Cultural Heritage - The Times Of Central Asia

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Islamic Civilization Center

Opening the Islamic Civilization Center in Tashkent: A New Landmark of Memory, Scholarship, and National Identity

With its public opening scheduled for March 17, 2026, the Islamic Civilization Center in Tashkent is emerging as one of the most consequential cultural projects in contemporary Uzbekistan. Conceived under President Shavkat Mirziyoyev’s initiative first announced in 2017, the Center presents itself not simply as a museum but as a national statement about memory, scholarship, and identity. The Center’s own mission describes it as a bridge between the Golden Age and New Uzbekistan, linking a rich spiritual and scientific inheritance with the country’s modern aspirations. In that sense, the opening is not only an institutional debut; it is a carefully staged declaration of civilizational confidence. The setting reinforces that message. The complex rises in Tashkent’s historic Hast-Imam area, at Karasaray 47 in the Almazar district, where architecture itself is part of the narrative. The official site says the building’s 65-meter dome and four portals symbolize the unity of Uzbekistan’s regions, turning the Center into a monument as much as a museum. From the outside, the structure is meant to signal national scale; from the inside, it is designed to draw visitors into a journey through faith, science, and statehood. The opening therefore introduces not just a new institution, but a new symbolic landmark for the capital. What makes the Center distinctive is the scope of its ambition. Official descriptions emphasize that it is more than an exhibition venue: alongside museum halls, it includes a library, restoration and digitization laboratories, research departments, and archival storage. That institutional mix matters. Rather than treating Islamic civilization as a fixed inheritance locked behind glass, the Center is built to keep knowledge active through conservation, scholarship, and public interpretation. It is a museum-research hybrid with an international educational focus, drawing inspiration from historical centers of learning such as Baghdad’s House of Wisdom, the Khorezm Ma’mun Academy, and Ulugh Beg’s madrasah in Samarkand. At the spiritual and architectural core of the complex is the Qur’an Hall. The official website describes it as the largest and most majestic section of the building, as well as the conceptual heart of the entire project. At its center stands the 7th-century Mushaf of Uthman, preserved beneath the great dome and recognized by UNESCO’s Memory of the World Register. The hall also features a gallery of 114 Qur’ans tracing the evolution of Islamic calligraphy, and the Center says the space is designed not only for display but also for contemplation, with continuous Qur’an recitation planned inside. The result is an opening centered on reverence as much as spectacle. Beyond the Qur’an Hall, the Center organizes Uzbekistan’s civilizational story along a long historical arc. Its exhibition program moves from pre-Islamic heritage through the First and Second Renaissances and into New Uzbekistan, combining rare objects with replicas, models, 3D technologies, audiovisual tools, and other modern display formats. The Hall of Honor, one of the site’s highlighted spaces, contains 14 arches depicting key events in Central Asian history and interactive panels linked to a digital platform with avatars of more than one hundred thinkers...

TCA Interviews

TCA Interview: Musician Merey Otan on the Reinvention of Kazakh Musical Instruments

Until recently, Kazakh national instruments were largely associated with school concerts, folk ensembles, and official ceremonies. The dombra (a long-necked, two-stringed plucked instrument), kobyz (a bowed string instrument with two horsehair strings), and sybyzgy (a wooden end-blown flute traditionally made from apricot wood) seemed to occupy a separate cultural space: symbolically important, yet detached from everyday life. “Before, the dombra was for me only part of school concerts,” recalls Sanzhar Uvashev, 24, a sales specialist from Almaty. “It was brought out on holidays, people dressed in national costumes, played a couple of obligatory songs, and that was it. I never thought this instrument could sound different, or be part of contemporary music.” Today, that distance is steadily narrowing. The sound of the dombra is increasingly featured in contemporary original music, electronic compositions, film scores, and social media. Young musicians are not abandoning tradition, but they are no longer treating it as something frozen in time. To understand how this rethinking is taking place, and why tradition need not remain 'untouched', The Times of Central Asia spoke with Merey Otan, a researcher and musician who works with Kazakh instruments in a modern cultural context. ТCA: Merey, how did your study of national instruments begin? Was it a deliberate decision? MO: It started during my master’s studies, when I was writing a thesis on contemporary music in Kazakhstan. As part of that research, I interviewed the ethno-rock band Aldaspan and kobyz player Almat Saizhan. I was especially interested in how the dombra and kobyz were being transformed and modernized and eventually devoted a whole chapter of my work to this topic. So yes, it was a conscious choice. TCA: People often argue that tradition should be preserved in its original form. What’s your take on that? MO: I’ve heard that view often, especially from traditional musicians. Some believe, for example, that an electronic dombra desecrates the instrument. Given the sacred meaning of the dombra and kobyz, I understand that stance. In sociology, these people are sometimes called purists. But I disagree. The world is changing, and some traditions from the nomadic era have lost their relevance or even become barriers. I believe traditions can, and sometimes should, evolve. If modifying an instrument helps engage younger generations, why not? TCA: Where do you personally draw the line between respect for heritage and experimentation? MO: I see nothing wrong with experimentation. On the contrary, bands like Steppe Sons show deep respect for heritage. Their members have formal musical education and a strong grounding in tradition. However, it's important to consider the concept of cultural appropriation from postcolonial theory. This occurs when privileged groups use the culture of marginalized communities for personal gain. In music, this might look like a Western artist profiting from Kazakh instruments without acknowledging Kazakh musicians. That, in my view, is disrespectful. TCA: Is there still criticism about the “incorrect” use of traditional instruments? MO: Yes, certainly. When Aldaspan introduced the electronic dombra, public figures like Bekbolat Tleukhan were highly critical....

Intellectual Property Rights

American Scholar Mark Reese Fights Intellectual Property Theft of Uzbek Classic ‘Bygone Days’

When American scholar Mark Reese set out to share Uzbekistan’s most celebrated novel with the world, he never imagined that his work would be pirated by the very institutions he had hoped to support. Reese, who first came to the country as a Peace Corps volunteer in the 1990s, spent more than a decade translating O‘tkan Kunlar (Bygone Days), the seminal 1920s novel by Abdulla Qodiriy. His English edition was a scholarly milestone – the first time the novel, considered Uzbekistan’s literary classic, had been made accessible to English-speaking readers. The book was warmly received. In 2019, Reese was awarded the Uzbek state’s Order of Do‘stlik, or Friendship, for his contribution to cultural understanding. During a follow-up visit the next year, he gave signed copies of the book to universities and ministries across the country. “All parties asked how they could support my work,” he tells The Times of Central Asia. “I presented a copy and explained that they could purchase more at a steep discount.” Each donation came with a clear stipulation: the book was not to be copied, resold, or distributed further. For a time, the project seemed to blossom. Uzbek students used the book in academic papers. One university even adapted it into an English-language stage play. Reese granted permission for such use, as long as it remained non-commercial and he was credited. By 2021, he had entered a publishing partnership in Tashkent and was preparing to distribute 5,000 official copies in 2026. Agreements to publish in Turkey and Qatar were also underway. Then, quietly, the book escaped his hands. Reese learned from students in the Ferghana Valley that a full PDF of the translation had been uploaded to the Telegram channel of a university library. When he opened the file, he recognized something chilling – his own handwriting on the inside cover. The scan had been made from a gifted copy. It was high-resolution and clearly done using professional equipment. The source of the leak soon became clear. The rector of Uzbekistan’s State World Languages University, known locally as Jahon Tilli, confirmed in an interview that his vice rector had scanned the book as part of a digitisation initiative. “They did so without my permission,” Reese said. “And the file was then shared with 1.3 million university students and 6.3 million school students.” The book was everywhere – on servers, in group chats, on flash drives. In at least one case, students tried to send the file to a printer and sell it. Reese took the case to court. The verdict was in his favour: the court ruled that copyright theft had occurred. But instead of holding the university responsible, the judge placed the blame squarely on the vice rector. Reese believes this was a calculated move. “It’s a common ploy to reduce damages,” he said. “I’m now expected to sue the individual for up to $30,000, but courts usually award just 20 to 40 percent of that.” This, for Reese, is the deeper problem. There...

Cultural Heritage

Kobyz Musical Instrument and Karakalpak Yurt Added to UNESCO Heritage List

At the 20th session of the UNESCO Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage, held in New Delhi from December 8-13, Uzbekistan’s nominations for the kobyz musical instrument and the Karakalpak yurt were officially approved for inclusion in the UNESCO Intangible Cultural Heritage List. As part of the application process, researchers documented the historical and cultural significance of the zhyrau (oral storytellers), whose performances are traditionally accompanied by the kobyz. A documentary film was also produced in Karakalpakstan, an autonomous republic within Uzbekistan, highlighting the craftsmanship involved in making the kobyz. The nomination emphasized the urgent need for preservation, citing a steady decline in the number of artisans who know the tradition. The kobyz is an ancient, bowed string instrument originating among Turkic peoples, with historical roots dating back to the 5th-8th centuries. Its haunting sound traditionally accompanies zhyrau performances and remains prevalent in both Karakalpakstan and Kazakhstan.

World Nomad Games

Kyrgyzstan Secures Exclusive Rights to World Nomad Games Brand

On December 9, Kyrgyzstan officially received the exclusive rights to the World Nomad Games trademark in a formal handover ceremony attended by Chairman of the Cabinet of Ministers Adylbek Kasymaliev. Over the years, the Games have evolved into a major international festival showcasing Central Asia’s rich cultural traditions through events featuring birds of prey, equestrian sports, traditional wrestling, archery, and displays of physical skill and endurance. The rights were transferred by Askhat Akibayev, the founder of the World Nomad Games and former Plenipotentiary Representative of the Kyrgyz Government in the Issyk-Kul region. Kasymaliev praised Akibayev’s foundational role in developing the Games into a globally recognized cultural and sporting event. “Over the past decade, the World Nomad Games have become one of the largest global platforms for promoting ethnic culture, the values of nomadic civilization, and traditional sports,” he said. “Today, this project is a true national brand for Kyrgyzstan, the flagship of our state’s cultural diplomacy, and an important symbol of our international authority.” Launched by Kyrgyzstan in 2012, the World Nomad Games aim to revive and preserve the cultural heritage of nomadic civilizations. The inaugural Games were held in September 2014 in the resort town of Cholpon-Ata on the shores of Lake Issyk-Kul. Kyrgyzstan also hosted the second and third editions in 2016 and 2018. The 2022 Games were held in Turkey, and the 2024 edition took place in Kazakhstan. Kyrgyzstan will host the sixth World Nomad Games from August 31 to September 6, 2026. For more from our World Nomad Games 2026 special coverage, click here.

Creative Industries

Kyrgyzstan’s Creative Industries Park: Inside the Country’s Latest Artistic “Miracle”

Kyrgyz cinema in the 1960s to 1970s was sometimes referred to as the ‘Kyrgyz Miracle’, for the number of great pieces that were made during this time. This is still symbolic today, as the country is now in another ‘miracle’ era for the creative industries, which is setting an example not just for the Central Asia region, but globally. In 2023 Daniyar Amanaliev, Co-Founder of an art studio named ololo and Chairman of the Supervisory Board of the Creative Industries Park, told Deutsche Welle: “We have a very small country. When you start a business here, it's very difficult to start making money because the market is so small. And our innovators are people who are involved in creative businesses. Almost all of these companies have intangible products that cannot be stopped at customs or sealed in a warehouse. Everything is in people's heads, on computers, in the cloud, and this is exactly the kind of business model that can thrive in the Kyrgyz Republic”. This story starts with Ololo, a small art studio in Bishkek founded in 2016 by Daniar Amanaliev, Ainura Amanalieva, Atai Sadybakasov, and Victoria Yurtaeva. The initial idea was to change the lifestyle of Kyrgyz citizens, enriching their lives with different forms of art, and let them pursue the dreams of their youth. The studio provided a wide range of art classes with no age restrictions. The company soon switched its business model to operating creative hubs. Yurtaeva soon left the project. Fast forward nine years and in 2025 Ololo is the largest chain of creative hubs in Central Asia, with nine locations in Kyrgyzstan and an upcoming launch of their tenth location in Kazakhstan. In October 2021 Ololo was crucial to the launch of the Association of Creative Industries of the Kyrgyz Republic, together with eight other companies from the creative industries. Starting as a modest group, the association is now among the most active associations in the country, with over 50 member companies representing over 20 creative industries. In April 2022 the country’s President Sadyr Japarov signed an Order on the development of the creative industries. He even visited the very first Create4 creative industries festival later that year. Kyrgyzstan’s Creative Industries Park (CIP) came into being in summer 2022. Almost a year later, the relevant amendments to the national Tax Code were approved. In June 2023 a government order regulating the operations of the Creative Industries Park was adopted. And, finally, the register of industries exempt from taxes under the Creative Industries Park were defined in December of 2023. While it may seem easy from the outside, the Association of Creative Industries had to deal with significant pushback from various government agencies and officials, who did not believe in the potential of the creative industries. It took almost three years to complete the process and only in 2024, three years after the association was founded, did the Creative Industries Park become operational. In February 2024 a Supervisory Board was appointed. CIP’s Management was...