The penultimate note of Rites of Eternal Wind brings together two solo performances by musicians whose practices, at first glance, belong to entirely different worlds — virtuoso kobyz player, kuyshi-baksy, and true legend of Kazakh traditional music Raushan Orazbayeva, and French-Iranian percussionist, electronic musician, and composer Cinna Peyghamy. Cinna Peyghamy works with the tombak — an ancient Persian drum — alongside a contemporary modular synthesizer, combining two seemingly incompatible musical languages. This approach reflects his dual identity as a member of the Iranian diaspora, born and raised in the French capital. For Kazakhstani audiences, Raushan Orazbayeva’s engagement with tradition requires little introduction: not only a musician but also a researcher, she has made a significant contribution to the preservation and development of kobyz performance practice and has long been recognized on the international stage. What unites them is a shared approach to cultural heritage as a living material — one that does not exist in a fixed form, but is continuously transformed through dialogue with the present. It is within this intersection that the central focus of Rites of Eternal Wind emerges: attention not only to how traditional musical practices continue to sound and evolve in a global context, but also to how this process can reshape the very fabric of the present. Cinna Peyghamy’s performance is supported by the Embassy of France in the Republic of Kazakhstan.