Life & Culture - The Times Of Central Asia

Viewing results 31 - 36 of 1145

Historical Research

Opinion: Scents of the Silk Road – Recreating the World of 1001 Nights

Editor’s note: This guest essay is by Efim Rezvan, editor-in-chief of Manuscripta Orientalia and a researcher involved in the Essences of the 1001 Nights project. What was the most valuable cargo carried by medieval caravans crossing Central Asia, or aboard Arab-Muslim ships transporting goods through the Indian Ocean and the Red Sea to the Middle East and Europe? Silk? Porcelain? Yes, in terms of overall volume, that is true. But if we compare volume or weight with value, prized incense and aromatic resins rank among the most valuable goods, with some varieties often compared with gold. Historical data and modern zoological studies suggest that a Bactrian camel in a Silk Road caravan could carry about 150 to 300 kilograms. Aromatic resins and other incense materials were often compared with gold, which helps explain why a relatively small load could represent extraordinary value. Of course, merchants would not treat gold and incense as identical cargo: the caravan system, refined over centuries, prioritized the safety and preservation of goods. As today, wars and epidemics influenced trade conditions, but the pricing trend remained the same. Why did people value incense so highly for thousands of years? Answers to this and many other questions may emerge through the scientific and exhibition project Essences of the 1001 Nights, the launch of which was announced by the international academic journal Manuscripta Orientalia. Researchers from the International Center for Islamic Studies at the Kunstkamera and Saint Petersburg State University are studying the history of Eastern fragrances in an effort to “bring medieval manuscripts to life” and, for the first time, present the public with the olfactory dimension of the legendary tales. Modern research now makes it possible to imagine more clearly what scents might have filled, for example, the bedroom of Scheherazade or the library of Shahryar, the protagonists of One Thousand and One Nights. The project promises not only comprehensive academic research. It will also take the form of an innovative exhibition, a journey through time and space, from the oases of Hadramaut in Yemen to the evergreen region of Dhofar in Oman, long associated with frankincense production and trade; from the streets and mosques of Bukhara and Samarkand to the shores of Sumatra and Java; from manuscript libraries to the offices of historians, chemists, and pharmacologists. The project’s main artistic innovation is the use of olfactory storytelling; narrative through scents. Organizers plan to present ten aromatic compositions that will serve as guides into the world of the Islamic Golden Age. [caption id="attachment_50999" align="aligncenter" width="1200"] Incense seller. Sanaa, Yemen.[/caption] Scents of the Islamic Golden Age Why scents? The corpus of One Thousand and One Nights had largely taken shape by the early 16th century. Its oldest roots and many of its plots originated in India. Persian culture served as a bridge between India and the Arab world. It was the Persian collection Hezar Afsaneh (“A Thousand Tales”) that became the direct precursor of One Thousand and One Nights. The framing story of King Shahryar and the...

TCA Interviews

Emre Erdur Interview: Central Asia’s Visual Language

For Emre Erdur, Central Asia’s visual language begins with the vast horizons of the steppe, the horse, the yurt, felt patterns – symbols that have carried memory across generations. The Istanbul-born artist, designer, and author spoke with The Times of Central Asia about Kazakhstan, cultural codes, and why artists need to understand the meanings behind the images they use. The Language of Visual Storytelling TCA: How would you introduce yourself to readers who are encountering your work for the first time? Emre Erdur: I was born in Istanbul, and since childhood, I have had a strong interest in drawing, visual design, and storytelling. Over time, this interest evolved beyond simply creating illustrations and developed into a multidisciplinary practice that combines visual communication, illustration, concept design, and narrative development. Throughout my career, I have worked on a wide range of projects across different fields of visual design and communication. From illustration and architectural projects to product and game design, comic books, documentaries, and film productions. I have been involved in many areas where ideas require a strong visual language to be understood and communicated effectively. TCA: You are an artist, designer, and author working with visual storytelling. How would you define the main focus of your practice today? Emre Erdur: Today, I can no longer define myself simply as an illustrator or a designer. In reality, such definitions are often shaped less by the artist’s own description and more by the body of work they create and the way they work. At the center of my work is visual storytelling. Whether through comics, film development, or cultural projects, my main objective is to make ideas related to history, culture, and collective memory visible through contemporary forms of expression. For me, design is not an end in itself; it is a powerful tool for conveying stories, ideas, and emotions. In recent years, I have focused particularly on cultural memory, identity, historical narratives, and the shared cultural heritage of the Eurasian region. The challenge is not only to interpret the past. It is also about building a new language for the future by understanding the memories and experiences that come from the past. Kazakhstan as a Living Archive TCA: In our previous conversation, we discussed your work, The Legend of Ergenekon, and the influence Kazakhstan has had on your creative practice. How has your understanding of this subject evolved since then? Emre Erdur: Perhaps my core idea has not changed, but it has certainly deepened. At first, I viewed Kazakhstan’s influence primarily as a historical and visual source of inspiration. Over time, I came to realize that it represents something much deeper: a matter of cultural memory and, to some extent, a shared perspective on the future. Anatolia is an extraordinarily rich and multi-layered cultural geography. For centuries, it has been home to different civilizations, empires, and cultures, creating a landscape where many historical layers coexist. This richness also shapes the way we view the past; it can sometimes lead us to romanticize certain...

Higher Education

Uzbekistan’s Universities Climb Sustainability Rankings as Afghan Training Program Expands

Fifty higher education institutions from Uzbekistan have been included in the Times Higher Education (THE) Sustainability Impact Ratings 2026, marking another year of strong international recognition for the country’s universities. The results were announced on June 24 during the Global Sustainable Development Congress in Jakarta, Indonesia, while separate education initiatives in southern Uzbekistan are also extending training opportunities to hundreds of Afghan citizens. The THE Sustainability Impact Ratings assess how universities contribute to the United Nations Sustainable Development Goals (SDGs), evaluating performance across education, research, governance, social responsibility, environmental sustainability, and international cooperation. According to the ranking results, 24 Uzbek universities placed among the world’s top 1,000 institutions, reflecting the country’s growing emphasis on integrating sustainable development principles into higher education. Two universities recorded Uzbekistan’s highest overall positions, both ranking in the 101-200 band: Tashkent State University of Uzbek Language and Literature and Tashkent State University of Economics. They were followed by the National University of Uzbekistan and the National Research University “TIIAME” in the 201-300 group. Uzbekistan's universities also achieved notable results in individual Sustainable Development Goals. Alisher Navoi Tashkent State University of Uzbek Language and Literature ranked eighth in the world for Gender Equality, while Tashkent State Technical University placed fifth globally for Affordable and Clean Energy. Fergana Polytechnic Institute ranked sixth in the same category, and two medical universities from Samarkand and Tashkent secured places among the world’s top institutions for Good Health and Well-being. The country’s presence in the rankings has expanded significantly in recent years. Uzbekistan was represented by 12 universities in 2021, rising to 30 in 2022, 47 in 2023, 53 in 2024, 59 in 2025, and 50 institutions in the 2026 edition. At the same time, Uzbekistan is continuing to position itself as a regional education hub. UzA reported that more than 600 Afghan citizens have completed free technical and vocational training courses at the Educational Center for Afghan Citizens in Termez District, Surkhandarya Region. The training formed part of the $2 million European Union-funded project, implemented in partnership with the United Nations Development Programme, aimed at expanding educational opportunities and supporting the socio-economic integration of Afghan citizens. In addition to vocational training, the project covered tuition fees and scholarships for 136 Afghan students enrolled in higher education institutions. Thirty graduates with the strongest business proposals were awarded $2,000 vouchers to launch small businesses, while 39 participants received grants of up to $4,000 to purchase equipment and expand production or service-based enterprises. The project also upgraded the training center with new computer equipment, servers, a conference hall, a co-working space, and a 29-seat bus.

FIFA World Cup

Uzbekistan World Cup Ends With Reality Check After DR Congo Defeat

For an hour in Atlanta, it looked as though Uzbekistan's World Cup story might yet have an improbable final chapter, but a flurry of goals in the final 25 minutes saw Fabio Cannavaro's side handed another harsh reality check. The White Wolves threw away a first-half lead to lose 3-1 to the Democratic Republic of Congo on Saturday, exiting their first World Cup with three defeats from three games and conceding 11 goals – more than any team at the tournament apart from Tunisia and Iraq. Meanwhile, Congo advanced to the knockout stage for the first time in their history, returning to Atlanta to face England on Wednesday. The meeting between two nations making only their second and first World Cup appearances respectively offered a study in contrasting approaches to building a national team. Around 85% of the Congolese squad was born outside the country, mainly in France, Belgium and England, whereas Uzbekistan's entire 26-man squad is homegrown. The Congolese have been one of the surprise packages of this tournament, and were unlucky not to get more than one point from the opening two games. They came here wearing red rather than their usual cobalt blue, knowing that a win would see them through to the next round. Uzbekistan needed an improbably large victory to progress and were playing largely for pride. But it was the Uzbeks who made a lightning start. Eldor Shomurodov had the ball in the net almost straight from the kick-off, only for it to be ruled out for offside. The Başakşehir man, who finished top scorer in the Turkish league last season, had endured a quiet tournament until this game, cutting a very lonely figure against Colombia and Portugal. He was sharp here, though, elegantly chipping over a hopelessly marooned Lionel Mpasi to make it 1-0, the first time Uzbekistan had led a game all tournament. Shomurodov spurned a chance to double the lead early in the second half, once again attempting to chip the goalkeeper when a simpler finish might have sufficed. That second effort was largely against the run of play. After such a bright start, Uzbekistan retreated deeper and deeper into their own half as momentum built for Congo. The White Wolves were fortunate to reach the interval ahead after Nathanaël Mbuku had a superb equaliser ruled out following a VAR review for a foul in the build-up, a soft decision that prompted widespread criticism. Congo missed several good chances in the second half, and with half an hour to go, Uzbekistan might have felt it was their day. Once again however, they demonstrated their capacity for self-destruction at the back. In the 68th minute, an innocuous, hopeful ball was tossed into the Uzbek box. The team's poster boy, Abdukodir Khusanov attempted to clear it but instead caught the outstretched leg of Yoane Wissa, leaving the referee little choice but to point to the spot. Wissa converted without fuss. Once the dam broke, Uzbekistan capitulated. Ten minutes later, substitute Fiston Mayele deftly flicked...

TCA Interviews

From Bishkek to Yakutsk: What Unites Eurasia’s Emerging Cinema

Stepan Burnashev is a Sakha filmmaker from Yakutia who has helped bring Yakut cinema to audiences far beyond the republic. His films have screened at international festivals, appeared on Amazon, and helped turn Yakut cinema into one of the most distinctive regional film movements in Eurasia. In Bishkek, where Burnashev served on the jury of the national KyrgyzBox section, The Times of Central Asia spoke with him about the phenomenon of Yakut cinema, international ambitions, and what connects Yakutsk, Bishkek, and other emerging cinemas of Eurasia. TCA: Stepan, this is not your first time attending the Bishkek International Film Festival. What attracts you to it? Stepan Burnashev: I love Bishkek very much. There is good cinema here, wonderful people, and Kyrgyz culture feels very close to me in many ways. I have attended three of the four festivals held so far. Still, I have never shown my own films here. The first time I came to Bishkek was at the invitation of Erke Jumakmatova, the head of the festival’s industry program. We met back in Busan, and she invited me to participate in a pitching session. Back then, I flew in with a team of Yakut filmmakers: Apollinaria Degtyareva, Alexey Egorov, and me. Apollinaria and I both participated in the pitching, and this year she entered the main competition of the Bishkek Film Festival with that project. The second time, I came on my own initiative because I had really fallen in love with the festival. It has a special warmth and atmosphere. This time I was invited as a jury member for the national KyrgyzBox program. TCA: How do you assess the KyrgyzBox program? Do you see any common ground between Kyrgyz and Yakut cinema? Stepan Burnashev: The program is interesting, though, as everywhere, there are weaker films and stronger ones. From what I understand, mainstream cinema, such as comedies, is more popular here, while in Yakutia, auteur films are also audience-driven. It is interesting, but I noticed that music is used much more actively in Kyrgyz films. In our films, music usually does not dictate anything to the viewer or tell them what to feel. Here I saw films with a different approach. It is curious. TCA: What kind of cinema interests you more today, auteur or mainstream? Stepan Burnashev: In fact, I do not divide cinema into auteur and mainstream. I divide films into good and not-so-good. I even try not to use the word “bad.” It seems unfair to the people who create films. Any director starts working on a film convinced they will make a great one. And I sincerely believe that no one sets out to make a terrible movie. Of course, there are cases where the result does not meet expectations, but behind every project there is the labor of many people. That deserves respect. TCA: What do you think about contemporary Kazakh cinema? Do you know it well? Stepan Burnashev: To say that I know Kazakh cinema very well would be an...

World Cup 2026

World Cup: Ronaldo Makes History as Portugal Rout Uzbekistan 5-0

The Group K match between Uzbekistan and Portugal in Houston turned into a record-breaking night for Cristiano Ronaldo, as the European side coasted to a 5-0 victory. Portugal and Uzbekistan had both made unconvincing starts to the tournament. Uzbekistan, playing at the World Cup finals for the first time, lost 3-1 to Colombia. Portugal, meanwhile, dominated their match against DR Congo but failed to hold on to their lead and drew 1-1. They were in no mood to drop more points against the World Cup debutants. Before the match, Portugal head coach Roberto Martinez made it clear that he did not regard his team’s opening result as a setback. “After the draw with DR Congo, nothing changed for us: there are three matches in the group stage, and the first one is part of the process,” the Portugal coach said. Uzbekistan head coach Fabio Cannavaro, for his part, said his players would try to minimize the mistakes that led to their defeat against Colombia. “Our only way to achieve a positive result is through tactics, discipline, and hard work on the pitch,” Cannavaro said. In practice, however, Cannavaro’s tactics did not work, and it was a case of “Houston, we have a problem” as Portugal pinned their opponents back from the kick-off. It took only six minutes for Ronaldo to score the first goal against Uzbekistan, finishing a cross into the penalty area. With that goal, Ronaldo became the second-oldest goalscorer in World Cup history, behind Cameroon’s Roger Milla, who scored his final World Cup goal at the age of 42. The Portugal captain, 41, became the first player to score at six World Cups and moved past Eusebio as Portugal’s all-time leading World Cup scorer. Ten minutes later, Portugal doubled their lead with a cleverly worked free kick. At first, it looked as though Ronaldo was taking an age to prepare to shoot, but Nuno Mendes instead struck the ball, catching Uzbekistan goalkeeper Abduvohid Nematov by surprise. After that, Uzbekistan became slightly more active in attack. Midway through the first half, Azizjon Ganiev tried his luck from long range, sending the ball into the top corner of Portugal’s goal. But Uzbekistan’s celebrations did not last long: after a VAR review, the referee disallowed the goal for a foul by Abbosbek Fayzullaev on João Cancelo in the build-up. Portugal then quickly took the game beyond Uzbekistan’s reach, and near the end of the first half Bruno Fernandes delivered a precise pass to Ronaldo, who was left unmarked in the penalty area and calmly shot into the bottom corner. Portugal eased the pace slightly in the second half but still managed to score twice more. Portugal’s fourth came on the hour, when a Bruno Fernandes corner was diverted in for an Abduvohid Nematov own goal. Late in the match, substitute Rafael Leao picked up a loose ball near the edge of the penalty area and, without hesitation, struck a powerful and accurate shot into the top corner to make it 5-0....