Life & Culture - The Times Of Central Asia

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Kazakhstan Sumo Wrestler Takes Third Place at Japan’s Emperor’s Cup

According to the Japanese publication Tachiai, Kazakhstan’s Yersin Baltagul, known in Japan as Kimbodzan Haruki, has achieved a historic milestone at the Emperor's Cup, one of the most prestigious tournaments in the sumo world. Baltagul entered the tournament's final round with an impressive record of 12 wins and 3 losses. However, in the decisive matches, he was bested by Japan’s Ojo Konosuke and Mongolia’s Sugarragchaagiin Byambasuren, known by his ring name Hoshoryu Tomokatsu. This secured Baltagul a commendable third-place finish. While Hoshoryu Tomokatsu ultimately claimed the championship title, Baltagul did not leave the tournament empty-handed. He was awarded the “Fighting Spirit” prize, a special recognition for his skill, determination, and resilience in the ring. This accolade cements Baltagul’s place as the first Kazakhstani athlete to reach such heights in the professional world of Japanese sumo. Baltagul, 27, began his wrestling journey in his childhood, training in traditional kazaksha kures (national wrestling) and judo. Aged 18, he moved to Japan to pursue a career in sumo, and in 2019, he claimed the title of Japan's youth sumo champion, marking an important early milestone. Since then, he has steadily risen through the ranks to become one of the strongest competitors in a sport deeply rooted in Japanese culture and tradition. Baltagul's 12th victory during the Emperor's Cup has spotlighted his elite level of training and competitiveness, ranking him among the sport's top athletes. His success demonstrates the growing prominence of Kazakhstan's athletes on the international stage and paves the way for the development of sumo in Kazakhstan. Baltagul’s story is one of perseverance and excellence, marking a proud moment for Kazakhstan in the global sports arena.

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Art and Inspiration: Capturing the Essence of Almaty

With colorful illustrations of landmarks, natural monuments, and city-life moments, Aidana Niyazalieva’s postcards of Almaty stand out. TCA spoke with the artist to learn more about her inspiration, creative process, and challenges behind her postcards and the Almaty arts scene. TCA: What inspired you to start making postcards of Almaty? I've been drawing since I can remember; everything surrounding me – my room, the streets, and the buildings – inspires me. This led me to study architecture. However, after working as an architect, I realized that my passion for drawing was stronger. I decided to try it, eventually devoting myself to illustration and turning this hobby into a profession. I started with the city I grew up in, Almaty, and created a few postcards of the views I walked past the most. This became a way to combine everything I love - art, architecture, and my love for the city. TCA: How do you decide which landmarks, views, or themes to feature in your postcards? I choose places and themes close to me that evoke an emotional connection in people. Usually, the ideas come from my walks around the city. During my walks, I take many photos for possible drawings. Sometimes, a few buildings of the same type could grow into a series of illustrations, as in the “Houses“ postcard set that was united by the old houses of the Soviet period located in a Golden Square area. Also, I might get requests from people about places they would like to see, as happened with the Kazakhstan Hotel or Esentai River illustrations. TCA: What is your favorite spot in Almaty to capture in your art, and why? My favorite place in Almaty is the old city center. Its unique architecture, with characteristic features from different periods from neoclassical to modernist buildings, and its streets with cafes and terraces have always attracted my attention. Those buildings keep their history, whether these are old houses with sophisticated details or monumental facades of theaters and institutes. When I'm there, I always look closely at small elements like the carved balconies, window frames, mosaics, and patterns on the facades – I try to capture them in every illustration. TCA: Are there specific stories or personal memories behind some of your postcard designs? As a local, I have a personal connection to almost every location I illustrate. Capturing a place authentically requires more than just visual reference - it also needs an emotional connection. That’s why I barely draw locations I’ve never visited. Behind almost every illustration is a moment tied to the place. For example, the Kasteyev Museum holds a special place in my heart. My grandma used to take me there often when I was little, and it’s where I first took art lessons. So, I decided to create this illustration to capture the architecture of the museum and the memories connected to the place. TCA: Can you walk us through the creative process behind designing a postcard? Firstly, after the location is...

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Silk Roads Exhibition: Beating Heart of the Ancient World

On a gloomy winter’s day, The Times of Central Asia visited the Silk Roads Exhibition at the British Museum. The sight of a significant queue wrapped around the museum for entry was startling. Once inside, the exhibit thronged with visitors snaking their way to peruse artifacts arranged by region and era. Concerned about blocking display views as you read descriptions? No need to worry — thick guidebooks with full narratives greeted you at the entrance to borrow during your visit. The exhibition envisions the Silk Road as the beating heart of the ancient world, with arteries stretching across seas, mountains, and deserts. With over 300 artifacts spread across five geographical zones, it can be hard to know where to start. I observed a nearby gentleman in tweed who offered a simple tip: start with a place that interests you and go from there. Then I overheard that he was going to Cairo. New partnerships with Uzbekistan’s Art and Culture Development Foundation (ACDF) and Tajikistan’s museums had seen fresh items loaned to the exhibit. These collaborations highlight Central Asia's important role in this sweeping narrative, helping to connect the dots in this continent-spanning story. Immersed in the culture and history, I couldn’t help but wonder — what did the audience think? After a few unsuccessful attempts, I spoke with an English visitor named Georgie Bennett. [caption id="attachment_27908" align="aligncenter" width="2029"] Georgie Bennett visiting the Silk Roads Exhibition; image: TCA, Stephen M. Bland[/caption] TCA: What drew you here today? I think the thing for me is I have a really poor knowledge and understanding of this bit of history. So, I heard the exhibition was on and some of my friends already booked tickets, I said yes, I’ll absolutely come along because… I wanted to learn more. TCA: What’s the one item that’s caught your eye the most? I really like the story of the silk princess; it was a very humanizing story about this lady who’s newly married and brings the knowledge of how to make silk to her husband’s kingdom… I feel like I've learned so much. I’m enjoying it, though I almost wish I had a notebook and pen because I'm getting a general impression without knowing any of the details. [caption id="attachment_27909" align="aligncenter" width="2560"] Charred wooden door panel from Kafir Kala, near Samarkand, Uzbekistan, circa AD 500, on loan from the State Museum reserve[/caption] The Times of Central Asia also spoke to one of the curators, Luk Yu-Ping to delve deeper into the Silk Road experience. TCA: Globalism is considered a modern concept of interconnectivity, but looking at the vast connections and influence within the Silk Road Exhibition it’s implied that this concept may have been prevalent in the past along these trade routes. Could you expand on this? This exhibition highlights the movement of people, objects, and ideas across Asia, Africa, and Europe during the period 500 to 1000 CE. The focus is not only on trade but also other ways of contact and exchange. Audiences might be...

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Uzbekistan Encourages Civil Servants in Tashkent to Wear National Dress

Shavkat Umurzakov, the khokim of Tashkent, has signed a decree launching the National Tashkent project, an initiative aimed at promoting Uzbekistan’s cultural heritage and national traditions within the capital. The project includes a wide range of activities, from redesigning public spaces to reflect traditional Uzbek aesthetics to encouraging civil servants to adopt national attire. Public transportation, markets, parks, and other spaces across Tashkent will be adorned in a national style as part of this effort. Traditional Clothing for Civil Servants As part of the initiative, government employees in Tashkent are encouraged to wear traditional Uzbek clothing during work hours, provided it does not conflict with existing uniform requirements. To further promote this practice, Fridays have been designated as “National Dress Day” for civil servants. Employees of khokimiyats, departments, and other government agencies are being urged to embrace traditional attire on these days. A special working group, led by Shakhnoza Sultanova, deputy khokim and head of the Department for Family and Women's Affairs, has been tasked with overseeing the project. This group has developed an action plan that includes educational programs, public events, and support for local entrepreneurs who specialize in the production of ethnic clothing. Celebrating Uzbek Culture The National Tashkent project emphasizes integrating Uzbek cultural elements into mass events such as holidays, exhibitions, concerts, and sports competitions. Participants at these events will don traditional costumes, while the programs will feature folk games, dances, and songs. Contests and awards will further highlight the richness of Uzbek traditions. Additionally, the initiative envisions creating television programs, publishing articles in both traditional and social media, and launching public challenges such as “National Dress for Everyone.” A contest titled “The Best Promoter of National Traditions” will recognize individuals or organizations that effectively advocate for Uzbek culture. Educational institutions will also participate by hosting lectures on the history of national crafts and clothing. Cultural Zones for Tourists The project includes measures to enhance the cultural experience for tourists visiting Tashkent. Special zones will be created, featuring craft workshops, photo opportunities with national costumes, and curated cultural routes. Hotels and restaurants will host exhibitions and competitions to showcase traditional values, further engaging both residents and visitors. Public transportation will also reflect the project’s goals, with buses and transport cards decorated with national patterns. Similarly, the facades and interiors of shopping centers, markets, and museums will incorporate traditional Uzbek designs. Schools will see the introduction of “National Classrooms” decorated in the spirit of Uzbek culture. Strengthening National Identity The National Tashkent project is a comprehensive effort to preserve Uzbekistan’s cultural heritage, strengthen national identity, and pass down traditions to younger generations. By raising awareness of ethnic customs and promoting national pride, the initiative seeks to enrich the cultural fabric of the capital while fostering a deeper appreciation for Uzbekistan’s historical and artistic legacy.

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American Musicians Celebrate the Dutar During Tour of Turkmenistan

The Turkmen dutar, a two-stringed lute, and symbol of the nation’s musical heritage, left a lasting impression on American artists visiting Turkmenistan on a recent tour. Musicians Keith Bass, Aaron Young, and Richard Steighner praised the uniqueness of Turkmenistan’s traditional music during their performances as part of the “Broadway and Beyond” concert series. The tour began with its first concert on January 16 at the Mukam Palace in Ashgabat. The American performers shared the stage with the State Symphony Orchestra of Turkmenistan, led by conductor Rasul Klychev, and soloists from the State Choir. The concert program featured a mix of popular Broadway melodies and innovative interpretations of the works of Makhtumkuli Fraghi, the national Turkmen poet. A standout moment of the evening was the performance of “I Want to Feel the Wind,” a song based on Makhtumkuli’s poetry and composed especially for the tour. Beatboxer Richard Steighner highlighted the creative synthesis of styles that emerged during the collaboration. “Blending my beatboxing with the soft yet rich sound of the dutar was an unforgettable experience,” Steighner said. “The beauty of Turkmen music is astounding, and the dutar was a true revelation for us. We even incorporated it into an original piece, creating a unique fusion of traditional melodies and modern trends.” Keith Bass, another member of the ensemble, emphasized the value of cultural exchange. “Working with Makhtumkuli’s works gave us an opportunity to view music through a new lens. Every concert here has become a platform for creative experimentation,” Bass said. U.S. Ambassador to Turkmenistan Elizabeth Rood, who attended the Ashgabat performance, highlighted the role of cultural events in fostering international understanding. “Music and culture are bridges that unite people. We will continue to support projects that preserve cultural heritage and serve as symbols of friendship and trust,” Rood said. Following the debut in Ashgabat, the “Broadway and Beyond” series will continue with performances in Turkmenbashi, Balkanabad, and Dashoguz.

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Kindergarten in Uzbekistan Stages Dangerous Show with Poisonous Cobras

A kindergarten in Uzbekistan sparked widespread outrage after staging a performance involving poisonous Central Asian cobras, a species listed in the Red Book of Uzbekistan's endangered plant and animals. Footage of the event, which was shared on social media, showed the snakes being handled in close proximity to children, raising serious concerns about safety and animal welfare. In the video, a man can be seen demonstrating two venomous snakes to a group of young children, with no apparent safety measures in place. The cobras were allowed to move freely on the floor near the children. The Uzbek language heard in the recording confirms the location as Uzbekistan, but the exact location of the kindergarten has yet to be identified. The incident has prompted public outcry, with many questioning the judgment of the organizers and the lack of safeguards for the children. So far, the Ministry of Preschool and School Education has refrained from issuing an official statement. The situation has caught the attention of the Children's Ombudsman in Uzbekistan. The Ombudsman’s press service announced that law enforcement agencies are actively working to determine the circumstances and location of the performance, as well as the identities of those responsible. A full investigation is underway, and the organizers’ actions will be subject to legal assessment once the inquiry is complete. This is not the first time unauthorized animal performances have taken place in Uzbekistan. In December of last year, a similar case was reported in the Koshrabad district of the Samarkand region. Two individuals held unauthorized shows at schools and kindergartens, featuring a tiger python. The snake was later confiscated and handed over to the regional department of ecology. These incidents highlight a recurring issue of unregulated animal performance in educational institutions, raising questions about safety, legal oversight, and the ethical treatment of wildlife.