The author studies religious-powered women in the Turkic world, basing her researches on Uzbekistani otin-oys—whom she introduces as “women who have received a religious education and knowledge.” Her article aims at clarifying the relation between religion, poetry and singing in the specific “non-liturgical” context of the otin-oys’ rituals (oqish). Through several detailed ethnographic depictions and interviews, the author produces an outline of present-day women’s religious living in Uzbekistan. R. Sultanova extends her presentation to short samples from other Turkic-peopled countries or regions (Azerbaijan, Turkey, Northern Cyprus, Northern Tajikistan, Tatar-peopled regions of Russia). Her study offers a general vision of women’s religious rituals, as well as of female religious elders, whose literary portrait is completed by a number of translated poems and religious texts. One can regret the sparse and punctual nature of the data provided, and their superficial analysis—particularly on the transmission question, for the understanding of which the author provides interesting stories, yet awkwardly superposed with paragraphs on the general history of Islam and Sufism in Soviet Uzbekistan. Musical analyses are quite short and do not convincingly answer to this paper’s key issue, i.e. the relationship between the musical and the recitative characters in the otin-oys’ rituals.