El signiﬁcado cultural y social de los rituales maternales en la formación de la identidad kirguís Gulsaira Ibraimova 1 , Makhabat Alishova 2 , Aigul Mambetalieva 3 , Rahat Alishova 4 1 Kyrgyz State University named after I. Arabaev, Bishkek, Kyrgyz Republic. E-mail: gulsara2508@mail.ru; ORCID ID: 0000-0002-9458-2181. 2 International University of Ala Too, Bishkek, Kyrgyz Republic. E-mail: alishova.mahabat@mail.ru; ORCID ID: 0009-0008-6174-9839. 3 Bishkek State University named after K.Karasaev, Bishkek, Kyrgyz Republic. E-mail: amambetalieva@bhu.kg; ORCID ID: 0009-0005-8894-1925. 4 Kyrgyz-Turkish Manas University, Bishkek, Kyrgyz Republic. E-mail: rahat.aliseva@manas.edu.kg; ORCID ID: 0009-0007-7595-588X. Resumen. La poesía kirguís dedicada a los niños, en particular las canciones de cuna, tiene un profundo signiﬁcado cultural y espiritual. En estas canciones de cuna es fundamental la veneración por Umai Ene, la diosa maternal de la fertilidad y la pro- tección en el folclore kirguís. Este artículo examina el papel de las canciones de cuna kirguises, o beshik ыры, en la formación de los lazos culturales y emocionales entre madre e hijo, y la protección espiritual invocada a través de ﬁguras como Umai Ene. La investigación destaca el papel esencial de Umai Ene en la maternidad y el bienestar de los niños. Las canciones de cuna son parte integrante de las prácticas de crianza de los niños kirguises, con letras que a menudo invocan la protección divina, la naturaleza y los valores familiares. Estas canciones, cantadas durante ceremonias culturales como las beshik toi (celebraciones de la cuna), transmiten creencias espirituales y patrimonio cultural. El artículo también se basa en trabajos etnográﬁcos y literarios que destacan el doble papel de las canciones de cuna como herramientas educativas y de crianza. Al relacionar las antiguas creencias espirituales con las prácticas contemporáneas, el artículo demuestra que las canciones de cuna sirven como herramientas para preservar la identidad cultural kirguís, al tiempo que garantizan la continuidad de tradiciones ancestrales. Palabras clave: poesía kirguís, canciones de cuna, Umai Ene, identidad cultural, protección espiritual, diosa maternal, folclore, tradición kirguís, literatura infantil, creencias espirituales. Recibido: 19/03/2025 ~ Aceptado: 07/05/2025 INTERACCIÓN Y PERSPECTIVA Revista de Trabajo Social ISSN 2244-808X ~ Dep. Legal pp 201002Z43506 DOI: https://doi.org/10.5281/zenodo.16910862 Vol. 15 (3): 719 - 729 pp, 2025

720 Ibraimova, Alishova, Mambetalieva, Alishova Interacción y Perspectiva. Revista de Trabajo Social Vol. 15(3): 2025 e cultural and social signiﬁcance of maternal rituals in Kyrgyz identity formation Abstract. Kyrgyz poetry dedicated to children, particularly lullabies, holds a deep cultural and spiritual signiﬁcance. Central to these lullabies is the reverence for Umai Ene, the maternal goddess of fertility and protection in Kyrgyz folklore. is paper examines the role of Kyrgyz lullabies, or beshik ыры, in shaping the cultural and emo- tional bonds between mother and child, and the spiritual protection invoked through ﬁgures like Umai Ene. e research highlights Umai Ene’s essential role in childbearing and the well-being of children. Lullabies are integral to Kyrgyz child-rearing practices, with lyrics often invoking divine protection, nature, and familial values. ese songs, sung during cultural ceremonies like beshik toi (cradle celebrations, transmit spiritual beliefs and cultural heritage. e paper also draws on ethnographic and literary works that emphasize the dual role of lullabies as both nurturing and educational tools. By connecting ancient spiritual beliefs to contemporary practices, the paper demonstrates how lullabies serve as tools for preserving Kyrgyz cultural identity while ensuring the continuity of age-old traditions. Key words: Kyrgyz poetry, lullabies, Umai Ene, cultural identity, spiritual protection, maternal goddess, folklore, Kyrgyz tradition, children’s literature, spiritual beliefs. INTRODUCTION In Kyrgyz culture, children’s literature plays an indispensable role in the spiritual and emotion- al upbringing of the younger generation. Among its many forms, lullabies stand out as profound expressions of love, protection, and cultural identity. ese songs, passed down through generations, are not only meant to soothe infants but also to impart a sense of spiritual security, closely linked to the worship of Umai Ene, a maternal deity deeply embedded in Kyrgyz folklore. Revered as a protec- tor of children and childbirth, Umai Ene’s signiﬁcance transcends the realm of mythology, inﬂuenc- ing both ancient rituals and contemporary practices. Lullabies in Kyrgyzstan, known as beshik ыры, reﬂect the intertwining of everyday maternal care and divine protection, highlighting a blend of emotional and spiritual nurture. Scholars, including Moldobaev (1999), have recognized the role of these songs in reinforcing familial bonds and connecting generations through shared cultural values. Furthermore, the inﬂuence of Umai Ene is not only symbolic but is an active part of the Kyrgyz col- lective consciousness, as reﬂected in rituals such as ak bata (blessings) and the language of lullabies. By examining the cultural, spiritual, and emotional aspects of Kyrgyz lullabies, this paper aims to ex- plore how they serve as a crucial medium for transmitting both spiritual beliefs and cultural identity across generations. rough this lens, lullabies emerge as more than simple songs; they are powerful cultural artifacts that foster emotional growth while preserving the very essence of Kyrgyz heritage. METHODS AND METHODOLOGY is study uses a qualitative research methodology that includes literary analysis, cultural stud- ies, and folklore research to explore the dimensions of Kyrgyz lullabies. By reviewing both primary and secondary sources, this paper examines the historical, cultural, and emotional signiﬁcance of

El signiﬁcado cultural y social de los rituales maternales en la formación de la identidad kirguís 721 Vol. 15(3) julio - diciembre 2025/ 719 - 729 lullabies within Kyrgyz society. Key to this study is the investigation of the symbolic roles of ﬁgures such as Umai Ene, the protective goddess of children, whose mythological and spiritual inﬂuence great on the cultural practices surrounding childbirth, blessings, and early childhood. e research emphasizes multi-disciplinary approach analyzing the linguistic and cultural features embedded in lullabies, their textual content and translation. LITERATURE REVIEW Kyrgyz literature dedicated to children encompasses a rich tapestry of storytelling and folklore, nurturing young minds while preserving cultural heritage. is literature review explores the role of Kyrgyz lullabies within the cultural and spiritual traditions of Kyrgyzstan, particularly in relation to the ﬁgure of Umai Ene (Mother Umai), a revered deity in Kyrgyz folklore. ese lullabies, passed down through generations, reﬂect the emotional bonds between mother and child and the spiritual protection invoked through deities like Umai Ene. e importance of Umai Ene in Kyrgyz culture is researched with scholars such as Moldobaev (1999) highlighting the signiﬁcance as the goddess of fertility and childbirth, believed to oﬀer protection to mothers and children, Mahmud Kashkari left heritage writings about the wide inﬂuence of Umai Ene, whose blessings are sought in rituals like ak bata, especially during childbirth. Kyrgyz lullabies, or beshik ыры, are integral to the cultural identity of Kyrgyz families, with lyrics often invoking nature, animals, and divine protection, align- ing with the deeply spiritual practices of child-rearing. ese lullabies are traditionally sung during beshik toi (cradle ceremonies), where family members invoke Umai Ene’s blessings for the child’s health and well-being. Ethnographic studies underscore the emotional and spiritual signiﬁcance of lullabies, which serve not only to soothe the child but also to transmit cultural values and beliefs, reinforcing the mother’s role as a spiritual mediator and protector. rough these practices, lullabies in Kyrgyz culture continue to serve as a powerful medium for emotional, spiritual, and cultural transmission. In “History of Kyrgyz Children’s Literature” by M. Tulagabylov (1991), the evolution of children’s literature is chronicled, exploring development and societal signiﬁcance. e anthol- ogy “Children’s Folklore” created by S. Rysbaev, B. Abdukhamidova, and A. Batyrkulova (2012) presents a comprehensive collection of traditional tales and rhymes, reﬂecting the oral traditions deeply rooted in Kyrgyz culture. Similarly, “Anthology of Kyrgyz Children’s Literature” edited by A. Akmataliev (2004) shows the diversity of contemporary works devoted for children, ranging from folk tales to modern stories. A.T. Sattarova’s dissertation “Kyrgyz Children’s Folklore: Genre Struc- ture and Artistic Features” (2001) explores the structural and artistic elements of children’s folklore, oﬀering scholarly insights into its thematic richness and cultural signiﬁcance. Lullabies Lullabies, as a form of folklore, hold a signiﬁcant place in literature and culture, serving as vessels of tradition, identity, and heritage. Lullabies, a signiﬁcant subset of folklore, are universally found across various cultures, serving as both soothing melodies for infants and as a means of bond- ing between caregivers and children. ese songs, passed down orally through generations, reﬂect cultural values, societal expectations, and emotional expressions, marking an integral part of both the musical and literary heritage of a community (Brett, 1998; Clauson, 1972). According to the Oxford Dictionary of Nursery Rhymes (Opie & Opie, 1951), many lullabies are centuries old, re- ﬂecting the deep cultural roots they have in societies around the world.

722 Ibraimova, Alishova, Mambetalieva, Alishova Interacción y Perspectiva. Revista de Trabajo Social Vol. 15(3): 2025 Lullabies are not simply meaning of soothing children to sleep; they also carry vital cultural information. ey often encode hopes and values that parents wish to impart to their children, such as strength, courage, and beauty. Notably, the content of lullabies may diﬀer depending on the gender of the child, with lullabies for boys focusing on virtues like strength, while those for girls may emphasize tenderness (Adams, 1997). Lullabies are thus cultural texts, conveying signiﬁcant moral, social, and emotional values (Green, 1968). S. Adams (1997) in “Poetic De- signs” discusses the poetic structures found within lullabies, noting the aesthetic dimensions of these melodies. Bett (1968) examines the historical origins and evolution of lullabies in “Nursery Rhymes and Tales - their Origin and History,” providing insights into the cultural context in which these melodies emerged. G.T. Delamar (1987) examines the transition of lullabies from nursery rhymes to literature in “Mother Goose - From Nursery to Literature,” highlighting the transformation of these oral traditions into written texts. L. Eckensein (1906) oﬀers a compara- tive analysis of lullabies from diﬀerent cultures in “Comparative Studies in Nursery Rhymes,” il- luminating the universal themes and motifs found within these melodies. Green (1968) provides a comprehensive history of lullabies in “A History of Nursery Rhymes,” tracing their develop- ment across time and space. Malof (1970) explores the metrical structures of English lullabies in “Manual of English Meters,” oﬀering insights into the rhythmic patterns that characterize these melodies. “e Oxford Dictionary of Nursery Rhymes,” presents a dictionary of lullabies docu- menting the rich diversity of lullaby traditions from around the world. Bolotina et al. (1998) discuss the pedagogical implications of lullabies in early childhood education, emphasizing their role in cognitive development and emotional bonding. Bolshakova (2004) explores the cognitive beneﬁts of exposure to folklore, highlighting the importance of lullabies in shaping cognitive development. e literature review also includes works, such as “Folklore in Childhood Develop- ment” by M. Bolshakova (2004) which provide insights into the cultural signiﬁcance and mean- ings of lullabies in Kyrgyz culture. ese works oﬀer valuable perspectives on the role of lullabies in nurturing emotional bonds, preserving cultural heritage, and transmitting communal wisdom from one generation to the next. In Kyrgyz culture, lullabies, known as beshik yry, play a critical role in familial life. ey are part of a broader tradition that connects the family unit, particularly the mother and child. Lulla- bies in Kyrgyz culture are deeply interwoven with the nomadic lifestyle, often reﬂecting the natural world and the community’s rural way of life. e tradition of singing lullabies has recently seen a revival, with competitions and public performances encouraging the preservation and continuation of this oral tradition (Tulogabylov, 1991). e role of lullabies extends beyond mere entertainment or comfort; they are viewed as es- sential for the emotional development of children. Studies have shown that children deprived of lullabies may face psychological challenges in their later lives (Bolotina et al., 1998; Huntington, 1907). Furthermore, Kyrgyz lullabies embody a space for women’s creativity, providing an outlet for emotional expression in a society with traditionally limited roles for women in artistic ﬁelds (Shai- dullaeva, 2004; Solter, 2001). In comparison, English lullabies tend to reﬂect historical, religious, and even political themes, using nursery rhymes to comment on societal events or ﬁgures, thus blending the personal with the societal. English lullabies, unlike the nature-focused Kyrgyz ones, often contain layers of political satire or reﬂect on historical events (Opie & Opie, 1951). Despite their diﬀerences, both Kyrgyz and English lullabies serve the same fundamental purpose—providing comfort, instilling values,

El signiﬁcado cultural y social de los rituales maternales en la formación de la identidad kirguís 723 Vol. 15(3) julio - diciembre 2025/ 719 - 729 and strengthening the emotional connection between caregiver and child. As modernity shifts so- cietal norms, both cultures continue to adapt their lullabies to reﬂect contemporary realities while preserving their cultural heritage. Spiritual belief: Umay Ene “Бата менен эр көгөрөт, Жамгыр менен жер көгөрөт.” / A man will prosper with blessings; e earth will be fertile with rain. (Kyrgyz saying) One of the oldest and most revered spiritual beliefs among the Kyrgyz people is the cult of Umai Ene (Mother Umai). Identiﬁed by researchers as the most signiﬁcant Central Asian goddess, Umai Ene’s blessings are still sought today. Revered as a maternal deity, she is often considered the archetype of ideal femininity. e qualities of Umai Ene are rooted in Kyrgyz folklore and oral tradi- tions, where she symbolizes the very essence of motherhood, protection, and care. e name “Umai Ene” is rooted in the Turkic language, where “umai” refers to the womb or a nurturing ﬁgure, and “ene” means mother. is concept is explored in the work of Mahmut Kashkari, a great philosopher, who described Umai Ene as “a supporter of a child, owner, womb” (Al-Kashghari, 2005: 167). In his Dictionary of Turkic Languages, he emphasizes the deep connection between Umai Ene and the protection of life from birth onward (Al-Kashghari, 2005: 167). e belief that “Umai Ene’s hands are healing for the baby” (Умайга табынса, уул табат or Умай эненин колу ымыркайга эм- дом болот) reﬂects the reverence for her as a protector of newborns. As the goddess who oversees fertility and childbirth, Umai Ene’s image embodies maternal traits and the foundational qualities of femininity in Kyrgyz culture. Umai Ene’s character is considered sacred, and she is revered as the ideal female ﬁgure, with all positive female traits attributed to her. In Kyrgyz mythology, Umai Ene is considered a key deity, second only to Tengri, the sky god. She is particularly revered as the protector of children and expectant mothers. Her presence is not only signiﬁcant in ancient traditions but continues to be acknowledged in contemporary Kyrgyz life. Evidence of her divine role can be traced back to the Orkhon–Yenisei inscriptions from the 7th and 8th centuries, which mention her alongside other central deities such as Zher-Suu (Earth- Water) and Tenir (Sky). Interestingly, the word “umai” itself in ancient Turkic referred to the pla- centa and afterbirth, highlighting Umai Ene’s role as a guardian of both birth and the life force of all children. In Mongolian, “umai” translates to “womb,” reinforcing the belief in her association with motherhood and fertility. In Tibetan, “umai” means “mother,” further establishing Umai Ene’s sacred role as the maternal protector across cultures. e myt hological tales surrounding Umai Ene also illustrate her role in the birth of the hero Manas. A song recounts her assisting in the birth of Manas, guiding the child through the labor process: Умай Эне — периште, Кирип келди эшиктен, «Айтканымды ук деди, Кана, сыртка чык» деди. Куйругуна домдоду, Кудай ишин оңдоду. «Чыккын!» деди чакырып, Энесинин ичинен, Бала түштү бакырып...

724 Ibraimova, Alishova, Mambetalieva, Alishova Interacción y Perspectiva. Revista de Trabajo Social Vol. 15(3): 2025 Umai Ene — Angel Entering the door, “Listen to me,” she said, “Come, go outside,” she called, Her tail swept, God’s will she made. “Come out now,” she called, From the womb of his mother, Crying baby came out. In this epic, Umai Ene is depicted as an angelic ﬁgure who aids in the birth, guiding the child from the womb with divine intervention. e Kyrgyz term “perishte” refers to a mythical angelic creature, highlighting Umai Ene’s elevated spiritual status. As the protector of mothers and children, her role is seen as integral to the family and community’s well-being. Blessings, or bata, are an essential part of Kyrgyz spiritual life. ese blessings are often invoked dur- ing signiﬁcant life events, such as births, weddings, and journeys. e blessing of children, especially by respected elders, holds a special place in Kyrgyz traditions. One common blessing for children goes: “Бул менин колум эмес, умай эненин колу, умай эне колдосун!” “is is not my hand, it is Umai Ene’s hand. May Umai Ene support you!” is invocation expresses the community’s deep connection to Umai Ene’s protective and nur- turing qualities. e blessing invokes her divine assistance and reﬂects the enduring belief in her spiritual inﬂuence. In addition to verbal blessings, Kyrgyz people celebrate the birth of a child with the beshik toi or cradle celebration. e child’s cradle is ceremonially prepared, often with traditional rituals. Grandmothers prepare the cradle by placing small sheep bones—alchiks—at the bottom, saying, “On bol!” (be lucky). en, the mother is given the cradle, symbolically carrying the child in the hands of Umai Ene. e cultural signiﬁcance of lullabies across generations Across all cultures, folk lullabies encapsulate profound wisdom and aesthetic beauty. ese melodies serve as a gateway for infants to explore life and their immediate environment. Indeed, the nurturing of a baby often commences with the tender recital of a lullaby. As a mother sings, she pours her heart into her song, infusing it with profound emotions for her child. e formative development of a child, both physically and mentally, signiﬁcantly hinges upon whether the mother serenades lullabies to her oﬀspring. Scholars has established a correlation between exposure to lul- labies during childhood and an individual’s cognitive prowess in adulthood (Bolshakova, 2004). She asserts that “lullabies, through nurturing speech development, contribute to the maturation of the brain” (Bolshakova, 2004: 46). is assertion underscores the contemporary signiﬁcance of lul- labies, where every child yearns for a sense of aﬀection. While we often associate these melodies with innocence and simplicity, their signiﬁcance tran- scends their apparent simplicity. Exploring the rich tapestry of lullabies and nursery rhymes within Kyrgyz literature and culture, examining their cultural signiﬁcance, historical roots, and contem- porary relevance, we believe that lullabies represent one of the most ancient genres of oral folk art, serving as the very essence of human existence. Today, as in antiquity, mothers cradle their infants, singing simple yet profound melodies, as shown in folk songs (Sputnik Kyrgyzstan, 2021) and in the poem by Guljamila Shakirova (Roza Otunbaevanın Demilgesi, 2018):

El signiﬁcado cultural y social de los rituales maternales en la formación de la identidad kirguís 725 Vol. 15(3) julio - diciembre 2025/ 719 - 729 Бешик ыры (элдик ыр) Алдей, алдей ак балам, Арка жөлөөр жан балам. Кунан койдун куйругу, Бышты жегин жан балам. Атаң барса айылга, Куржун толо эт келет. Энең барса айылга, Эмчек толо сүт келет. Кунан койду сой балам, Куйругуна той балам. Алдей, алдей ак балам, Тердик токуур жан балам. LULLABY (FOLK SONG) Lullaby, my precious child, My comfort, my beloved. Feast upon the tender lamb’s fatty tail, Nourish yourself, my cherished one. When your father attends to guests, A bounty of meat shall grace our home. And if your mother ventures out, She returns with overﬂowing milk. Slaughter a sheep, my son, Indulge in its richness, my little one. Lullaby, my darling child, lullaby, Wrap a sweatshirt on the horse, my son. e folk song “Beshik yry” provides insight into the cultural practices and traditions of the Kyr- gyz people, particularly regarding childcare and nourishment. rough tender words, the caregiver expresses deep aﬀection for the child, referring to them as “my supporter, my dear,” emphasizing the nurturing bond between parent and infant. e song incorporates elements of traditional Kyrgyz cuisine, such as the mention of young sheep’s fatty tail, symbolizing the importance of nourishing the child with wholesome foods from an early age. Additionally, references to parental roles in pro- viding sustenance highlight the communal and familial nature of childcare in Kyrgyz culture. e act of slaughtering a sheep to ensure the baby’s satiation reﬂects the cultural signiﬁcance placed on hospitality and generosity, where no eﬀort is spared to ensure the well-being of loved ones. Moreover, the mention of putting a sweatshirt on the horse signiﬁes the practicality and re- sourcefulness of Kyrgyz parenting, teaching children to become helpers from a young age and pri- oritizing warmth and comfort for both the infant and the future supporter of the family. Folk song “Lullaby” serves as not only a soothing melody but also a cultural artifact preserving and transmit- ting age-old traditions and values from one generation to the next. Literary analysis of a poem “Lullaby” by Guljamila Shakirova “Lullaby” by Guljamila Shakirova is a “beshik yry”, as an example that includes the hopes, dreams, and cultural heritage of the Kyrgyz people. rough tender words and gentle imagery, the

726 Ibraimova, Alishova, Mambetalieva, Alishova Interacción y Perspectiva. Revista de Trabajo Social Vol. 15(3): 2025 poem explores themes of parental love, guidance, and the transmission of cultural values from one generation to the next. We provide an analysis of the poem, focusing on its tone, speaker, national peculiarities, and impact on the listener. “Lullaby” by Guljamila Shakirova You came into this world, my sweet child, Blessed by the grace of our ancestors of old, You slumber peacefully, cradled By the ancient melodies of your mother’s song. Lullaby, my child, lullaby, sweet baby, lullaby, Gently unfurl your wings. Lullaby, my child, lullaby, pure and innocent, lullaby, Rest in your pristine cradle. Will you grow to be a prosperous soul, Who tends to the needs of your kin? Or will you inherit the generosity Of your heroic Manas forebears? My child, never stray into darkness, Follow the path of goodness and light. Sleep in your white cradle, Bathed in the glow of celestial beams. May you become a hero with a courageous heart, Who cherishes and serves their people. May you amass not just wealth, but also joy, rough service to your country and kin. Lullaby, my child, lullaby, sweet baby, lullaby, Slowly spread your wings. Lullaby, my child, lullaby, pure and innocent, lullaby, Rest in your pristine cradle. Sleep now, my darling, don’t shed a tear, Umai Ene will cradle you in her arms. May your pure world hear, e earnest wishes of your mother’s heart. My child, always choose the path of right, And follow the footsteps of the virtuous. Sleep in your white cradle, Wrapped in the gentle glow of dawn. May your dreams be ﬁlled with melodies, As I wish above all for your health. Lullaby, my child, lullaby, sweet baby, lullaby, Gently spread your wings. Lullaby, my child, lullaby, pure and innocent, lullaby, Sleep in your pristine cradle.

El signiﬁcado cultural y social de los rituales maternales en la formación de la identidad kirguís 727 Vol. 15(3) julio - diciembre 2025/ 719 - 729 In Kyrgyz culture, the act of placing a baby in a crib carries cultural signiﬁcance, drawing from rich traditions and beliefs ingrained in the community. e white cradle, symbolizing purity and protection, serves as a sacred space where the newborn is cradled in the loving embrace of both earthly and spiritual guardians. References to cultural icons such as Umai ene, the maternal deity known for her nurturing care, and the legendary hero Manas, evoke a sense of ancestral connection and divine protection, reinforcing the belief in the interplay between the physical and metaphysical realms in safeguarding the infant’s well-being. rough the ritualistic act of placing the baby in the crib, parents not only provide a peaceful environment for rest but also impart moral values, instilling virtues of prosperity, generosity, and courage, as depicted in Guljamilа Shakirova’s poem “Lullaby”. As such, the cradle becomes more than just a piece of furniture; it becomes a vessel through which cultural heritage, familial love, and spiritual blessings converge, nurturing the newborn and foster- ing a deep sense of belonging within the community. In Kyrgyz culture, placing a baby in a crib involves customs and beliefs that emphasize respect, tradition, and care. e baby cradle is considered a sacred object and should not be sold once the child outgrows it, though it may be lent with the expectation of return. It is important to avoid rocking an empty cradle, as it is believed to symbolize negativity and childlessness. e crib must always be covered, and rituals are performed to safeguard it when the baby is not using it. e baby should be placed in the crib from the right side, and when purchasing a cradle, haggling over the price is discouraged. Certain actions, such as rocking the cradle with feet or lifting it with two people, are considered disrespectful or inappropriate. Additionally, the crib should not be used as a plaything, as it is solely for the child’s rest and safety. ese customs and beliefs surrounding baby cribs in Kyrgyz culture reﬂect the community’s deep respect for tradition, symbolism, and the well-being of their children. TABLE 1. Literary and cultural aspects of the poem “Lullaby” by Guljamila Shakirova Aspect Description Tone Tender, loving, and protective. e tone conveys deep care and concern for the child’s well-being, oﬀering warmth and reassurance to both speaker and listener. Speaker Presumably a parent, oﬀering words of aﬀection, guidance, and wisdom. Expresses profound love and hopes for the child’s future, serving as a nurturing presence. Cultural Heritage and National Identity Reﬂects Kyrgyz cultural heritage through references to ancestral lineage, traditional values, and iconic ﬁgures like “Manas ancestor” and “Umai ene.” Cultural Speciﬁcities Includes culturally speciﬁc words and references such as “Manas ancestor” and “Umai ene,” grounding the poem in Kyrgyz traditions and mythology. Impact on the Listener Evokes feelings of warmth, security, and reassurance, fostering a deep emotional connection between parent and child. Instills hope and optimism for the future.

728 Ibraimova, Alishova, Mambetalieva, Alishova Interacción y Perspectiva. Revista de Trabajo Social Vol. 15(3): 2025 CONCLUSION In conclusion, the literature review highlights the multifaceted nature of lullabies in Kyrgyz culture, encompassing aesthetic, historical, pedagogical, and cultural dimensions. By synthesizing insights from diverse scholarly works, this review contributes to a deeper understanding of the role of lullabies in shaping identity, fostering connections, and preserving heritage within Kyrgyz society. Placing a baby in a crib in Kyrgyz culture involves adhering to speciﬁc customs and beliefs rooted in tradition, emphasizing respect for the cradle as a sacred object and ensuring the well-being of the child. “Lullaby” by Guljamila Shakirova is a beautiful expression of parental love, cultural heritage, and aspirations for the future. rough its tender tone, nurturing speaker, national peculiarities, and impact on the listener, the poem oﬀers a timeless reminder of the enduring bond between par- ent and child, and the power of cultural identity to shape our hopes and dreams. In conclusion, lullabies occupy a central place in Kyrgyz culture, serving as vessels of tradition, identity, and heri- tage. rough their tender melodies and heartfelt lyrics, lullabies nurture emotional bonds between mothers and children while transmitting cultural values from one generation to the next. As reposi- tories of communal wisdom and expressions of maternal love, lullabies continue to play a vital role in shaping the cultural landscape of Kyrgyzstan, preserving traditions, and fostering connections between past, present, and future. BIBLIOGRAPHIC REFERENCES • Adams, S. (1997). Poetic designs: An introduction to meters, verse forms, and ﬁgures of speech. Ontario: Broadview Press. • Akmataliev, A. (Ed.) (2004). Kırgız baldar adabiyatının antologiyası [Anthology of Kyrgyz chil- dren’s literature]. Bishkek, pp. 456. • Al-Kashghari, M. (2005). Divan Lugat at-Turk [Compendium of the languages of the Turks]. Vol. 1. Translation, preface and commentaries by M. Awesovoy. Almaty: Dyke-Press. • Bett, H. (1968). Nursery rhymes and tales - eir origin and history. London: Methuen & Co. Ltd. • Bolotina, L. R., Komarova, T. S., & Baranov, S. P. (1998). Doshkol’naya pedagogika [Preschool pedagogy]: Textbook. Moscow: Akademiya. • Bolshakova, M. (2004). Fol’klor v poznavatel’nom razvitii. Iz opyta raboty [Folklore in child- hood development. From the experience of work]. Doshkol’noye vospitaniye, 9, 46-49. • Brett, A. D. (1998). Folklore and identity. Cambridge: Cambridge University Press. • Clauson, G. (1972). An etymological dictionary of pre-thirteenth century Turkish. Oxford: Clar- endon press, pp. 164–165. • Delamar, G. T. (1987). Mother Goose - From nursery to literature. Jeﬀerson: McFarland and Company, Inc. • Eckensein, L. (1906). Comparative studies in nursery rhymes. London: Duckworth & Co. • Green, P. B. (1968). A history of nursery rhymes. Detroit: Singing Tree Press. • Huntington, E. (1907). e pulse of Asia: A journey in Central Asia illustrating the geographic basis of history. Boston; New York: Houghton, Miﬄin and Company. • Malof, J. (1970). A manual of English meters. Bloomington: Indiana University Press.

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