• KGS/USD = 0.01144 0%
  • KZT/USD = 0.00205 0%
  • TJS/USD = 0.10722 0%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00205 0%
  • TJS/USD = 0.10722 0%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00205 0%
  • TJS/USD = 0.10722 0%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00205 0%
  • TJS/USD = 0.10722 0%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00205 0%
  • TJS/USD = 0.10722 0%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00205 0%
  • TJS/USD = 0.10722 0%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00205 0%
  • TJS/USD = 0.10722 0%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00205 0%
  • TJS/USD = 0.10722 0%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%

Viewing results 25 - 30 of 1095

Kazakhstan’s Haunted Steppe: Myths, Cold War Ruins, and Unexplained Phenomena

Kazakhstan’s vast steppes, deserts, mountains, and abandoned Soviet sites have produced a mythology of their own. Some stories are folklore. Others grew from real geography, ecological disaster, nuclear testing, secretive institutions, and the long shadow of the Cold War. That mix helps explain why tales of lost islands, strange stones, atomic ghosts, and unidentified flying objects still circulate across the country. The most interesting stories are not necessarily the ones that prove anything paranormal. They are the ones that show how history and landscape can turn into legend. You Will Go But Never Return One of Kazakhstan’s best-known mysterious places is Barsakelmes, whose name is usually translated from Kazakh as “You Will Go But Never Return.” The former island, once located in the Aral Sea, was less than 20 kilometers long, but it acquired an outsized reputation during the Soviet period. [caption id="attachment_49303" align="aligncenter" width="2560"] Barsakelmes[/caption] Today, Barsakelmes is no longer technically an island. The Aral Sea has largely dried up after one of the world’s major ecological disasters, and the surrounding landscape has changed almost beyond recognition. The island’s name did much of the work. So did Soviet-era popular culture. Russian science-fiction writer Sergei Lukyanenko, who was born in Kazakhstan, helped deepen its mystique through a story published in the Soviet magazine Tekhnika Molodezhi. In that fictional version, Barsakelmes became a deadly place linked to secret laboratories, biological experiments, and mutant soldiers. The confirmed history is less lurid, but still striking. Local accounts and researchers have linked the name to earlier tragedies, including stories of herders who died while trying to cross the frozen Aral Sea. Over time, those disappearances became part of the island’s reputation as a place from which people did not return. The mystery deepened in the 2000s, when archaeologists found burial grounds and remains of ancient settlements on the dried seabed near Barsakelmes. The finds, dated to the 11th-14th centuries, included religious structures and evidence of trade links that may have extended toward China. Some homes reportedly contained jars still filled with grain, suggesting that residents left suddenly. Whether they fled a flood, conflict, or another disaster is less certain. But it is easy to see how the physical evidence of abrupt abandonment fed older stories about a cursed landscape. Even the island’s natural features became part of the legend. Fishermen once avoided the area after seeing what they thought were huge bones along the shore. They were, in fact, large gypsum formations glinting in the sun. Today, Barsakelmes is also a protected area and a refuge for rare wildlife, showing how a place associated with loss can also become a site of recovery. The Stone Spheres of Mangystau Another of Kazakhstan’s strange landscapes lies on the Mangystau Peninsula in the west of the country, about 150 kilometers from Aktau. There, in a valley that resembles a Martian plain, hundreds of large stone spheres are scattered across the ground. Some are several meters in diameter. Visitors have compared them to giant balls, prehistoric eggs, or...

Astana to Host 2027 World Table Tennis Championships

The ITTF World Table Tennis Championships Finals Astana 2027 will take place in Kazakhstan’s capital from May 22 to May 30, 2027, becoming the first world table tennis championship ever held in Central Asia. The tournament was officially presented at the ADD Table Tennis Center Astana. According to Kazakhstan’s Vice Minister of Tourism and Sports Serik Zharasbayev, the country will host seven international Olympic sports tournaments in 2027, with the World Table Tennis Championships expected to become one of the year’s largest sporting events. Representatives from more than 100 countries are expected to participate. The main venue will be Barys Arena, which has a capacity of approximately 8,000 spectators. Additional matches will be hosted at the Qazaqstan Athletics Sports Complex, which can accommodate around 6,800 people. “Our capital was selected to host the World Championships for several reasons, one of the main ones being the availability of major sports facilities that fully meet international requirements,” Zharasbayev told journalists during a briefing. According to the vice minister, a technical delegation from the International Table Tennis Federation has already inspected the venues and gave the tournament infrastructure high marks. “The entire infrastructure is being evaluated from the airport to the sports facilities. At this point, Kazakhstan, and Astana in particular, possess all the necessary resources to host competitions of this level,” he said. Zharasbayev also noted that table tennis remains one of the fastest-growing sports in Kazakhstan. Organizers expect approximately 1,000 athletes to take part in the championships. The tournament will also serve as one of the key ranking qualification stages for the 2028 Summer Olympic Games. Medals will be awarded in five categories: men’s singles, women’s singles, men’s doubles, women’s doubles, and mixed doubles. Asiya Ilyasova, the tournament’s marketing and commercial director, said organizers are hopeful for a strong performance by Kazakhstan’s national team. “We have a strong national team that has consistently delivered high-level results in recent years. For example, Kirill Gerassimenko and Alan Kurmangaliyev are ranked among the world’s top 30 players. They will represent Kazakhstan at the World Championships, and we have high expectations for them,” Ilyasova said. According to organizers, Astana is expected to welcome large numbers of foreign visitors, including fans and official delegations, particularly from Southeast Asian countries where table tennis enjoys enormous popularity. In the coming months, organizers plan to launch competitions among souvenir manufacturers to create products featuring Kazakh national motifs, as well as contests for fashion designers to develop uniforms for volunteers, staff, and official tournament merchandise. An open competition will also be announced to design the official mascot of the championships. The Times of Central Asia previously reported that Astana will also host the 2026 Future Games, an international tournament combining traditional sports and esports disciplines.

Japanese Spring Festival Celebrates Central Asia Through Manga

A new cultural bridge between Japan and Kazakhstan was celebrated at the National Museum of the Republic of Kazakhstan, where internationally acclaimed Japanese manga artist Kaoru Mori opened her exhibition, Central Asian Cuisine, as part of the international “Japanese Spring” arts festival. The project was organized by the Degdar Humanitarian Foundation with the support of JTI Kazakhstan. The exhibition introduces visitors to the culinary traditions and cultural heritage of the five Central Asian countries through the visual storytelling style of Japanese manga. The Central Asian Cuisine manga project was originally created to mark the 10th anniversary of the “Japan + Central Asia” dialogue, established in 2004 between the Government of Japan and the five Central Asian nations. According to Akmaral Ibrayeva, deputy director of the National Museum, the exhibition is one of the most distinctive cultural projects combining culinary art with national customs and traditions, while also reflecting the unique aesthetics of each country. [caption id="attachment_49172" align="aligncenter" width="624"] Photo: National Museum of Kazakhstan[/caption] Speaking at the opening ceremony, Yasumasa Iijima, Ambassador Extraordinary and Plenipotentiary of Japan to Kazakhstan, emphasized that the “Japanese Spring” festival represents “diplomacy through art,” strengthening friendship and mutual understanding between nations. The ambassador also noted that this is the second exhibition in Astana featuring Kaoru Mori’s manga works at the National Museum. “Manga is read throughout Japan from schoolchildren to the Prime Minister,” the ambassador said. “It has become one of the symbols of modern Japanese culture, and today this genre has conquered the world.” The manga tells the story of young women from the countries participating in the dialogue who introduce their Japanese friend to their national cuisines and traditional dishes. Through vivid illustrations and detailed depictions of cooking methods, the manga serves not only as an artistic work but also as a culinary guide to Central Asian food culture. According to Timur Kurmanchiyev, artistic director of the festival, a renowned musician and Honored Worker of Kazakhstan, the “Japanese Spring” festivals have become the largest and longest-running events dedicated to Japanese culture in Kazakhstan and across Central Asia. [caption id="attachment_49173" align="aligncenter" width="624"] Photo: National Museum of Kazakhstan[/caption] Guests attending the opening ceremony also enjoyed performances featuring traditional dance and choral music, adding a festive atmosphere to the exhibition. The exhibition highlights how art, cuisine, and cultural dialogue can bring nations closer together, offering visitors a unique opportunity to explore Central Asian traditions through the lens of Japanese manga artistry.

“Between Worlds”: Filmmaker Zhannat Alshanova on Migration and Identity

Kazakhstani filmmaker Zhannat Alshanova belongs to a new generation of directors whose careers have unfolded across countries and cultures. Before establishing herself as an auteur filmmaker, the London Film School graduate worked on international productions filmed in Kazakhstan, South Africa, Guatemala, Malaysia, and the United States. Her short film History of Civilization won the Silver Leopard at the Locarno Film Festival; several years later, her debut feature Becoming also premiered there. In an interview with The Times of Central Asia, Alshanova discusses migration, identity, the Western film industry, the creative vulnerability of young directors, and what it means to make cinema “between worlds.” TCA: Zhannat, would it be fair to call you a “Locarno star”? Your debut feature Becoming premiered there; before that, you won the Silver Leopard for your short A History of Civilization, and you also took part in the festival’s directing academy. Zhannat: We really have had a long relationship. Even before screening my own films there, I attended the festival as a co-producer of a South African film selected for competition. That was a year before my own participation. TCA: How did you end up working on a South African project, and what was the film about? Zhannat: It was made by people from my film school. We all studied together at London Film School, although they were a year ahead of me. It was a genuinely creative environment where everyone supported one another and worked on each other’s graduation films. Usually, productions took place in the filmmaker’s home country, so I ended up helping produce projects not only in South Africa, but also in Turkey and the United States. In Guatemala, I worked as a second assistant director. The South African project was a hybrid film, part fiction, part documentary, a road movie about a young man traveling to an audition. The entire story unfolds through that journey. It turned out to be a very beautiful film. [caption id="attachment_49166" align="aligncenter" width="1280"] From a personal photo archive[/caption] TCA: You all came to London Film School from completely different parts of the world. Were your themes similar or very different? Zhannat: Some were similar, others completely different. So many factors shape a filmmaker, the country you grew up in, your personal background, your experience of migration or travel. Some people had lived in one country their entire lives before leaving; others had moved between countries since childhood, while some had lived abroad and then returned home. Everyone carried different experiences. Some directors were interested in stories about children, others focused on people their own age, while some tried to imagine the future. The ideas were extremely varied, but all of them were vivid and personal. For me, the greatest asset of film school was access to different cultures and perspectives. Everyone brought their own cinematic baggage, films, directors and artistic traditions you might never otherwise encounter. It became a fascinating mix of global culture. TCA: What kind of film were you working on in Guatemala? Zhannat: It...

Central Asia Steps Out of the Post-Soviet Shadow

Central Asia is rarely presented on its own terms. It is more often viewed through exterior lenses like Russian imperial memory, Chinese reach, Silk Road romance, or great-power rivalry. The result is a region made to look secondary to the forces around it, even as its five countries carry deep histories, distinct languages, and identities that cannot be reduced to a backdrop. That old frame is starting to crack. Central Asia is finding new ways to tell its own story. The shift goes beyond tourism or national branding. It is about who gets to define the region, which is still too often seen through the things done to it or extracted from it. Culture depicts the other side of that narrative, a place that has shaped history, not merely endured it, with traditions and ideas that have long carried influence far beyond its borders. [caption id="attachment_49147" align="aligncenter" width="2048"] Sky above Almaty: Qandy Qantar; image courtesy of Saule Suleimenova[/caption] Kazakhstan offers one visible example. The Almaty Museum of Arts opened on September 12, 2025, adding a major institution for modern and contemporary art. Its arrival builds on a broader shift in which private galleries, international platforms, and artists such as Aigerim Karibayeva and Saule Suleimenova are moving Kazakh art beyond folkloric shorthand toward identity, postcolonial memory, and urban life. The reopening of the Tselinny Center of Contemporary Culture, in a former Soviet-era cinema, adds a sharper symbolic layer. A building once tied to Soviet public culture has become a platform for modern Central Asian voices, reflecting a scene increasingly rethinking nomadism rather than simply reproducing it. [caption id="attachment_49148" align="aligncenter" width="1024"] Image: The Tselinny Center of Contemporary Culture[/caption] Uzbekistan has made culture central to its international reemergence. The inaugural Bukhara Biennial brought contemporary art into a city more often seen through its monuments, turning madrasas and caravanserais into exhibition spaces for Uzbek and world artists. The same push is visible in the Tashkent Centre for Contemporary Art, Uzbekistan’s presence at the Venice Architecture Biennale, and design projects such as When Apricots Blossom, which link heritage, craft, and the environmental disaster of the Aral Sea. Artists such as Oyjon Khayrullaeva show a younger generation reworking Islamic ornament, textiles, and public space into new visual languages. At the same time, the State Museum of Karakalpakstan in Nukus, with its Soviet-era censored works, gives the country’s art history deeper heft. In Tashkent, the Islamic Civilization Center is working on a different scale. Recognized by Guinness World Records in 2026 as the largest museum of Islamic civilization, it gives Uzbekistan a stronger role in shaping how that legacy is understood today. [caption id="attachment_49146" align="aligncenter" width="2048"] Image courtesy of Oyjon Khayrullaeva[/caption] Kyrgyzstan’s confidence rests on different ground. The sixth World Nomad Games are scheduled for August 31 to September 6, 2026, with events in Bishkek and around Issyk-Kul. That gives Kyrgyzstan a stage for living nomadic traditions, not a static museum display of them. Its contemporary art scene adds a more intimate layer, with artists such as...

Screenwriter Yefrat Sharipov on AI and the Future of Kazakhstani Cinema

Screenwriter Yefrat Sharipov is a graduate of Kazakhstan’s Academy of Civil Aviation and the New York Film Academy (NYFA), and one of the country’s most sought-after screenwriters in recent years. He worked on the box office hit Dos-Mukasan, a film about the legendary Kazakhstani musical group often described as the local equivalent of The Beatles. He now reflects on the future of global cinema, the role of artificial intelligence, and why Kazakhstani stories can resonate far beyond the country’s borders. In an interview with The Times of Central Asia, Sharipov discusses how engineering thinking shapes his approach to storytelling, why screenwriters must understand the inner workings of the film industry, and how technology may soon erase language barriers. TCA: You’re a screenwriter with an engineering background who graduated from the Academy of Civil Aviation. How did that happen? Sharipov: Honestly, it’s difficult for me to explain myself. The desire to write stories has been with me since childhood; I always knew I would never stop doing it. The need to express myself through writing appeared very early. Back in school, I was already trying to write short stories, novellas, poetry, even songs. But when it came time to choose a profession, I decided to pursue a technical field, although I never stopped writing “for the drawer.” Later, when I entered the film industry and worked on projects in other roles, I remembered this passion and realized there was a way to apply it professionally. There was a huge demand for screenwriters. At first, it was mostly curiosity, I wanted to see whether anyone besides me would actually find my stories interesting. Gradually, things started to work out, and here I am. TCA: What did you write about as a child? Sharipov: About whatever fascinated me at the time. At one point, I became obsessed with Tolkien and started inventing fantasy stories with imaginary creatures. I mostly wrote for myself, though sometimes I let friends, parents, and relatives read my work. I remember my mother always praising me, and I usually got good grades for essays at school. My friends and I even kept what we called “school chronicles,” where we humorously wrote about everything happening around us. Honestly, if I were a better speaker, maybe I would have become a stand-up comedian. TCA: Does your technical education help you in your current work? Sharipov: It does. Technical disciplines probably influenced the way I approach storytelling. I look at stories almost like an engineer, everything has to be structured and logical. Before starting a film, I research the subject deeply. I don’t just read materials casually. I use an approach similar to scientific research. I gather facts, critically analyze the material, and repeatedly verify information. TCA: So, every film becomes almost like a dissertation. But cinema is always about people. Can human beings really be approached scientifically? Sharipov: When I worked on the Dos-Mukasan biopic, I didn’t just rely on archival material, I tried to meet personally with everyone who had...