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Küştdepdi is a folk dance from Turkmenistan that combines song (aydım) and rhythmic movements, performed communally as an essential part of weddings, holidays, and official ceremonies. It was inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity during the 12th Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage, held on 4–9 December 2017 on Jeju Island, South Korea.

Küştdepti Dance (Atajan Caryyarow)

The name derives from the combination of the repeated exclamation/nida “küşt” and the verb “depmek” (to strike the foot on the ground). In general terms, it means “to strike or stamp while saying küşt.” This etymology reflects the dance’s core elements: rhythmic foot stomping and vocal calls.

Küştdepdi is a form of dance that bears traces of shamanic traditions in Turkmen folk culture. Its performance around the shamanic fire (shaman ateşi) during Nevruz nights alludes to the fire’s purifying and transitional sacred functions. Traditional practices such as leaping over the fire, burying the ashes in the earth to ward off evil, and making wishes for long life and good fortune are integral to the ritual.

Over time, the role of the shaman has been taken over by female performers known in Islamic contexts as zikirci. Practices such as spinning around the fire until dawn, maintaining tempo, and repeating vocal phrases are used to induce a state of ecstasy or trance. This ritual foundation transforms Küştdepdi from mere entertainment into an expression of purification and aspirations for abundance.

Küştdepdi is performed in a circle by a group. Dancers coordinate rhythmic foot stomps (depmeler) with upward-downward and side-to-side arm movements. A chorus sings short exclamations and detailed poetic verses (mani/aydım). The performance typically increases in tempo in stages: excitement builds through steps such as “One stomp,” “Two stomp,” “Three stomp.” Some regions include a section called “zemzem” and another known as “divana,” often corresponding to the “ikidepim” step. Common rhythmic calls include “eyha/uhhu/küşt” and short introductory verses. This ascending structure corresponds to the preparatory stages of ancient shamanic rites—intensification, focus, and ecstatic trance.

The dance is deeply intertwined with the aydım-saz tradition. Bahşı (bards or minstrels) may perform it accompanied by the dutar or as part of a communal chorus. The repertoire includes both lively pieces suitable for toy (wedding) settings and verses sung around the Nevruz fire, expressing blessings and protection. Vocal structure relies heavily on repetition and call-and-response; rhythm is emphasized through foot stomping.

Küştdepdi is one of the visible symbols of Turkmen identity. It is performed not only at weddings and celebrations but also during national festivals. At Nevruz events, it is often danced around large bonfires. Historically associated with healing and protective functions, these ritual elements have today evolved into an aesthetic folk dance that continues to thrive.