Traditional Arts of the Nomadic Mongols is a remarkable expression of their unique culture and customs, passed down through centuries. This artistic heritage reflects the profound spirit of Mongolia’s natural environment, nomadic lifestyle, spiritual beliefs, and historical legacy. It is manifested in the following main forms:

Bogino Duu (Folk Short Songs)

Folk short songs, or bogino duu, are a form of oral folk art that have been passed down from ancient times. These songs are typically of unknown authorship and are sung with short, melodious tunes. They differ in lyrics and style depending on the specific ethnic group and regional dialect, with well-known examples among the Khalkha, Buryat, Üzemchin, Bayad, Kalmyk, Khotgoid, Darkhad, and Tsahar peoples. Additionally, there are “Khüree songs” originating from the capital city’s urban culture during the 1900s–1930s, typically accompanied by the shanz (a three-stringed fiddle). Popular songs from this period include “Yanjuur Tamkhi” (Cigarette), “Khökh Torgon Tsamts” (Blue Silk Shirt), “Gangan Khul” (Elegant Grey Horse), “Jijüü Khot” (Small City), “Kheenkhuar,” and “Zuun Langiin Joroo Luus” (Trotter Mule Worth a Hundred Taels of Silver).

The songs of people from the mountainous regions of Western Mongolia are generally short and lively, while those from the steppes tend to be slower and more melodic.

Folk short songs are categorized thematically into songs for state ceremonies, parental devotion, romantic love, homeland, steed and horsemanship, bravery, celebration and festivity, as well as songs of sadness and longing. Within these broad themes, songs are further sub-categorized with names such as satirical songs, tragic songs, yearning songs, bawdy songs, flirtatious songs, playful songs, light-hearted songs, cradle songs, courtyard songs, humorous songs, and urban songs, among others.

The lyrics of folk short songs are often profound, witty, and poetically expressive. The melodies are relatively straightforward, with fewer vocal ornamentations, making them accessible and widely sung.

Traditionally, short songs are not performed during formal state ceremonies, family celebrations, or weddings. However, they may occasionally be sung at the close of a gathering to express joy, love, praise for fine horses, or to celebrate one’s work and accomplishments. Notable examples include “Tokhoi Zandan Mod” (Zandan Tree), “Alag Ereeniin Num” (Speckled Bow), “Saatay Toortsog” (Decorated Cap), and “Khotgoidiin Unaga” (Foal of the Khotgoid).

Among the Khalkha Mongols, satirical songs with deep meaning emerged during the feudal period, often critiquing the dominance of lords, religious authorities, and societal laws. Examples include “Dövchin Unzad,” “Jasin Nyarav” (Temple Treasurer), “Nariin Tsagaan Khus” (Slender White Birch), “Suman Delt” (Arrow-Maned Horse), and “Bundan Denlüü” (Ceramic Lantern).

Mongolian Folk Dance

Dances are generally classified into folk dances, historical dances, and classical dances. Folk dances reflect the everyday life, aspirations, and moral values of the people, and they have spread widely and evolved through time. Unlike dances that are choreographed specifically for stage performance, folk dances serve as the source of all other dance forms.

In Khalkha Mongolian dances, themes often depict nature, homeland, fine horses, and heroic warriors. Movements by Khalkha women frequently incorporate elements of their daily labor—such as milking cows, carding wool, or spinning rope—into the dance.

The dances of Mongolia’s various ethnic groups form a significant foundation of Mongolian dance art. Among them, the Torguud people have preserved traditional dances like the “Agsal” and “Tsatsal.” The Agsal dance portrays the character of a heroic Torguud man. In the Dörvöd people’s “Dance with a Bowl,” women dance with smooth, trembling upper-body movements while balancing a bowl of milk on their heads without spilling—a unique trait of the dance. In general, the dances of Western Mongolia emphasize chest movements and are choreographed to be performed inside the circular space of a traditional ger (yurt), matching the spatial limitations.

Kazakh dances are characterized by rapid movements of the arms, head, and shoulders, with swift transitions between motions. Buryat dances like the “Khatir” also involve quick foot and head movements and are often accompanied by songs. Well-known communal circle dances among the Buryats include “Yoohor,” “Eekher,” “Eeremshikh,” and “Nirgelgee.”

Historical dances are based on historical themes and aim to authentically present the lifestyle, customs, ethics, and attire of the people to the audience. Ancient Mongolian court dances of the kings are included in this category, showcasing the culture of the ethnic groups of that era and incorporating the roots of folk dance.

According to the History of the Yuan Dynasty, Volume 21, ceremonial dances performed in the royal court included: “Dance of Reverence for Knowledge,” “Dance of Offering Liquor to the Heavenly Emperor’s Throne,” “Dance of Offering Liquor to the Earthly Spirits,” and “Dance of Offering Liquor at the Throne of Taizu.” Each of these dances had distinct choreographic sequences that would shift with every beat of the drum. In addition to these, there was a ritual dance called the “Dance of the Ancestral Temple,” which held both ceremonial and spiritual significance.

The earliest form of Mongolian dance is shamanic dance, while the final traditional form is the tsam dance. In monasteries, tsam dances were choreographed based on themes from ancient Mongolian oral literature. Before the revolution, apart from temple tsam, there were also secular dance performances. For instance, the “Eight Little Artistes,” an artistic troupe organized by Prince Tögs-Ochiryn Namnansüren (To Van) of the Khalkha, performed in monasteries like “Khamgiin Khamgaalagch” and “Tamsagiin Khiid.”

In the area of Gun Lake near Altanbulag soum, Selenge Province, there used to be a festival called the “Asar Naadam,” where women danced with colorful scarves in one hand and fans in the other while singing.

In the capital city, a dance known as “Sagar, Chogor” was performed. The word “sagar” is Tibetan for “circle the earth,” and “chogor” means “to praise and offer.” These dances originated in Tibet and were associated with folk traditions and the spread of Buddhism in Mongolia.

Classical dance evolved from folk dance and draws inspiration from the artistic elements of folk choreography.

In Mongolia, modern stage dances with distinct themes and movements developed early on. Notable examples include: Naadam, Wrestlers, Our Costumes, The Reindeer People, Festive Morning, Chestnut Hills, The Horseman, Two Youths, Fire Festival, Playful Kid Goat, The Skater, Whip Dance, and Shepherd Girl. These were choreographed and performed by renowned Mongolian dancers and choreographers such as Luvsangombo, Tserendulam, Gombo, Luvsangungaa, Radnaa, Ichinkhorloo, Sevjid, Majigsuren, Gochoosuren, and Nanjid.

Buuvei Duu (Lullabies)

Lullabies are ancient melodies that emerged and evolved alongside the formation of clans and tribes. They express the deep love and compassion between mothers and their children. In Mongolia, lullabies are categorized by regional styles such as the Borzigon lullaby, Central Khalkha lullaby, and Dariganga lullaby. The origin of lullabies is often associated with a legend about a wolf who raised an abandoned child, and it is believed that the term “buuvei” (the Mongolian word for “lullaby”) stems from the words “buu ai”, meaning “don’t be afraid.”

From their inception, lullabies have been sung in various versions. Often, the single word “buuvei” is repeated in a soft, melodic tone to soothe and lull infants to sleep. Sometimes, lullabies take the form of simple, rhymed verses sung gently, and as the baby starts to fall asleep, the melody softens into a low hum or murmur.

Children who grow up hearing lullabies tend to develop into compassionate, tender-hearted individuals. As a child grows past their first year, the lyrics of the lullaby become longer and more elaborate. There are numerous legends associated with lullabies. One such tale recounts:

Long ago, a mother named Zegsen Gua lived in the forest with her two sons. The elder brother was called Zeereldee Mergen, and the younger was still an infant when their mother passed away, leaving them orphaned. One day, a deer wearing a golden box around its neck came to their home. Zeereldee Mergen placed his baby brother inside the box and sent the deer on its way. The deer eventually reached the home of an elderly woman who had long wished for a child. It left the box at her doorstep and disappeared. Overjoyed, the old woman took the child inside and gently rocked him to sleep with lullabies.

Meanwhile, Zeereldee Mergen, longing for his brother, searched every home each evening. One night, as he passed the old woman’s home, he heard her singing:

“Zeereldee Mergen’s little one, buuvei, buuvei,
Zegsen Gua’s dear child, buuvei, buuvei…”

Realizing she was singing about his brother, he found him at last.

This story illustrates how Mongolian lullabies often contain meaningful verses, tales, and legends—highlighting that Mongolians would continue to lull their children to sleep with song well into early childhood.

Khoomei (Throat Dinging)

Khoomei is a traditional Mongolian vocal art form that dates back to ancient times, though the exact period of its origin remains unknown. It is considered a sacred expression of Mongolian folk music and is deeply intertwined with the lives, spirituality, shamanic practices, and nature-inspired worldview of various ethnic groups. Khoomei beautifully captures the Mongolian people’s reverence for nature, hunting traditions, and spiritual beliefs, often performed in harmony with the melodies of the morin khuur (horsehead fiddle), long songs (urtiin duu), and verses of praise or blessings (yerööls).

Some researchers describe khoomei as the “art of imitating sounds.” It continues to fascinate ethnomusicologists around the world. Many scholars believe that khoomei originated in the Mongolian lands, particularly around present-day Tuva. The Mongolian people’s tradition of honoring and living in harmony with nature played a significant role in shaping this art. Born from the people’s musical and poetic sensibility and their unique ability to sing using their throat, khoomei has developed into a richly diverse art form that has preserved its distinct identity across Mongolian regions. Today, Mongolian khoomei artists are highly respected internationally, especially those from Chandmani soum in Khovd province, where nearly the entire community is known to practice khoomei.

Khoomei is unique as a traditional art form because it uses dual sounds produced simultaneously by the human voice. Mongolian khoomei is categorized into four main types:

• Kharkhiraa khoomei – low, deep growling tones produced from the chest, resembling deep guttural vibrations.
• Isgeree khoomei – whistling tones made by resonating sound in the mouth cavity.
• Narmai khoomei – nasal tones generated through the nose.
• Shakhai khoomei – tightly pressed throat sounds with a baritone-like timbre.

Historically, camel herders are said to have practiced kharkhiraa-style khoomei, mimicking the sound of a mourning mother camel calling for her lost calf. The emotional, throaty cries of the camel gave rise to this form of throat singing.

Unlike Tuvan khoomei, which is typically non-lyrical, Mongolian khoomei often includes poetic verses. In some cases, lullaby-style verses are used. Today, khoomei is performed across a wide range of musical genres and can be adapted to accompany any instrument. It has become an integral part of Mongolian celebrations, customs, traditions, and everyday life.

According to legend:
In ancient times, a young orphan boy lived alone for three years in the foothills of a high mountain gorge. When the wind blew fiercely, it created echoing harmonies that resonated through the gorge in many tones and colors. Isolated and without human contact, the boy communicated only with the natural world around him—and nature, in return, responded. One day, he began to imitate the sounds echoing through the gorge. The wind carried his voice to the people, and from that moment on, this form of vocal expression became known as khoomei.

Bii Biyleg (Traditional Mongolian Dance)

Mongolian dance is inseparable from the cultural expression and emotional characteristics of the Mongolian people, and the traditional folk dance known as Bii Biyleg is a key embodiment of this connection. In the dances of Central Khalkha Mongolia, grace, dignity, and ceremonial composure dominate the movement, characterized by flowing, swaying gestures. In contrast, the dances of Western Mongolian ethnic groups—such as the Zakhchin, Torguud, Uriankhai, Dörvöd, Khoton, Bayad, and Ööld—feature sharp, energetic movements of the arms and upper body, along with shoulder shakes, pulses, and rhythmic body coordination.

Historical records, including The Secret History of the Mongols, indicate that Mongolians once performed sacred ritual dances with spiritual and devotional significance. The general style of Khalkha dance includes footwork and motions such as stamping, kicking, leaping, springing, arching, jumping, and turning. Spins and twirls are performed in various styles: steady spins, hopping spins, hooked turns, fluttering spins, and sweeping rotations. Arm movements include floating, undulating, and lifting gestures.

Bii Biyleg, in particular, emphasizes shoulder movements with various rhythmic strikes, lifting, rolling, flaring, casting, expansive sweeps, brushing casts, inward throws, and wing-like strokes. The dance also includes trembling and fluttering hand motions. Distinctive poses include kneeling, half-kneeling, and sitting upright, which form the basis of many choreographic elements. In traditional Bii Biyleg, the shoulders guide the arms, the chest supports the shoulders, and the legs balance the whole body—creating a harmonious unity of all parts in motion.

There are various regional forms of Bii Biyleg:

• Among the Zakhchin people, there’s the “Dance of Ten Fingers” (Arvan Khuruuny Biyleg).
• The Dörvöd perform dances like “Four Oirats’ Bii,” “Tsatsal” (Offering), “Mörgüül Elkhendeg” (Ritual Sway), “Labor Dance,” “Trot of the Steeds,” “Judari,” and “Shuvtrakh” (Spiral).
• The Khoton have the “Bilchin Kheeriin Bii,” the Uriankhai perform “Khatirgaan Bii” (Trot Dance), and the Torguud have “Khelkhee Agsal” (Linked Sway) and “Savardakh” (Palm Flick).

These diverse expressions of Bii Biyleg continue to preserve and transmit the values, emotions, and aesthetics of Mongolia’s nomadic heritage through dance.