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Eurasian Connectivity Comes One Step Closer at the 2024 CAMCA Forum in Bishkek

The wider Eurasia region took another step towards cooperation and connectivity last week, as the 10th annual CAMCA Regional Forum was held in Bishkek. CAMCA – standing for Central Asia, Mongolia, the Caucasus and Afghanistan – is an initiative to accelerate dialogue between governments, private enterprises and media figures from these ten nations. Organized by the Washington, D.C.-based Central Asia-Caucasus Institute and the Rumsfeld Foundation, this year’s Forum – the first such event to take place in Kyrgyzstan – featured over 300 delegates across its two days, and presented insights from over 70 speakers. Attendees came from 25 countries in total. Professor Frederick Starr, the Central Asia-Caucasus Institute’s chairman, used his opening address to call on the countries of the region to start preparing for a future within a cohesive international bloc. Dr Starr reasoned that Russia and China, imperial powers that have traditionally had a controlling presence in Central Asia, may see their global influence wane in the coming decade. This would give the countries of Central Asia, and their neighbors, more space to create projects that serve their economies directly. A leading CAMCA regional project is the ‘Middle Corridor’ trade route, which bypasses Russia to transport goods more efficiently between Europe and China. Discussions are also taking place concerning the creation of single business and tourist visas for the whole Central Asia region. The importance of collaboration between countries in the Caucasus and Central Asia to mitigate the impact of climate change has never been so great. Addresses by senior members of the Kyrgyz government highlighted the progress that Kyrgyzstan has made since the administration of president Sadyr Japarov began its work in 2021. The country’s deputy prime minister Edil Baisalov reported that Kyrgyzstan is on track to double its GDP to $30 billion by 2030, while the minister for digital development, Nuria Kutnaeva, spoke about the rapid digitalization of the country’s government services. In a noticeably warm and collaborative atmosphere, the event nonetheless highlighted the barriers that prevent the ten countries from forming a tangible ‘CAMCA’ space in the present. A key goal is the harmonization of their legislation and policy directions; however, no delegates from Tajikistan could travel to Bishkek for the Forum, as otherwise solid relations between Tajikistan and Kyrgyzstan are still strained by a dispute over their common border. Likewise, Armenian voices were also absent this time, in light of several of the sessions featuring Azerbaijani speakers and talking points. The event featured only one guest from Turkmenistan. Even in these conflicts, however, Central Asian diplomacy is at work. The conflict on the Kyrgyz-Tajik border, mainly in Tajikistan’s Vorukh district, is being resolved through negotiations between the two countries’ governments, which would have been unthinkable even five years ago. Meanwhile, Kazakhstan is acting as a mediator between Baku and Yerevan in the aftermath of the war in Nagorno-Karabakh. Other topics on the agenda included security priorities for Central Asia, digital innovation in business, cooperation with Afghanistan, transitions in global energy markets, and infrastructure projects...

Kazakhstan Mourns Murat Auezov – Intellectual, Diplomat, Activist and Patriot

Murat Auezov was a champion of Kazakh identity and culture under Soviet rule and threw himself into Kazakhstan’s transformation after independence in 1991. He wore many hats over a long career: writer, the new country’s first ambassador to China, opposition figure, head of the national library, chief editor of the state Kazakhfilm studio. He expanded on the legacy of his father, Mukhtar Auezov, a playwright and novelist who translated literary classics into the Kazakh language and is celebrated today as an early contributor to an emerging national identity. His mother was Fatima Gabitova, a teacher with her own story of persecution during the Soviet era. Murat Auezov, 81, died on June 14 after an illness, prompting tributes from President Kassym-Jomart Tokayev and many others. In Almaty, family, friends, politicians and government officials were among hundreds of people who attended a funeral service at the National Drama Theater, which is named after Auezov’s father. Murat Auezov was “an orator, a philosopher, a historian, a culturologist, a literary scientist, an educator, and a diplomat,” said Bigeldy Gabdullin, president of the Kazakh PEN Club, a branch of the international group that promotes freedom of expression. Auezov, who was a PEN Club member, promoted Kazakh identity even as a student in Moscow during Soviet times and “awakened Kazakh writers,” Gabdullin said on Facebook. In the 1960s, Auezov was a member of the Zhas Tulpar movement, a loose-knit group of Kazakh youths who studied in Russian universities but whose devotion to Kazakh art, literature and culture often collided with Soviet ideology. “I hope his diaries will be published in English to reflect on the depth of Soviet colonialism and how it crushed people,” Diana Kudaibergen, a political sociologist whose books include Rewriting the Nation in Modern Kazakh Literature, said on the X platform. Auezov, who was pressured and monitored by Soviet authorities, was among the first Kazakh intellectuals to talk openly about collectivization, famine and the destruction of the intelligentsia in Kazakhstan in the first half of the 20th century. “In 1974, in his speech at the plenum of the Writers' Union, he stated: ‘Without covering the topic of hunger, we cannot say that we have national literature,’” read one tribute after his death. In the 1990s, Auezov was a leader of the Azamat opposition movement and sparred with the government of President Nursultan Nazarbayev, who cracked down on dissent. He then worked as head of the Kazakh branch of the foundation created by financier and philanthropist George Soros to promote democratic and social reforms around the world. As ambassador, Auezov promoted economic and cultural ties with China. Years later, though, he increasingly voiced alarm at Chinese economic inroads in Kazakhstan, which he viewed as a threat to the country’s sovereignty. In an interview, he said, “we should not forget our Turkish ancestry. No matter how difficult it is for the brotherly countries of Central Asia, it is better to achieve cooperation, even if it is necessary to make sacrifices. If we cannot achieve this, it is quite...

The Evolution of Kazakh Ornamentation

Ornamentation, evolved over the centuries and influenced by the country’s history, is integral to Kazakhstan’s rich and unique cultural heritage. Art historian Raushan Yeschanova outlines its evolutionary path, significance to Kazakh life and society, and how it continues to develop and inspire contemporary art and culture. Origins of Kazakh Ornamentation Kazakh ornamentation emerged in ancient times, reflecting the peculiarities of nomadic life and the country’s natural environment. Simple geometric shapes and symbols were used in rituals and to decorate everyday objects, textiles, clothing, jewelry, dwellings and graves. The main components of Kazakh ornamentation were lines, curves, dots, circles, zigzags and geometric figures, arranged and intertwined to create rhythmic compositions and patterns. Abstracted from natural phenomena and zoomorphic, these early ornaments were valued both aesthetically and for their deep symbolic significance. Influence of Cultural Traditions Over time, due to exposure to other nations’ cultural traditions through trade and the passage of caravans through the country, Kazakh ornamentation became more complex and diverse. Many of its motifs share similarities with designs found in artefacts made by other Turkic-speaking peoples, including the Kyrgyz and Mongolian Alai Kazakhs. Interaction with Turkic, Mongolian, Persian and other cultures, enriched Kazakh ornaments making them more multi-layered and multifaceted. For example, the Mongolian influence is apparent in the introduction of more complex zoomorphic and plant motifs, whilst that of Persia is evident in the refinement and elegance of linear design. Among plant patterns, Raushan singles out the early "shytyrman"; a complex interweaving of geometric, horn-shaped and plant motifs. [caption id="attachment_19112" align="alignnone" width="4000"] Image Source: liveinternet.ru[/caption] Ornamentation in the Medieval Period One of the most important stages in the development of Kazakh ornamentation was the formation of the khanate and the development of urban centers during the medieval period. At this time, complex ornamental compositions including abstract patterns, plant motifs, animal images and heraldic symbols appeared in the khans’ palaces as well as religious buildings. Widespread in their application, these ornaments decorated architectural features, luxury items, jewelry, and textiles. Totemism and Symbolism in Kazakh Ornamentation Kazakh ornamentation is also closely related to the totemic beliefs of the ancient Turks. Totemic signs and symbols, often related to animals, had a deep sacred meaning. A symbol of prosperity and vitality, the ram’s horn is ubiquitous in ancient cultures from the Pacific Ocean to the Mediterranean Sea, and is widespread among both Iranian and Turkic tribes. Images of the ram and closely related animals, such as the argali and the Siberian goat, are the most common themes in ancient Eastern art. For millennia, horns have appeared in fluid, interlocking designs in Turkic artefacts, and, denoting prosperity and wellbeing in Kazakh ornamentation, are frequently seen above the doors of yurts and on ancestral graves. The bird is also a powerful symbol within Kazakh ornamentation. Representing freedom, "kus kanat" or "kus muryn" was commonly used in jewelry. Images of eagles were favored in the art of the Saks, whilst nationwide the popular abstracted image of ravens’ claws represents protection. [caption id="attachment_19113" align="alignnone" width="4000"] "Kus...

Controversial Petition on “LGBT Propaganda” Passes Threshold for Consideration in Kazakhstan

A petition against so-called “LGBT propaganda” has received more than 50,000 signatures, meaning Kazakhstan’s Ministry of Culture and Information must consider it. However, a number of experts believe that restrictions on the gay community would damage Kazakhstan’s image. In addition, the petition’s authors are known for their controversial initiatives. The Kazakhstan Parents' Union is the author of the petition “We are Against Open and Concealed LGBT Propaganda in the Republic of Kazakhstan,” which was published on the official E-Petition.kz portal. According to Article 90-4 of the Administrative Procedural Code, the government must consider a petition with 50,000 signatures. A working group including interested parties, government agencies, and public associations will be created. The consideration of official petitions are a relatively recent innovation. So far, only three have collected the required number of signatures. The first came in the wake of the Nukenova murder at the hands of a disgraced former minister. It was considered by the Kazakhstan president himself and brought about landmark legislation on domestic violence. The decision to allow public input via petitions is seen as a sign of the fulfillment of President Tokayev's promise of a more engaging and aware "listening state." Kazakhstan has seen repeated attempts to include in various legislative acts such a ban on promoting “nontraditional relations.” However, these amendments were not adopted, though numerous Mazhilis (lower chamber of parliament) deputies and public figures spoke out in favor of them. Nevertheless, there have been cases in Kazakhstan where media products containing what is deemed “homosexual content” did not reach the market. For example, in 2022, the former Minister of Culture and Information, Dauren Abaev, announced that, "In response to numerous requests from citizens and the media, I inform you, the animated film Lightyear will not be shown in Kazakhstan." Officially, however, the ministry did not prohibit the screening of the Hollywood animation in cinemas. According to rumors, distributors themselves canceled showings in response to the public outcry. Also, in January 2024, a website for LGBT people was blocked in Kazakhstan. The site, among other things, had materials to help young people answer questions about their sexual orientation. “During monitoring of the internet resource selftanu.kz, a violation of the law was identified related to the posting of information harmful to the health and development of children,” the Ministry of Culture stated in justifying blocking the site. The head of the group pushing the current petition, Bagila Baltabaeva, stated that, “Same-sex love is being openly forced on our children. It is forced [on them] in bookstores, on TV screens, and on smartphones. Young people openly spread [information about] and promote their unhealthy relationships. Thus, stealthily and subtly, new standards of sexual relations are taking shape among young people. In parallel, it is promoted that traditional values are relics of the past, a sign of backwardness. Therefore, for fear of criticism, many remain silent. And those who work up the courage and speak out against LGBT propaganda are branded as retrogrades and conservatives.” This is not the...

Rule of Law

Women and Girls in Central Asia in Need of Protection from Violence

Central Asian Countries are seeing a new wave of violence against women and girls, and the fight against their long-standing powerlessness is just beginning. In 2023, the Women, Peace and Security Index (WPS Index), published by the Georgetown Institute for Women, Peace and Security and the PRIO Centre on Gender, Peace and Security, found Kyrgyzstan and Uzbekistan the most dangerous countries in Central Asia for women. Things were deemed slightly better in Kazakhstan, Tajikistan, and Turkmenistan. The challenges faced by women in the region result from a combination of factors: the low number of women in government and law enforcement, women’s lack of financial independence, especially in rural areas, a distorted understanding of traditions across populations, and a mentality in society that often denies or covers up flagrant cases of injustice. The law is written in blood: the case of Kazakhstan According to WPS experts, Kazakhstan has progressed further than its neighbors toward equality. Still, according to Kazakhstan’s Ministry of Internal Affairs, 69 women and seven children died in 2023 in domestic conflicts alone. It is believed that, on average, at least 80 women die every year at the hands of those they live with; every day, the police receive hundreds of calls, while thousands of women need the help of specialized protection and support centers. According to the Prosecutor General, last year 150 women sustained severe injuries and 200 moderate injuries in marital conflicts, with another 4,000 suffering minor bruises. This year, however, marked a turning point for Kazakhstani society – more and more women are recording videos with marks from beatings, posting the videos on social media, and calling on the police to punish their abusers. Even high-profile domestic abusers can now be exposed. The trigger for these changes was the trial of former Nazarbayev-era Minister of the National Economy, Kuandyk Bishimbayev, who beat his wife, Saltanat Nukenova, to death last November. Following a live-streamed trial, this May, Bishimbayev was sentenced to 24 years in prison for her murder. Even during the Bishimbayev trial, Karina Mamash, the wife of a Kazakh diplomat in the UAE, went public with allegations about systematic abuse, calling on the state to help. The Ministry of Foreign Affairs urgently recalled her husband, Embassy Counselor Saken Mamash, who may be fired. Karina is now at home with her children while a criminal case has been opened against her husband. She has since reported threats from her husband's relatives. Also in May, Akmaral Umbetkalieva, a resident of Atyrau, alleged that her ex-husband, Rinat Ibragimov – the akim (mayor) of Makat District in Atyrau Region – had beaten her for eleven years and taken away their children. Ibragimov called the allegations slander. The month before, former Taldykorgan police chief, Marat Kushtybaev was sentenced to eleven years for raping a girl in his office in November 2023. Another headline from April was that a security guard at an Almaty bar who had been convicted of raping a girl at knifepoint would serve eight years in prison. The...

Art and Culture

Decolonial Futurism: A Focus on Kazakhstan’s Pavilion at the 60th Venice Biennale

Kazakh artists have traditionally been marginalized in the global art scene due to political intricacies and a complex cultural identity. With historical influences and colonization by both Russia and China, Kazakh artists are now carving out a unique artistic identity and sharing it with international audiences. The Kazakh pavilion "Jerūiyq: Journey Beyond the Horizon" at the 60th International Art Exhibition of the Venice Biennale, from April 20 to November 24, represents a major milestone in changing perceptions of Kazakh art. Staged in the Naval Historical Museum, the exhibition reinterprets the ancient legend of Jerūiyq, drawing inspiration from Kazakh myths and the visionary journey of the 15th-century philosopher Asan Kaigy. The word "kaigy" means "pain" in Kazakh, symbolizing the nation's traumatic encounters with modernity's darker aspects: the devastating famine of the 1930s, the craters left by nuclear tests in Semey, the shrinking of the Aral Sea, and the wounds inflicted on the Kazakh landscape. The exhibition traces the evolution of Kazakh utopian imagination from the 1970s to today through artists’ visions of ideal worlds, where their utopian imagination merges with the artistic movement of "decolonial futurism." On behalf of TCA, Naima Morelli interviewed curator Anvar Musrepov on the concept and significance of Kazakhstan's participation in the Venice Biennale. TCA: How did the idea for the Kazak pavilion “Jerūiyq: Journey Beyond the Horizon” evolve? A.M: In our curatorial research, we found that the theme of utopia and futuristic imagination has concerned several generations of Kazakhstan's artists since the 1970s. Using this as a starting point, we decided to establish, in chronological order, a collection of works by multiple generations of artists. Divided by decades, the collection manifested a wave of Kazakh futurism, including themes of spirituality, cosmism, nomadism, and utopian ideas. This in turn, will help formulate a term to comprehensively describe and unite all these intuitions that have concerned Kazakh artists in different historical periods. [caption id="attachment_18933" align="aligncenter" width="522"] Sergey Maslov, "Baikonur" at the Venice Biennale [/caption] TCA: The exhibition’s title alludes to the ancient legend of Jerūiyq. What is it about and how have you interpreted it? A.M: Jeruiq is an ancient legend about a utopian land that according to many myths, was sought by Asan Kaigy, advisor to the first Kazakh khans Zhanibek and Kerey. Legend describes it as a land that has fermented, a place where time has stopped, a land full of vividness, devoid of disease or longing. We found in this ancient Kazakh legend, an ideal metaphor to unite all the intuitions presented in the exhibition and manifest the chronology of post-nomadic futuristic imagination. If established, the definition of this unique phenomenon, could become a movement in Kazakh art. TCA: What can you tell us about the philosopher Asan Kaigy? A.M: Asan Kaigy is a quasi-historical character who features in Kazakhstan’s rich oral tradition where history and memory are passed down from mouth to mouth. Every region of Kazakhstan has local legends about miracles performed by Asan Kaigy. One such legend says that he found...