Öner / Qol öner / Qoldanbaly öner / Өнер / Қол өнер / Қолданбалы өнер

Öner extends far beyond art objects and performances—it encompasses the entire process of creation, often intertwined with rituals and beliefs. In the baqsylyq (shamanic) tradition, for example, when a woman experienced arqasyn ustaidy (receipt
of healing power), it is believed she must either embrace her calling as a healer or channel that energy into crafts, transforming it into creative output.
Felt holds a central place in traditional Qazaq art, as yurts—the quintessential nomadic homes—are also known as kiız üi (felt house). The making of felt goods, such as carpets, rugs, and garments, was a communal effort called asar, which united women in shared practice. To ensure the process went smoothly and ward off misfortune, it was customary to invite a 10- or 12-year-old girl for brief participation. Women often wore silver rings on all fingers while working with wool to purify the energy and imbue the felt with positive intentions. Felt was even believed to have healing properties for ailments like the flu and joint pain.
Another celebrated textile art is quraq (patchwork). These quilts were traditionally laid out in the tör—a place reserved for honored guests. Quraq symbolizes family unity and are often included in a jasau (bride’s dowry). Pieces of fabric from the clothing of esteemed deceased individuals were incorporated into quraq as a way of symbolically transferring their knowledge and virtues. Deliberate imperfections were left in the designs to remind people that life, like the patchwork itself, is inherently imperfect.
Creating and embellishing musical instruments, tableware, and jewelry is considered an art form, not only for its craftsmanship but because of its symbolic meaning. Young women adorned their hair with şaşbau—braid decorations made from cords, beads, bells, and coins—which jingled to ward off evil spirits and prevent kidnappings, serving as protective talismans. I have a qudaği jüzık, though I wear it purely for its aesthetic appeal, misusing its symbolic meaning, as it is a ring worn on two connected fingers to symbolize unity and traditionally given as a gift to the mother of a bride or groom.
What is defined as applied arts and crafts in Western societies is referred to in Qazaq as both öner and qol öner without any attached value judgment. A friend of mine, an artist, once joked, “Öner is what’s in museums and galleries because the setting encourages people to spend time contemplating the works, their symbols, and meanings. The rest is qol öner.”