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Live Music

Shakira Will Bring World Tour to Kyrgyzstan

Last month, it was still unclear whether Shakira would perform in Kyrgyzstan. No longer. Shakira will be at the Bishkek Arena on October 18 as part of her Las Mujeres Ya No Lloran world tour, her official website says. Kanybek Tumanbaev, head of the presidential affairs department, had earlier teased the concert in a social media post that stirred fans and was widely reported by Kyrgyz media. The government-run GovTicket platform is offering ticket prices ranging from $137, or 12,000 Kyrgyz som, for a restricted view in the stands; to $309, or 27,000 som, for the “main standing area behind the fan zones, with a direct stage view” to $2,059, or 180,000 som, for the most exclusive VIP box seats. “It's a stadium show with hits from across her career — Hips Don't Lie, Whenever, Wherever, Waka Waka, She Wolf — plus songs from her latest album,” the ticket website says. More than 13,000 tickets for Shakira’s show were sold on the first day after they went on sale, with purchases made from 22 countries, Kyrgyzstan's Channel 7 reported. Citing the presidential administration, it said most of the foreign buyers were from Russia, Kazakhstan, and Uzbekistan. The newly constructed Bishkek Arena has a capacity of 51,000 people. Its design was inspired by the yurt, the traditional tent used by Central Asian nomads, and the stadium hosted the opening ceremony of the World Nomad Games in August. Excitement is building in Kyrgyzstan ahead of the concert. Bishkek Petroleum, an oil and gas company, says it is giving away two tickets with an excellent view of the stage. The winner will be “randomly selected” from those who fill up at one of its gas stations and post about it on social media, the company says. Just last month, there were reports in Kyrgyz media that it was unclear whether the concert would happen. Some accounts said it might happen in November. Tumanbaev, the presidential official, hinted at the concert in an Instagram post to his nearly two million followers several weeks ago. “We'd like to see her at the Bishkek Arena!” he said. “Are you waiting for it?”

Antidoping

WADA Executive Committee to Meet in Astana Ahead of 2027 Anti-Doping Code

The Executive Committee of the World Anti-Doping Agency (WADA) will meet in Astana on November 23-27, around five weeks before a revised World Anti-Doping Code comes into force on January 1, 2027. WADA is an independent international organization established in 1999 to coordinate and monitor anti-doping rules and policies across global sport. The meeting also comes ahead of a busy year for international sport in Kazakhstan. Six world championships are scheduled to take place in Astana in 2027: junior short track speed skating, boxing, table tennis, judo, taekwondo, and esports. The packed calendar puts added focus on Kazakhstan’s anti-doping preparations, including testing and coordination with the international federations responsible for each competition. Kazakhstan’s ties with WADA have expanded over the past twelve months. In March, Tourism and Sports Minister Yerbol Myrzabossynov and WADA President Witold Bańka signed a memorandum of understanding in Toruń, Poland, covering cooperation in anti-doping education, prevention, and scientific research. At the time, the two sides also discussed the possibility of holding meetings of WADA’s Executive Committee and Foundation Board in Astana in 2027. Kazakhstan has not been immune to recent high-profile doping cases. As previously reported by The Times of Central Asia, middleweight boxer Zhanibek Alimkhanuly tested positive for the banned substance meldonium in 2025. The WBO imposed a one-year suspension, while the IBF later stripped him of its middleweight title because the suspension prevented him from meeting his mandatory defense obligation.

Podcast

Pannier and Hillard’s Spotlight on Central Asia: New Episode Coming Sunday

As Managing Editor of The Times of Central Asia, I’m delighted that, in partnership with the Oxus Society for Central Asian Affairs, we are the home of the Spotlight on Central Asia podcast. Chaired by seasoned broadcasters Bruce Pannier of RFE/RL’s long-running Majlis podcast and Michael Hillard of The Red Line, each fortnightly instalment will take you on a deep dive into the latest news, developments, security issues, and social trends across an increasingly pivotal region. This week, the team looks at the newly released World Bank report, "Integration: World-Class Trade Logistics Along the Trans-Caspian Trade Corridor," which looks at progress in opening up the Middle Corridor and examines what further steps are needed. Spotlight on Central Asia speaks with the authors of the report, Muneeza Alam and Luis Blancas, about their findings.

Nobel Prize in Literature

Uzbek Writer Hamid Ismailov Appears in Bookmakers’ Odds for 2026 Nobel Prize

British bookmaker Ladbrokes gives Uzbek writer Hamid Ismailov odds of 33/1 for the 2026 Nobel Prize in Literature. The Ladbrokes list also includes Haruki Murakami, Margaret Atwood, Salman Rushdie, Stephen King, and J.K. Rowling. Bookmakers’ odds, however, have no connection to the Nobel Prize’s official nomination process. Details of nominations are kept secret for 50 years, and the literature laureate is selected by the Swedish Academy. The 2026 laureate will be announced on October 8. This year’s Nobel Prize carries an award of 12 million Swedish kronor, or about $1.2 million. Ismailov was born in 1954 in Tokmok, in what is now Kyrgyzstan, and grew up in Uzbekistan. He was forced to flee Uzbekistan in 1992 after coming under pressure from the government of then-President Islam Karimov over his writing and political views. His works were subsequently banned in the country. He settled in the United Kingdom and went on to work for the BBC World Service for 25 years. Ismailov writes principally in Uzbek and Russian. His international profile has grown through English translations of novels including The Railway, The Dead Lake, and The Underground. His novel The Devils’ Dance, translated from Uzbek by Donald Rayfield with John Farndon and published by Tilted Axis Press, won the EBRD Literature Prize in 2019. In 2025, Ismailov’s We Computers: A Ghazal Novel, translated from Uzbek by Shelley Fairweather-Vega and published by Yale University Press, was named a finalist for the U.S. National Book Award for Translated Literature. The novel draws on Persian poetic traditions and literary history to explore artificial intelligence. Its story centers on a French poet and his Uzbek translator, who experiment with a computer program capable of analyzing and generating literary texts. The Nobel Prize in Literature, first awarded in 1901, went to Hungarian writer László Krasznahorkai in 2025.

Korean Heritage

K-PARK: A Space for Memory, Gratitude, and Cooperation

In the history of every nation, some places come to mean more than their architecture, squares, or parks. They become part of a country’s collective memory, preserving the experiences of previous generations while looking toward the future. K-PARK, an international cultural and business center under development in Alatau City, is designed to be such a space. The foundation stone was laid on September 12, 2025. The project was initiated by the Association of Koreans of Kazakhstan and is timed to coincide with the 90th anniversary of the Korean presence in Kazakhstan, marked in 2027. K-PARK is the first investment project in this new city, weaving the history of one of Kazakhstan’s ethnic groups into the fabric of a city still being built. Memory of an Arduous Journey The history of the Koryo-saram in Kazakhstan is inseparable from the tragic deportation of 1937, when most were forcibly relocated from the Soviet Far East to Central Asia. For the first generation of deportees, Kazakhstan was an unknown land to which they arrived against their will. Over subsequent generations, the Koreans of Kazakhstan became an integral part of the country’s society, contributing to agriculture and industry as well as to science and medicine. They became active in education and culture, in business and civic life. The approaching 90th anniversary is an opportunity to reflect on this journey, and K-PARK is designed to give that memory a spatial form. Plans include a memorial of gratitude to the Kazakh people and a Garden of Identity. A dedicated Koryo-saram area would use historical reconstructions and a traditional Korean hanok house to tell the community’s story; museum and exhibition spaces would offer further context. Gratitude as a Component of Historical Memory The collective memory of Kazakhstan’s Koryo-saram community preserves many stories from the early years following the deportation, including accounts of harsh living conditions and of help from the local population. The project’s creators describe K-PARK as a symbol of respect and gratitude toward the Kazakh people and Kazakh land. Remembering the deportation therefore has another dimension: the solidarity of those who helped the displaced and the capacity of different peoples to coexist. K-PARK seeks to preserve the memory of a traumatic past and show how an ordeal endured can become a foundation for mutual respect and constructive action. From Ethnic Park to Open Public Space K-PARK is not intended to be solely a Korean ethno-cultural site. The planned cultural and business center will accommodate conferences and exhibitions. Its library and interactive museum would offer other ways to encounter the community’s history. Outside, a 5,000-seat amphitheater and sports and children’s playgrounds would provide space for performances and recreation. The official concept also envisions public events and international gatherings. For Koryo-saram, it can serve as a place to preserve historical memory and pass it on to new generations. For other Kazakhstanis, it offers a space to learn about the history of the country’s Korean community and its place in Kazakhstan’s wider history. In September 2026, Yuriy Tskhay, chairman...

Central Asian Music

Put the Needle on the Record: Anvar Kalandarov on Rescuing Soviet Central Asia’s Lost Sounds

For decades, some of Soviet Central Asia’s most inventive recordings survived in an awkward limbo. The music existed, but often on ageing vinyl, scattered tapes, private collections, and copies traded amongst collectors at increasingly extortionate prices. The musicians themselves could be difficult to trace, while the legal ownership of recordings made under the Soviet system was rarely straightforward. Tashkent-based archivist, collector, and producer Anvar Kalandarov has made that ambiguity part of his work. He runs Maqom Soul Records, an Uzbek label devoted to bringing overlooked Central Asian recordings back into circulation. His work ranges from Soviet-era jazz and Uyghur folk rock to music that resists easy classification altogether. [caption id="attachment_57434" align="aligncenter" width="1740"] Anvar Kalandarov holding Synthesizing the Silk Roads; image courtesy of the subject.[/caption] Kalandarov was one of the curators behind Synthesizing the Silk Roads: Uzbek Disco, Tajik Folktronica, Uyghur Rock & Tatar Jazz from 1980s Soviet Central Asia, released by Ostinato Records in 2024. The Times of Central Asia previously traced how wartime evacuation, Soviet recording infrastructure, and Tashkent’s role as a Silk Road crossroads helped create the unusual musical environment captured on that compilation. His more recent projects include Digging Central Asia: Musical Archaeology Along the Silk Road, a collection spanning recordings from the 1970s to the early 1990s, and Maqom Soul’s reissue of Oleg Gotskozik Quintet’s Oriental Suite. Originally issued by Melodiya, the Soviet state record label, in 1979, Oriental Suite fused jazz with Central Asian modal ideas and was recorded at Tashkent’s Gramrecord studio. https://www.youtube.com/watch?v=pTQgbjMNO74 The work is a fusion of archaeology and restoration, with the twists of a mystery story. Kalandarov spoke to The Times of Central Asia about how these recordings are found and given a new lease on life decades after they were first made. TCA: When you decide to reissue a Soviet-era Central Asian recording, where does the process usually begin, and how do you locate the best surviving source material when original masters may be scattered or missing? Kalandarov: It’s different every time. Sometimes I come across the music first; it catches my attention, and only then does the real work begin - finding out who recorded it, where the musicians or their families are today, who holds the rights, and whether the original recordings still exist. In a way, every project becomes a small detective story, because you’re often looking for something that most people have already forgotten about. It’s the same with master tapes. Some recordings have survived in our state archives, while others are still with the musicians or their families, and sometimes you have to look for completely different sources. Of course, the ideal situation is to find the original master, but that isn’t always possible. Tracking down the best surviving source can become a major part of the reissue process itself. [caption id="attachment_57431" align="aligncenter" width="1460"] Anvar Kalandarov; image courtesy of the subject.[/caption] TCA: How difficult is it to establish who holds the rights to these recordings today, particularly when musicians, composers, Soviet state labels, archives, and...