Аннотация
The article is about the creativity and performance of women in the West Kazakhstan kuishi tradition. Ethnomusicology focuses on a topic that has not been studied in a special way, shows its relevance and role. Methods of analysis of states and the use of historical-comparative, comparative-typological, descriptive, ethnophonic systems were used in the article. The scope of the "restriction" imposed on the women's community, which originates from the Islamic religion, was used in a negative way, and at the same time, it was believed in society that the use of the concept of feminism in the wrong direction was alien to the mentality of the nation. In the pages of legends and scientific works, the names of the girls became unknown and were forgotten over time. Ways to solve the problems that arise in this context are discussed in the article. In the course of opening the topic, during the author's expedition, for the first time in the history of Kui of the XIX-XXI centuries, information about Kurish Kaliyeva was obtained, analyzed and clarified. In general, the analysis of the two directions of kuis of the Western region, the Musical and stylistic characteristics and performing skills were summed up. It is through the art of girls that an innovation (Dina style) is introduced into the kuishi tradition. Some of the touches and musical styles in the Kui school were found in the performance of these women. The music concealed the feeling of a fragile being who could not express her opinion in a two-way statement of her place in society, the unfair laws of the past, based on Kazakh customs, history and traditions. It was important that all this not only remained a legend, but was studied and turned into useful information for the growth of conscious generations in the future society.