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 is not 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 the concepts of hybridization (N. García Canclini), transculturation (F. Ortiz), glocalization (R. Robertson), and postcolonial 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 visual practices,“Sonic Landscape Synthesis” in music, and“Digital Ornamentation” in new media are identified and 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. The conclusion discusses the challenges related to balancing authenticity and commercialization, as well as the role of the state and creative industries in supporting this process. It is concluded that the reconfiguration of ethnoaesthetics contributes to the formation of a dynamic national identity, strengthens Kazakhstan’s position on the global cultural stage, and stimulates the development of the creative economy. The article contributes to understanding the mechanisms of adaptation of local cultures in the era of globalization.