Abstract
Abstract Aitys(h) remains an essential tradition in Kazakhstan and Kyrgyzstan, blending artistic expression with social critique. Aitys(h) provides a tradition-sanctioned avenue for aqyns to voice public concerns, challenge authority, and influence social discourse. However, government influence and self-censorship define its boundaries, especially in Kazakhstan, where increased state funding has altered the tradition’s dynamics. Despite these constraints, aqyns occasionally voice direct criticism and demand accountability from authorities, underscoring the subversive potential of aitys(h). Drawing on Foucault’s concept of discursive power, this study explores how aqyns balance critique and conformity, with audience engagement reinforcing their influence. Kyrgyz aqyns engage in broader societal critique, while Kazakh performances tend to address mostly regional concerns. Ultimately, aitys(h) remains a powerful tool for shaping public discourse, preserving national identity, and navigating the intersection of tradition, politics, and resistance in Central Asia.