Our People > Tamila Olzhbaekova

Tamila Olzhbaekova

Journalist

Tamila Olzhabekova is a journalist, award-winning illustrator, and a volunteer, curator and event organizer in the DOSTAR diaspora of Kazakhstan organization.
Prior to working for The Times of Central Asia, she has written for Peter Tv, First Line, Five Corners, Sport.Kz, and numerous other publications. A campaigner for interethnic harmony and the protection of stray animals, she studied at St. Petersburg State University.

Articles

Cyberbullying

Cyberbullying in Central Asia: What Legal Protections Are There?

Cyberbullying has long ceased to be merely an argument on the internet. Insults, harassment in chats, the publication of humiliating photos and videos, coordinated mockery, threats, and the spread of false information can cause harm comparable to offline violence. In Central Asia, the problem is becoming increasingly visible, but legal responses still vary significantly. As of 2026, Kazakhstan and Uzbekistan have incorporated bullying and cyberbullying into legislation more directly, while Kyrgyzstan, Tajikistan, and Turkmenistan continue to address such cases mainly through general provisions on insult, defamation, threats, child protection, and internet regulation. Kazakhstan has taken the most explicit legislative approach to cyberbullying. The law introduced an official definition: cyberbullying is understood as systematic actions, that is, actions committed two or more times of a humiliating nature against a child, including persecution and intimidation using internet resources. The law also grants a citizen or the legal representative of a child the right to submit a complaint to the authorized body regarding instances of cyberbullying against a child, specifying the relevant internet resource. At the same time, laws on children’s rights and education have formally incorporated the concept of child bullying, including acts committed through media and telecommunications networks. A further step was taken in 2024, when Article 127-2 (“Bullying of a Minor”) was added to Kazakhstan’s Code of Administrative Offenses. It provides for a warning or a fine, with higher penalties for repeated violations within a year. In December 2024, Kazinform reported that Kazakhstan became the first country in Central Asia to establish specific liability for the bullying and cyberbullying of children in a separate legal provision, which entered into force on June 16, 2024. It is also significant that the provision is now being applied in practice. According to data released in February 2026 by the Deputy Chair of the Committee for the Protection of Children’s Rights, around 200 cases of bullying and cyberbullying against children had been recorded in 2025. This figure is important not only in itself; it indicates that the state has begun systematically recording such incidents and that victims and their families are more likely to seek protection. The main strength of the Kazakh model is its clarity. The law explicitly defines the problem, outlines complaint procedures, and establishes specific liability. Its main limitation lies in implementation: as with domestic violence legislation, effectiveness depends on how prepared schools, parents, law enforcement, and online platforms are to apply it in practice. Uzbekistan: Cyberbullying Within the Child Protection Framework In Uzbekistan, there is no separate legal provision titled “cyberbullying,” but the country has taken a significant step in terms of child protection. The Law “On the Protection of Children from All Forms of Violence,” adopted on November 14, 2024, and in force since May 15, 2025, explicitly recognizes bullying as a form of violence against children. The law defines such violence as actions, including those carried out through telecommunications networks and the internet, that cause or may cause physical or psychological harm. The definition of bullying explicitly includes...

2 days ago

Stalking

Stalking in Kazakhstan: Why People Have Only Started Talking About It Now

Until recently, stalking in Kazakhstan was widely perceived as something more typical of movies, TV dramas, or social media discussions than of everyday life. Persistent phone calls, dozens of messages, or being followed near one’s home or workplace were often not seen as a serious threat. Such behavior was frequently excused with phrases like “he just can’t let go,” “he’s just being too persistent in courting her,” or “that’s how he shows his feelings.” But in recent years, attitudes toward this issue have begun to change, and on September 16, 2025, amendments came into force in Kazakhstan, introducing a separate Article 115-1, “Stalking,” into the Criminal Code. Under this article, stalking is defined as the unlawful pursuit of a person, expressed in attempts to establish contact with and/or track them against their will, without the use of violence, but causing substantial harm. What Exactly Is Considered Stalking? In practice, stalking is not limited to following someone on the street. Kazakhstan’s Ministry of Internal Affairs includes repeated phone calls, constant messaging, intrusive attempts to establish contact, harassment through social media, and other actions against a person’s will in this category. Official explanations also state that stalking may include threats, insults, defamation, online surveillance, reading private correspondence, monitoring through cameras, and GPS trackers. All of this causes fear, anxiety, and a sense of insecurity. For a long time, society did not view stalking as a separate problem for several reasons. First, many people still held the dangerous belief that persistence is almost normal, especially in the context of former relationships or attempts to “win over” someone’s attention. Second, psychological harm was often underestimated: if there were no bruises or obvious physical violence, it was assumed that there was no serious problem. Third, before a separate article appeared in the law, it was harder for people to explain exactly what was happening to them and why it deserved a legal response. The introduction of a clear legal norm helped call the problem by its proper name, and this matters not only for the police and courts, but also for the victims themselves. What Changed After the Law Was Adopted? In reality, stalking is not about feelings and not about “love that is too strong.” Its purpose is control, intrusion into another person’s personal boundaries, and forcing one’s presence upon them. The Ministry of Internal Affairs directly emphasizes that such actions cause serious harm to personal safety and psychological well-being. Stalking causes fear, stress, and anxiety about one’s life and health, and in some cases may escalate into more serious crimes, including violence, bodily harm, or property damage. The introduction of Article 115-1 showed that the state no longer regards intrusive harassment as something minor or as “a private story between two people.” The penalties for stalking include a fine of up to 200 monthly calculation indices (MCI), community service for up to 200 hours, or arrest for up to 50 days. If the harassment is accompanied by violence, threats, blackmail, or the unlawful...

1 week ago

TCA Interviews

Contemporary Theater in Kazakhstan: Between Tradition and Experiment

Contemporary theater in Kazakhstan is undergoing a period of active development, balancing the preservation of cultural heritage with the search for new forms of expression. The Times of Central Asia spoke with Abai Kazbayev, an actor at the Zhambyl Regional Russian Drama Theater who is currently studying acting and directing, about how the theater scene is evolving, the challenges faced by actors and directors, and why experimentation has become essential. TCA: Tell us about yourself. How did your journey into theater begin, and what influenced your decision to become an actor? Abai: I entered the profession through my love of cinema. At first, I took part in crowd scenes, and then I became fascinated with the filmmaking process itself. To deepen my involvement, I joined a private theater on the recommendation of friends. There, I had the opportunity to work with Saulius Varnas from Lithuania, as well as with professionals such as Marat Amirayev and Altynshash Shayakhmetova. Today, I'm studying acting and directing at university, while also working at the Zhambyl Regional Russian Drama Theater. TCA: How do you assess the current state of contemporary theater in Kazakhstan? Abai: If we distinguish contemporary theater from traditional formats, most such productions are concentrated in Almaty. In other cities, theater tends to follow a more academic style, although there are exceptions. Personally, I'm drawn to how contemporary theaters reinterpret and reimagine classical works. This approach attracts both new and more discerning audiences. TCA: What makes Kazakhstani theater distinctive compared to that of other countries? Abai: Its uniqueness lies in the combination of cultures. We have European forms, ballet and opera, alongside contemporary interpretations, including those inspired by Bulat Ayukhanov. On the one hand, there are traditional productions about khans and batyrs; on the other, there are stories such as that of a boxer in Almaty in the 1980s, a stage adaptation of Martin Scorsese’s Raging Bull. TCA: How can contemporary theater preserve national traditions while remaining engaging for younger audiences? Abai: Through experimentation. For example, last year in Taraz, a sound drama based on Alexander Grin’s novella Scarlet Sails was staged. It offered a new interpretation: some lines were delivered in Kazakh, and Captain Grey’s song was also performed in Kazakh. It was an attempt to reflect Kazakhstan’s multiculturalism. Interestingly, the production was staged by students from GITIS in Russia. I believe such experiments help attract younger audiences while preserving national traditions. TCA: How important are elements of national culture, language, music, and folklore in today’s productions? Abai: There's currently a broader trend across the arts of returning to cultural roots, and theater is no exception. Every culture seeks self-identification. In cinema, folklore characters are widely used, particularly in the horror genre. In the theater, however, folklore tends to remain within traditional productions and is often treated with a sense of reverence. At the same time, it is worth mentioning the ballet Aldar Köse at the Abai Kazakh National Theater of Opera and Ballet in Almaty. TCA: How do you view experimental...

2 weeks ago

TCA Interviews

How Kazakhstan’s Animation Industry: An Interview with an ARA Studios Co-Founder

Kazakhstan’s animation industry is gradually developing despite a number of persistent challenges. The Times of Central Asia spoke with Bakytzhan Shabdukarimov, co-founder of ARA Studios, about how the team was formed, the difficulties animators face today, and how he views the future of the industry. TCA: How did the idea to create ARA Studios come about? Bakytzhan: The studio has two co-founders: Bakytzhan Shabdukarimov, that’s me, and Meirzhan Sandybay. The idea first emerged in 2017, and the studio was officially established in 2018. Before that, we worked on the project Shyraq. Last year, we had to disband most of our team after joining the animated series Säbi for the Balapan TV channel. That’s when we began transitioning to 3D projects. Originally, the studio focused more on 2D, while I personally worked in 3D. Over time, we fully shifted toward 3D production. TCA: Who is behind the studio and how many people are on the team? Bakytzhan: Right now, the core team is essentially just the two of us. But last year, we had more than 20 people. Unfortunately, projects and orders suddenly stopped, and it became difficult to maintain a large staff. So we switched to a new format, an online studio. We used to rent an office and maintain a large in-house team, but that has recently become too challenging. Now our team works remotely, and we come together when we take on larger projects. TCA: Which projects do you consider the most important? Bakytzhan: Of all our projects, Maqta Qyz remains the most important because it’s our flagship and we continue to develop it. But in reality, all our projects matter to us; each one has contributed to our growth and given us valuable experience. Our YouTube channel is active, and we’ve gained around 7,000 subscribers organically, without advertising or targeting. We plan to keep releasing new episodes and possibly expand into merchandise in the future. TCA: How is the animation industry developing in Kazakhstan today? Bakytzhan: Honestly, I haven’t been closely following all industry developments lately, but from what I can see, progress is slow. The industry remains relatively small; there is hardly a fully developed market. Most studios either work on government commissions from the Ministry of Culture or collaborate with “Qazaq Animation,” which allocates funding annually for short films, with the aim of developing them into larger projects. Other studios, including independent teams, focus on commercial work, advertising both domestically and internationally, as well as short films. At the same time, we do have strong 2D and 3D specialists and talented teams. TCA: Is there any support for animation studios? Bakytzhan: Yes, there is some support. As I mentioned, part of it comes through “Qazaq Animation.” There is also a new creative fund being launched that will support not only animation but the broader creative industries, film, music, and dance. Private funds are also emerging. For example, there are initiatives involving private investors and financial institutions. However, they mostly invest in feature live-action films. I’ve...

2 weeks ago

TCA Interviews

“Ornament Is a Language”: How a Tattoo Artist from Almaty Turns Culture into Art on Skin

Almaty-based tattoo artist Saltanat Kuanova, known under the pseudonym tana.creator, is among those reinterpreting traditional culture through contemporary art. In her work, Kazakh ornaments become more than decorative elements, they form a complex system of symbols, personal stories, and cultural memory. The Times of Central Asia spoke with her about why Kazakhstanis are increasingly choosing national motifs, how attitudes toward tattoos are changing, and whether tattooing can serve as a means of preserving identity. Path into the Profession TCA: When and why did you start practicing tattoo art? Saltanat: I became interested in tattoos at around 14. Even then, I had a clear sense that it was “mine.” It wasn’t just curiosity, I immediately knew I wanted to become a professional in this field. At 16, I began tattooing. By that time, I had already studied the theory, watched videos, and understood the process, so I was well prepared for formal training and quickly started working. After completing my training, I was offered a position at a studio. That was important because it provided a steady flow of clients, and my work stood out. I worked there for about three years before moving into independent practice. I have now been working independently for more than five years. I’ve gained experience in different studios, and today I have my own private workspace in Almaty and manage bookings through Instagram. TCA: Do you remember your first work? Saltanat: Of course. It was a small tattoo with Roman numerals that I did for a friend during my training. She came as a model to support me, and honestly, I was more nervous than she was. My first paid piece left an even stronger impression it was a wolf with a dreamcatcher. That was the moment I first felt real responsibility toward a client. At the same time, I was surprised that I could actually earn money from this. Even now, years later, I don’t feel like I’m “already a pro.” It’s an ongoing process; there is always room to grow. [caption id="attachment_46606" align="aligncenter" width="225"] @instagram.com/tana.creator[/caption] Working with Kazakh Ornaments TCA: When did you start working with Kazakh ornaments? Saltanat: It happened gradually. At some point, I realized that ornament is not just a pattern, it’s a full-fledged language. It has structure, logic, even “grammar.” Everything matters: the shape, the number of elements, the color. Even a small detail can completely change the meaning of a piece. TCA: Who usually comes for such tattoos locals or foreigners? Saltanat: Primarily Kazakhstanis and, more broadly, representatives of Turkic peoples, Kyrgyz, Uzbeks, Tatars. But there are also many foreigners, and their number is growing. I tend to group them into categories. The first group includes people who come to Kazakhstan for work or travel and want a lasting memory of the country. The second consists of those who have a partner from Kazakhstan. They come together and, through tattoos, connect with each other’s cultures. The third and most touching category is people who were adopted abroad as...

3 weeks ago