• KGS/USD = 0.01144 0%
  • KZT/USD = 0.00198 -0%
  • TJS/USD = 0.10901 0%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00198 -0%
  • TJS/USD = 0.10901 0%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00198 -0%
  • TJS/USD = 0.10901 0%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00198 -0%
  • TJS/USD = 0.10901 0%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00198 -0%
  • TJS/USD = 0.10901 0%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00198 -0%
  • TJS/USD = 0.10901 0%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00198 -0%
  • TJS/USD = 0.10901 0%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00198 -0%
  • TJS/USD = 0.10901 0%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
07 December 2025

Viewing results 1 - 6 of 77

TCA Interview: Author Judith Lindbergh on Her Novel “Akmaral”, Set on the Kazakh Steppe

In recent years, many international writers have written books about Kazakhstan. One of these is the American author Judith Lindbergh, whose latest historical novel, Akmaral, is set on the Kazakh steppe. TCA: The story of Akmaral is related to Central Asia, and particularly, Kazakhstan... JL: Absolutely correct. Akmaral is about a nomadic woman warrior on the Central Asian steppes in the 5th century BCE. It’s based on archaeology that many of your readers are likely familiar with: the Siberian Ice Maiden discovered in Tuva and the Issyk Golden Warrior of Kazakhstan. These two burials were just the beginning of my research, which also included the writings of the Greek historian Herodotus about the Amazon warrior women who fought in the Trojan War. I delved deeply into the history, landscape, and cultures of Central Asia, both ancient and modern. In writing my novel, I worked hard to understand how people lived, and still live, on the steppes: their traditional nomadic ways of herding and hunting, and especially how this ancient, often-forgotten culture fits into the broader story of human civilization. [caption id="attachment_38735" align="aligncenter" width="349"] Judith Lindbergh[/caption] TCA: How did the idea to write such a novel come about? JL: It all started with a documentary about the Siberian Ice Maiden. I love ancient history and archaeology, especially when they reveal truths about women’s lives. The Ice Maiden burial was fascinating. Her body was so well preserved that I could almost imagine her standing before me. I wanted to understand how she might have lived, and to uncover the mystery of why she was buried in such an isolated place. As I continued my research, I realized that she was not the only important female burial from that era in Central Asia. There were, in fact, countless others. Many women who had died of war wounds were buried with weapons. I began combining these burials in my imagination to create my main character, Akmaral, which I learned means “White Deer.” The name felt connected to the Siberian Ice Maiden’s famous tattoo, which became an important spiritual symbol in my novel. I used extensive research to try to accurately represent what life might have been like for these ancient women. In historical fiction, as in history itself, women rarely play significant roles in public life. Yet these artifacts and burials show us that many nomadic women once held important military and spiritual positions.   There are almost no works written in English about nomadic peoples, including the real life and history of the Kazakhs. In fact, nomads were people who lived freely and truly in their time. And now we are not able to glorify their values, their way of life. What do you think about this? You’re right that there’s very little written in the West about the Sarmatians, or really much about Central Asia at all. I wanted to bring my fascination with this vital, “forgotten” part of history to new readers. In many ways, it can be hard for modern...

AI Creator Ilona Brazhnik on Kazakh Myths and Creative Freedom

Alena Brazhnikova, better known by her pseudonym Ilona Brazhnik, is in many ways a product of her time. A decade ago, she was transferring art onto skin as a tattoo artist. Today, she creates viral videos powered by artificial intelligence, bringing to life mermaids, Zvezdy, and mythological girls with hooves and wings, symbols of a digital era in which neural networks replace paintbrushes, yet the pursuit of beauty, meaning, and freedom remains unchanged. TCA: Ilona, did your artistic journey begin with tattooing? Brazhnik: Yes, it all started rather quickly. When I began, there weren’t many artists in Karaganda, a mining town in central Kazakhstan, offering the style I worked in. At the time, "old school" tattoos with bold, rough lines were popular. But I wanted to explore subtlety, fine lines, and detailed work. Inspired by European artists, I posted an ad online. Within a month, I was fully booked for the next three months. My client base grew on its own because I was offering something different. TCA: Are there particular tattoo motifs that resonate with you? Brazhnik: I wouldn’t say I have one favorite. I rotate motifs regularly to avoid burnout. But I do love working with thin lines and soft dot shading, it gives the image depth and detail. [caption id="attachment_38469" align="aligncenter" width="417"] @ilona_brazhnik[/caption] TCA: The tattoo trend seems to have quieted. Is that your impression too? Brazhnik: Absolutely. The hype has passed. There was a time when everyone was getting tattooed just for the sake of it. Now, people are more thoughtful. They take their time, consult with others, and carefully choose their designs. The “everyone’s doing it, so I will too” trend ended around eight years ago. TCA: You’ve transitioned to AI and now earn money creating videos? Brazhnik: You could put it that way. There’s definitely demand for AI-generated content. But I didn’t start doing it for the money, I just found it interesting. When people started to respond positively to my work, I thought, why not? TCA: Your videos are visually striking. How much does a project like that cost? Brazhnik: It depends on the complexity. Is it a brand advertisement or a fantasy story? Do you need to showcase clothing, jewelry, or a specific location? Will the same character appear throughout? And of course, duration matters. I can only quote a price once I receive the technical brief. TCA: Are brand commissions more expensive? Brazhnik: Not necessarily. I never charged tattoo clients more just because they could afford it. It depends on the task. Brand work is usually more technically demanding. AI doesn’t like repetition; it redraws objects each time, so logos, packaging, and inscriptions often need to be added manually. I once made a video where glasses were disassembled into ornaments and then reassembled. When asked to replicate it, it took 20-30 failed attempts. AI just doesn’t do “exactly the same.” TCA: Did you start making videos to grow your TikTok and monetize content? Brazhnik: In Kazakhstan, you can’t earn money from...

Kyrgyzstan Adopts Snow Leopard as National Symbol, Unveils Official Logo

On October 23, International Snow Leopard Day, Kyrgyzstan’s Cabinet of Ministers officially designated the snow leopard as the country’s national symbol and approved an official logo along with usage guidelines. The move follows a presidential decree issued in December 2023 recognizing the snow leopard as a national emblem. The Cabinet has tasked the Ministry of Natural Resources, Ecology, and Technical Supervision with developing an action plan to protect the species and its habitat. Snow leopards are considered a key indicator of ecological health in mountainous regions across 12 Asian countries, including Kyrgyzstan. The nation has played a prominent role in global conservation efforts, most notably by spearheading a UN General Assembly initiative that led to the establishment of October 23 as International Snow Leopard Day. Kyrgyzstan has also created the Ak Ilbirs Ecological Corridor in the Issyk-Kul region. Spanning more than 792,000 hectares, the corridor links major protected areas including Khan-Tengri State Nature Park, Sarychat-Eertash Nature Reserve, and Naryn Nature Reserve. The initiative aims to preserve habitats for snow leopards and other endangered species while promoting sustainable resource use. To mark the occasion, Bishkek also hosted the “Business, Ecology, and Sports - Ak-Ilbirs 2025” forum, which convened government officials, business leaders, sports organizations, and civil society representatives. The forum promoted the conservation of high-mountain ecosystems and introduced branding strategies positioning Kyrgyzstan as the “Country of the Snow Leopard.” According to a global assessment conducted from 2020 to 2024 under the Global Snow Leopard and Ecosystem Protection Program (GSLEP), Kyrgyzstan’s snow leopard population is estimated at 285 individuals.

East Kazakhstan Falconry Festival Brings Together Guardians of Steppe Traditions

The fifth International Falconry Festival was held this month in East Kazakhstan, bringing together falconry masters and custodians of ancient culture from seven countries. A Festival That Brings the Steppe to Life Traditionally held in Ulan district near the village of Bozanbay, the event, also known as Shygys Salburyny, drew more than 100 participants, including falconers and cultural figures from Kazakhstan, as well as guests from Spain, Hungary, Russia, Mongolia, China, and Kyrgyzstan. [caption id="attachment_37948" align="aligncenter" width="1280"] @TCA[/caption] Shygys Salburyny is a celebration of nomadic civilization, where customs and crafts are revived, ancestral songs are sung, ancient rituals performed, and golden eagles once again soar over the steppe. Every gesture of the participants reflects respect for the past, for the harmony between humans and nature, and for the spirit that nurtures strength and nobility. 'Berkutchi' and Golden Eagles: Guardians of the Sky and Steppe For as long as the Kazakh steppe has existed, golden eagles have ruled its skies. Revered for their strength and freedom, their cries louder than the wind, their flight graceful over mountains and rivers, the birds inspired the development of sayat, the art of hunting with birds of prey. From this tradition emerged the berkutchi, a unique brotherhood of falconers. A berkutchi is more than a hunter. He understands nature’s rhythm, reads the wind’s breath, and senses his bird’s mood. The bond between falconer and eagle cannot be imposed; it must be earned. Historically, hunting with golden eagles was a matter of survival, especially in the harsh winter months when eagles provided both meat and feathers for warmth. Over time, sayat evolved into a symbol of spiritual strength, courage, and reverence for nature. A true berkutchi was revered like a batyr, a warrior, respected for his calm, fairness, and poise. [caption id="attachment_37950" align="aligncenter" width="1280"] @TCA[/caption] Training a young eagle is an intricate art, requiring patience and reverence. Eaglets are taken from the nest and slowly trained to accept the falconer’s hand and voice. Trust is built gradually, as the bird learns to recognize and respond to its handler. Every detail is vital from hand movements to shadows on the ground. Before a hunt, the falconer dons an iyanga (sturdy glove) and fits a tomaga (leather hood) on the bird’s head to block light until the moment of release. A whispered prayer to the spirits of the steppe precedes the flight, reminding all that hunting is not conquest, but a respectful exchange with nature. Sayat Today The sayat tradition endures in many parts of Kazakhstan, but East Kazakhstan remains its heartland. “Not every bird flies in immediately,” said Daniyar Nurbek, chief judge of the festival, speaking to The Times of Central Asia. “What matters isn’t force, but mutual understanding. There must be a deep, almost spiritual bond between hunter and eagle, it cannot be commanded, only nurtured.” [caption id="attachment_37951" align="aligncenter" width="600"] @TCA[/caption] Youngsters and Masters The festival welcomed both seasoned falconers and novices. Among them, seven-year-old Abdurashid Mamyrkhan drew particular attention. His father, Mamyrkhan Manayuly, explained that...

Touching Fairy Tales: In Ust-Kamenogorsk, Books Are Knitted, Sewn, and Brought to Life

At the A.S. Pushkin Library in Ust-Kamenogorsk, East Kazakhstan region, reading has become a tactile adventure. Here, books aren’t just read, they’re knitted, sewn, and handcrafted. Librarians have discovered a magical way to ignite children’s interest in reading: through tactile books that can be touched, flipped through, and even assembled. “The main thing is to find an approach to each child. Even if they haven’t been encouraged to read at home, we can change that in the library,” says Dinara Mergenbayeva, head of the Center for Knowledge. The idea was born from a desire to make books more relatable. “Who says children don’t read? They do, and with great curiosity! They just need something new, lively, and emotional,” she explains. Knitted Books and Soft Stories The library’s first knitted book was a Kazakh-language version of the alphabet primer Әліппе, inspired by Kulmay Sembayeva’s Aripler aleminde (“In the World of Letters”). Each letter is paired with a poem and a small, crocheted animal or object, which children can pull from pockets and explore. “For example, the letter A, next to it are an akhu (swan) and an ayu (bear). We knitted and cut out all the figures ourselves. The materials came from our homes. Even the cover was made from my old suede boots, they’ve found a second life now,” one librarian shares. Another handcrafted creation is Pushkin’s The Tale of the Fisherman and the Fish. In this interactive version, characters can be moved around, allowing children to change the course of the story. Kids act out scenes, invent new endings, and immerse themselves more deeply in the narrative. [caption id="attachment_37026" align="aligncenter" width="355"] @Yulia Chernyavskaya[/caption] There’s even a trilingual crocheted edition of Abai’s The Seasons, in Kazakh, Russian, and English. Its pages include trees, snowflakes, flowers, and ladybugs, all detachable and fastened with buttons. Children can “switch” winter to spring, collect leaves, or “scatter” snow, transforming play into reading. “This helps develop fine motor skills, imagination, and a love of books. The key is to keep it interesting,” notes Mergenbayeva. Books You Won’t Find Anywhere Else Each tactile book is handmade, with production times ranging from three weeks to six months. The entire library staff is involved, from brainstorming to material selection and testing books with children. Special editions are created for older students, including a large-format album commemorating Abai’s 175th anniversary, with sections titled “Abai the Writer,” “Abai the Philosopher,” and “Abai the Musician.” “If a child remembers even one illustration, that’s a success. A book should leave an impression, visual, emotional, any kind,” says a librarian. Each edition includes a QR code linking to a digital version in the library’s electronic collection. When Children Bring Their Parents At Pushkin Library, reading is a family affair. Every Saturday features shared reading sessions, reinforcing the tradition of reading together. “The youngest children come with their parents, and later they’re the ones dragging them back. Kids literally pull their moms and dads to the library,” Mergenbayeva smiles. For teenagers, there’s the Literary...

Silk Road Shipwrecks: Virtual Museum Opens Maritime Section

One of Central Asia’s most engaging new cultural projects took on a new dimension last month. The Silk Road Virtual Museum, an online collection of over 20 exhibitions of pre-16th-century Eurasian life and art, has recently opened a section for the ancient trade route’s maritime history. An initiative by the Institute of Asian Studies at Leiden University in the Netherlands, the site allows visitors to move through themed rooms, just as they would wander through a physical museum. Beginning on a map of the world on the museum’s homepage, visitors click on the Silk Road locations that they wish to discover. Each pin on the map takes them to a video replicating a guided tour of art and artefacts from that place at a certain historical era. Just as in a real museum, each exhibit has an information panel explaining what the object is. Life on the Central Asian parts of the Silk Road is shown in exhibitions to Sogdian traders in Samarkand (6th-8th centuries), with camels often featuring in their ceramic art, and a room dedicated to ancient caravanserais (inns that provided lodging for travellers), including at Tash Rabat in Kyrgyzstan. Launched in 2024, the Silk Road Virtual Museum already displays over 1,300 objects in total. Their geographical reach mainly stretches from Venice to China, as the Silk Road is often imagined today – but there are collections from places as unexpected as Sweden and Indonesia.  With the launch of the maritime section on 16 September, their scope now spans seas as well as deserts. Virtual visitors can travel along the coasts of the Indian Ocean, where there are already seven shipwreck exhibitions, each with its own unique story. The project is managed by VirtualMuseum360 and supported by an international network of scholars, who aim to make the Silk Road’s many eras and strands accessible to people wherever they are in the world. The web pages have two advantages over traditional museums, in that they are free to access and open 24/7.  Leading the Silk Road Virtual Museum (SRVM) is Professor Richard Griffiths, the director of Leiden University’s ‘New Silk Roads’ programme. A distinguished economic historian who has specialised in the history of trade, during a spell teaching in the Chinese city of Chengdu, Griffiths took an interest in China’s Belt and Road Initiative. When he began to trace the policy’s history, he realised that the origins of China’s modern trade with the West can be found in the myths and realities of the ancient Silk Roads. The key to making SRVM work, he says, is collaboration. Griffiths tells The Times of Central Asia: “We’re not replacing real museums – we’re working alongside them. Everything we do depends on the knowledge of academics, archaeologists, and conservators. Together we can make heritage accessible to anyone, anywhere, without losing its depth or integrity.” “Our visitors are a real mix,” he adds. “Often people tell me they use SRVM before a trip, so that when they see objects in a real museum,...