Reconfiguration of Kazakh Ethnoaesthetics: Searching for New Artistic Paradigms in the Context of Cultural Globalization

Abstract

The article analyzes the processes of reconfiguring Kazakh ethnoaesthetics in the context of cultural globali-zation. The authors demonstrate that, contrary to fears of homogenization, the Kazakh aesthetic tradition isnot disappearing but is actively transforming, giving rise to new artistic paradigms at the intersection of tradi-tional cultural codes and global trends. The research relies on an interdisciplinary approach integrating meth-ods from cultural studies, art history, anthropology, and philosophy. The theoretical framework is built on theconcepts of hybridization (N. García Canclini), transculturation (F. Ortiz), glocalization (R. Robertson), andpostcolonial theory (H. Bhabha). The empirical basis consists of specific examples from contemporary Ka-zakh practices in architecture, fashion, visual arts, music, and digital media. Emerging paradigms such as“Nomadic Minimalism” in architecture, “Ethno-Futurism” in design and fashion, “Post-Ethnic Art” in visualpractices, “Sonic Landscape Synthesis” in music, and “Digital Ornamentation” in new media are identifiedand analyzed. The authors emphasize that traditional elements (ornamentation, yurt forms, natural materials,the sound of folk instruments) are creatively reinterpreted, acquiring new significance in a global context. Theconclusion discusses the challenges related to balancing authenticity and commercialization, as well as therole of the state and creative industries in supporting this process. It is concluded that the reconfiguration ofethnoaesthetics contributes to the formation of a dynamic national identity, strengthens Kazakhstan’s positionon the global cultural stage, and stimulates the development of the creative economy. The article contributesto understanding the mechanisms of adaptation of local cultures in the era of globalization