Resonance and resistance: how Kazakhstan’s music scene balances expression and state control

In authoritarian regimes, artistic expression is not only restricted but also instrumentalized to serve political agendas. Governments can co-opt creative voices to maintain legitimacy, ensuring that expressions of dissent remain within controlled limits. In Kazakhstan, this balancing act is evident in the way musical movements are shaped by state influence. Rather than overt censorship, authorities can employ subtle means, selective endorsements, economic incentives, or media control, for example, to shape the boundaries of acceptable artistic expression. However, when artists push against these limits, tensions emerge, revealing the ongoing struggle between cultural expression and political control. The result is a music scene that toes the line between freedom of expression and acceptable dissent. 

Kazakhstan’s music scene has evolved with the rise of Q-Pop and R&B, which blend global musical trends with distinctly Kazakh influences. Q-Pop (or, Qazaq-Pop) draws inspiration from Korea’s K-Pop genre but integrates the Kazakh language and themes, making it an important part of cultural pride in an era of modernization and globalization. Similarly, Kazakh R&B has become an avenue for younger generations to express themselves, mixing Western influence with traditional Kazakh beats and sounds sometimes rapping in the Kazakh language. However, these genres are not just expressions of youth culture; they also operate within the constraints of state oversight. While some artists use their platform to subtly address social concerns or criticize the state, they may still find themselves being co-opted as tools by the state.

Ninety One, the pioneers of Q-Pop, exemplify Kazakhstan’s cultural contradictions. Their debut video for Aiyptama! (Don’t Judge!), featuring the band in bright clothing, earrings, and makeup, sparked mixed reactions. Some saw them as a breath of fresh air, while others accused them of "mocking Kazakh culture" and "corrupting the youth."

Despite their boundary-pushing image, the government embraced them. In 2018, band member Dulat Mukhametkali became a spokesperson for Jas Otan, the ruling party’s youth wing. Soon after, Ninety One performed at a state-sponsored concert, where Mukhametkali promoted Q-Pop as an economic asset.

Yet, despite connections to the ruling party, the band maintains an activist streak. Their song Bari Biled (Everyone Knows) highlights environmental issues, while Why’M subtly references freedom of expression. However, their critiques remain measured, avoiding direct confrontation with the state and today, Ninety One remains one of Kazakhstan’s most successful bands, regularly touring.

Irina Kairatovna, an influential rap collective attributed to Kazakh R&B, takes a more confrontational approach. Their lyrics frequently touch on social and political grievances, including corruption and inequality. Their song 5000 references the common bribe amount in Kazakhstan, using its music video to depict implicit government corruption. Similarly, their track Kõk Tu, released after unrest rocked Kazakhstan in January 2022, subtly invokes references to the unrest through imagery and symbolic references with the lyrics of the song alluding to the need to be free.

Unlike Ninety One, Irina Kairatovna has not been publicly embraced by the state. Yet, their presence at some government-affiliated cultural events suggests a tacit acceptance, as long as their critiques remain within ‘acceptable’ boundaries.

Kazakhstan’s music scene reflects the broader political strategy of authoritarian resilience. Music offers a means of expression but within limits that ultimately reinforce the regime’s image. Artists provide an outlet for societal frustrations, yet the state ensures that dissent does not translate into mobilization. By selectively endorsing and engaging with popular musicians, the government projects an image of cultural openness while maintaining control over the discourse. The result is a carefully managed creative sphere, where the line between resistance and compliance is continually negotiated.

Editor's note: this text written by a MAREEES student is published anonymously until June 2025 due to their travel safety precautions.