of the lineage, and the continuity of generations. The popularity of Betashar has always been high—both in ancient times and today," explains the Vice Director of the Kazakhstan Central State Archive of Cinema, Photo and Sound Recording Documents.
When did the Kazakhs adopt the Betashar ritual?
Sabina Ayazbekova, a well-known cultural expert, Doctor of Philosophy, academician of the Kazakh National Academy of Arts, academician of the International Academy of Sciences and Higher Education (UK), academician of the Russian Academy of Natural Sciences, and holder of the Gold Medal at the Frankfurt Book Fair for the book "Civilizations of the Great Steppe: Philosophical and Cultural Analysis", shared the history of Betashar:
"Betashar is a very ancient ritual, literally meaning 'opening the face' (from the Kazakh word 'bet' – face, 'ashu' – to open). During this ritual, the bride is introduced to the husband's relatives. It is important to note that this ritual originated before the Kazakhs had formed as a nation. However, the processes of cultural, ethnic, and linguistic genesis are not synchronized with the stage of nation formation, and therefore many of the cultural traditions that have been passed down from our ancestors have a much longer history than we might imagine. Thus, we should view the emergence of the 'Betashar' ritual not only as a purely national ritual but also in the context of the ethnogenesis of the Kazakhs," says Ayazbekova.
It is impossible to give an exact date for the origin of the Betashar ritual, but as the expert notes, if we consider that this ritual reflects a nomadic lifestyle and Tengrian worldview, and has been preserved among many Turkic peoples, it can be assumed that its origins may be linked to the period of horse domestication and the establishment and development of Tengrianism across the Great Steppe.
"If we talk about the origin of the Betashar ritual, since it reflects the nomadic way of life, it is likely that it should be associated with the period following the domestication of the horse. Today, the earliest known point of horse domestication for us is the Botai archaeological culture, which existed from 3700 to 3100 BCE in northern Kazakhstan. It is also important to note that this ritual has only been preserved among Turkic peoples and is not found in Mongolian culture. Since the Turkic-Mongolian branch diverged only in the middle of the 4th millennium BCE, it can be assumed that the ancient Turkic Betashar ritual emerged between the Eneolithic period and the time of the Turkic unity, when the Turkic peoples had not yet divided into separate nations," explains the academician of the Kazakh National Academy of Arts.
The Vice Director of the Kazakhstan Central State Archive of Cinema, Photo and Sound Recording Documents, Saule Sataeva, spoke about the documents in the archives related to Betashar:
"Our archive holds several documents, including sound recordings, films, and photographs, that captured the Betashar ritual. The earliest documents date back to the early 20th century. Unfortunately, as a ritual related to intangible culture, it was very difficult to document it in the early period because no one specifically set out to do so. Perhaps some Western European travelers may have left records, but unfortunately, we have not yet found such materials. Nevertheless, the archive contains photo documents from the early 20th century, as well as from the Soviet period, late Soviet times, and the early years of independence."
Symbols and traditions in Betashar
Cultural expert Sabina Ayazbekova believes that Betashar reflects the Tengrian worldview, in which every transition—spatial, social, and spiritual—is sacred. The ritual symbolizes the bride's journey—from her parents' home to her husband's family, from one clan to another, and from the upper world (the Heavenly realm of Tengri) to the middle world (the realm of the living). The veil covering the bride symbolizes her ritual death in her own clan's space and her rebirth in the space of her husband's clan.
Key elements of the ritual include:
1. Symbolism of the journey: The bride first bids farewell to her family (the "Koshtasu" ritual), then travels a significant distance on horseback, completing the journey on foot.
2. Ritual music: The akyn or zhyrshy performs a song, praising the bride's virtues and introducing her to the husband's relatives.
3. Removing the veil: This moment is the culmination of the ritual, symbolizing the final "rebirth" of the bride in her new status. The veil is removed with a dombra.
4. Gifts: The groom's relatives present gifts, and the veil is torn into pieces and given to the women, symbolizing the distribution of divine grace among the guests.
The journey begins at the bride's home, accompanied by the "Koshtasu" ritual (literally "farewell"), where the bride bids farewell to her family before crossing the threshold of her yurt. The journey ends with the "Kelin Tusiru" ritual ("bringing the bride to the new home"), when she arrives at the groom's house. Most of the journey is made on horseback, accompanied by women from her family, and the final steps are taken on foot.
"The special significance of this journey is emphasized by the fact that for most of the way, the bride, accompanied by her mother, sisters, and the wives of her brothers, travels on horseback or camels. However, they do not reach the threshold of the groom's yurt, as young female relatives from the groom's side meet them at a considerable distance from the groom's house. The final part of the journey is completed on foot. I believe this moment is very important from the Tengrian perspective, as a person on horseback symbolically belongs to the upper world, the world of Tengri and the ancestors, whereas a person on foot belongs to the middle world. Thus, a gradual sacred transition occurs from the Heavenly world to the Earthly world. This transition is also accompanied by another significant Tengrian symbol, the idea of ritual death—the bride is covered with a veil. In this way, the Tengrian triad is united—the upper (the world of the Heavenly God Tengri), the middle (the world of the living), and the lower (the world of the dead)," says Ayazbekova.
The expert explained that as the bride steps across the threshold of the groom's yurt with her right foot, she begins her rebirth, symbolized by the "Shashu" ritual. This ritual, accompanied by throwing sweets, represents joy, abundance, fertility, and the beginning of the celebration. A similar ritual is repeated during significant moments in life, such as childbirth or cutting the fetters, marking a "transition" from one age or status to another.
The gradual transition of the bride into the new family is reflected in the time when she is left alone with the young women from the groom's family, separated by a "shymyldyq" (a curtain). These women give the bride her first instructions and care for her, as she becomes a new member of their family. In the past, this period of communication could last up to three days.
Esteemed relatives are invited to the ritual, which is conducted by a musician (zhyrshy or akyn), who uses song to introduce the bride to the groom's family. In this ritual, music, according to Tengrian mythology, is a symbol of harmony and the Universe.
"The invitation of a musician for this important mission also has Tengrian roots. According to Tengrian mythology and the epic heritage of Korkut-ata, the creation of the Universe was accompanied by Music, gifted by Tengri. Thus, music was not just an object of aesthetic pleasure, but was considered 'Music of the Universe.' This worldview, in which the birth and harmonization of the world occurred through music, has been preserved in the 'Betashar' ritual. During this ritual, the musician, in poetic and song form, praises the bride’s virtues, gives her advice, and finally introduces her to the groom’s relatives, presenting each of them in the brightest and most positive light," says cultural expert Sabina Ayazbekova.
The removal of the veil is the culminating moment when the bride "is reborn" in her new status as a member of the husband's family. The expert explained that the bride's veil is connected to the world of the dead, so it is not removed by hand but is lifted from her head with a dombra. Pieces of the veil are distributed to the guests, symbolizing the distribution of heavenly grace.
It is notable that the first person to approach the bride after the veil is removed is the groom’s mother, who from that moment becomes the "Ene" – the mother to her daughter-in-law. The embraces and repeated presses to her chest symbolize the mother's openness and joy at the birth of a new child.
A ritual sacrifice also takes place, where the groom’s relatives place valuable gifts, and in recent centuries, money, on a special metal dish. These offerings are made to Tengri to bring prosperity to the new family. Interestingly, the money does not remain in the family but is given to the musician, who represents the God of the heavens, Tengri.
Why Betashar was included in the UNESCO Heritage List
Saule Sataeva noted that the Betashar ritual is a testament to the ongoing process of transmitting cultural traditions and renewing the cultural code of the Kazakh people.
"Betashar is a testament to the ongoing process of transmitting cultural traditions, the continuous development and renewal of the cultural code of the Kazakh people, which, as we know, consists of many components. It is a system of unique values that define the identity of the Kazakh people, their mentality, and their spiritual and moral values. For this reason, in my opinion, Betashar is included in the UNESCO Intangible Cultural Heritage List. This ritual is important both for the Kazakh people and for the global treasury of unique traditions and cultures," says the Vice Director of the Kazakhstan Central State Archive of Cinema, Photo and Sound Recording Documents.
Sabina Ayazbekova, in turn, notes that the Betashar ritual has been preserved among many Turkic peoples. However, due to the influence of Islam, Christianity, and Buddhism, wedding rituals among many of them have undergone significant transformations, resulting in the loss of the sacred, harmonizing meaning of this ritual.
"As for the Kazakh 'Betashar,' it has been preserved almost entirely in its original Tengrian uniqueness and purity. Therefore, the inclusion of the Kazakh version of 'Betashar' in the UNESCO Intangible Heritage List signifies its importance not only as a historically 'pure' ritual but also as a ritual that embodies the idea of harmony between the masculine and feminine principles in culture, the individual and the family, the family and the clan, the clan and the state, and finally, as a ritual symbolizing Cosmic harmony," emphasizes the expert.
What does the inclusion in the UNESCO list mean for Kazakh culture?
Academician of the International Academy of Sciences and Higher Education, Sabina Ayazbekova, believes that the inclusion of this ritual in the Representative List of the Intangible Cultural Heritage of Humanity will primarily help the Kazakh people recognize the high value of this ritual.
"We must finally see in our heritage not just certain traditions and rituals but reveal the deeper meanings embedded in them. The inclusion of the 'Betashar' ritual in the UNESCO list, as I see it, will show us the value of our indigenous traditions, customs, and rituals, and will contribute to the recreation of the national cultural code. Moreover, the recognition of the value of this ritual by including it in the global cultural heritage will contribute to its further study, including issues related to its genesis," says the academician of the Kazakh National Academy of Arts.
Saule Sataeva notes scholars studying Kazakh culture often have to travel to China or Mongolia to see elements of the customs and traditions of the steppe Kazakh culture—specifically steppe, not nomadic culture.
Sabina Ayazbekova points out that, unlike other peoples, Kazakhs, even if unconsciously, have preserved the Tengrian worldview as corresponding to their cultural code. It is very important, in order to strengthen the cultural code of the Kazakhs to preserve "Betashar" and other rituals not just as museum exhibits but as living traditions that restore our ethnic, cultural, and religious integrity as the foundation of our cultural code.
