Kazakhstan Life & Culture - The Times Of Central Asia

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Architecture

Opinion: Beyond Ornaments – Rethinking Kazakhstan’s Architectural Identity

Walking into the Flower of God Mosque in Astana, I was struck not by its grand domes or elaborate decoration, but by the experience of the space itself. Light filtered through the structure in unexpected ways, the interior unfolded gradually, and the building created a sense of calm. It made me wonder: can architecture express cultural meaning without directly reproducing traditional architectural symbols? This question is becoming increasingly important for Kazakhstan. Over the past two decades, the country has transformed its urban landscape through ambitious construction projects. New airports, museums, universities, financial centers, and religious buildings have reshaped cities, particularly Astana. As Kazakhstan seeks to position itself as a modern state connecting Europe and Asia, architecture has become one of the most visible expressions of national identity. Yet a fundamental challenge remains unresolved: how can architecture be modern while also expressing what it means to be Kazakh? National ornaments appear on glass facades and stylized references to the yurt shape public buildings. While these references are familiar and visually recognizable, they do not necessarily create meaningful architecture. Cultural identity cannot simply be attached to a building like decoration. This approach reflects what architects often describe as direct design: the use of recognizable forms and symbols to communicate meaning. Domes, arches, ornaments, and historical references immediately signal cultural identity because they are easy to recognize. Such architecture can create a strong visual connection to heritage, but relying solely on symbolism risks becoming superficial. An alternative approach focuses not on reproducing historical forms but on interpreting the values behind them. Instead of asking how a building should look, architects ask how it should feel. Meaning emerges through light, space, movement, and human experience. Astana's architectural landscape offers several examples of how national identity has been translated into built form. The Baiterek Monument offers perhaps the clearest example of symbolic architecture in Kazakhstan. Drawing on the legend of the Tree of Life and the Samruk bird, it transforms a national myth into a physical structure that is immediately recognizable. Its meaning is communicated directly through form and narrative, making it one of the country's most powerful architectural symbols. [caption id="attachment_50124" align="aligncenter" width="2560"] Baiterek, Astana; image: TCA[/caption] Yet the monument also raises an important question. While visitors can easily recognize the symbolism, do they experience the myth itself? Does the ascent through the tower evoke the journey up the Tree of Life, or does the golden sphere create the sensation of entering the sacred egg of the Samruk bird? The symbolism is clearly represented, but the extent to which it is translated into a spatial experience remains open to interpretation. Khan Shatyr occupies a unique place in Kazakhstan's architectural landscape. Its tent-like form directly references the nomadic heritage of the steppe, making it one of the country's most recognizable cultural symbols. Yet the project also raises an important question: is reproducing a familiar image enough to convey a cultural experience? [caption id="attachment_50122" align="aligncenter" width="1280"] Khan Shatyr, Astana; image: Bgag[/caption] Despite its obvious reference to...

Podcast

Pannier and Hillard’s Spotlight on Central Asia: New Episode Out Now

As Managing Editor of The Times of Central Asia, I’m delighted that, in partnership with the Oxus Society for Central Asian Affairs, from October 19, 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 covers the latest Eurasian Economic Union talks, a new defence deal between Moscow and a very unlikely ally, Kazakhstan putting itself forward to play a major role in the Iran nuclear talks, Turkmenistan once again conscripting public servants into forced labour, new developments in the Tashiev trial, and a major crackdown on madrasas and religious institutions in southern Kyrgyzstan. Before then turning to our main story this week, where Kyrgyzstan has just won itself a non-permanent seat on the United Nations Security Council, a major diplomatic breakthrough for the country, and a massive development for Central Asia more broadly. Special guest: Kadyr Toktogul (Fmr. Kyrgyz Ambassador to the United States and Canada)

Health

Alcohol and Male Mortality in Kazakhstan: A Problem People Do Not Usually Talk About

The figures are alarming when examined closely, although Kazakhstan seems to have grown used to them. Women in the country still live noticeably longer than men. According to the Bureau of National Statistics, women’s life expectancy has reached 79.8 years, while men’s is 72.19 years. A gap of almost eight years has persisted for several years. In 2024, women lived on average to 79.42 years, while men lived to 71.33 years. In 2023, the figures were 79.06 and 70.99 years, respectively. The statistics are changing gradually, but the main conclusion remains the same: male mortality in Kazakhstan remains one of the country’s most visible demographic problems. A gender gap in life expectancy is not unique to Kazakhstan – according to estimates by Our World in Data, men live shorter lives than women in every country in the world. The problem in Kazakhstan is the size of the gap. In prosperous countries, it is often three to four years. In Kazakhstan, it is about eight. Biology explains only part of this difference. The rest comes down to behavior, environment, and habits. What the Statistics Show At first glance, the level of alcohol consumption in Kazakhstan does not look extreme. According to WHO data, in 2022, alcohol consumption in Kazakhstan stood at 5.4 liters of pure ethanol per person over the age of 15. For comparison, the figure in Germany is about 13 liters, while in Russia it is more than 11 liters. However, the average figure is not the only thing that matters. The statistics do not show exactly who drinks, how often, or in what circumstances. That is why alcohol rarely appears in official statistics as a direct cause of death, but it often remains an invisible background to tragedy. Documents may list a heart attack, an injury, liver disease, or complications after poisoning, yet alcohol abuse may be a contributing factor behind many of these diagnoses. According to the WHO, more than 3 million people worldwide die every year from diseases and consequences related to alcohol, and a significant share of these deaths are among men. Kazakhstan has also appeared in international rankings of countries with high alcohol-related mortality. The example of Almaty is also revealing: over the course of a year, more than 6,000 cases of poisoning from alcoholic products were recorded there, around 2,000 people were hospitalized, and 23 cases ended in death. But even these data reflect only part of the problem. Alcohol may not be named as the main culprit, although it can trigger or intensify a chain of consequences, including heart disease, injuries, gastrointestinal diseases, infections, cancer, and mental disorders. Why Men in Particular According to the Bureau of National Statistics collection Men and Women of Kazakhstan, in 2023 there were 95 cases of alcohol-related disorders per 100,000 men, compared with 18 among women. Men suffer from these problems 5.3 times more often. The portrait of the typical consumer is also recognizable. Most often, this is a man aged 30 to 44, with secondary...

TCA Interviews

From Rural Classrooms to International Recognition: Advancing Teacher Education Research in Kazakhstan

Assel Sharimova’s academic path began in a rural school in Kazakhstan’s Akmola Region and later took her to the University of Nottingham and the University of Cambridge through the Bolashak International Scholarship program. She is now a postdoctoral scholar at Nazarbayev University’s Graduate School of Education. Before completing her PhD in Education at Cambridge in 2021, Sharimova worked at the Center of Excellence within the Nazarbayev Intellectual Schools system, where she contributed to teacher professional development programs and international collaboration. Her research examines teacher education in Central Asia, with particular attention to informal learning, virtual professional communities, and the idea of professional capital. That work earned her the 2026 Michael Fullan Emerging Scholar in Professional Capital and Community Award. In an interview with The Times of Central Asia, Sharimova discussed how teachers learn from one another, why professional communities matter, and what early-career STEM teachers in Kazakhstan experience during their first years in the classroom. Sharimova said her interest in teacher learning developed during her work at the Center of Excellence, where she was involved in a nationwide teacher professional development program. “Since obtaining my master’s degree, I have always been interested in how educators learn from one another and how professional communities can support meaningful and lasting improvements in education,” she said. Part of that work focused on sustaining professional learning beyond formal courses. Those questions later became central to her doctoral research at Cambridge, where she studied how teachers in Kazakhstan build professional relationships through virtual communities. During her PhD, Sharimova explored how teachers use peer exchange as a form of informal learning. She said the research contributes to international discussions about collaboration and professional networks in teacher development, especially as education becomes more digital. At Nazarbayev University, Sharimova has continued to work on teacher education and research capacity. From 2021 to 2024, she was involved in the Political Economy of Education Research Network, a multi-country project linking Nazarbayev University with the University of Cape Town, the University of Sussex, and Ulster University. Her role included supporting the Central Asia hub of the network, organizing academic events in Kazakhstan and Uzbekistan, contributing to research outputs, and mentoring selected researchers. Sharimova has also taught in the MSc in Educational Leadership program at Nazarbayev University. In 2024, she helped develop and teach courses on qualitative research for faculty members from several universities in Kazakhstan. “These courses created valuable spaces for knowledge exchange,” she said. Her current research focuses on early-career teachers, especially novice STEM teachers in Kazakhstan. The project examines how job demands and workplace resources affect their job satisfaction and early professional experiences. Sharimova is leading the study as principal investigator under Nazarbayev University’s Faculty Development Competitive Research Grants Program. As previously reported by The Times of Central Asia, Sharimova’s award was announced alongside student inventor Dana Kadyrbek’s success at the Cleantech Days Forum 2026.

Venice Biennale

A Polyphonic Process: Kazakhstan at the 2026 Venice Biennale

"There is a Kazakh proverb that says: a foolish person arrives with noise, sweeping everything away in their path, while a wise person arrives quietly, carefully observing the world around them." Syrlybek Bekbota, the curator of the Kazakhstan Pavilion at the 61st Venice Biennale – the most important art event in the world – offers me this thought at the dawn of the exhibition's opening, and it feels like both a manifesto and an omen. The theme of the pavilion is perfectly in line with the overarching curatorial theme, In Minor Keys, conceived by the late Cameroonian-Swiss curator Koyo Kouoh, who tragically passed away before the Biennale opened. And yet the controversies around this edition contradicted this minor key premise, instead turning it into a highly political event: the jury's resignation, widespread protests against the participation of Israel and Russia, rallies against the exploitation of art workers. The Kazakh pavilion was not immune to controversies itself, after artist Äsel Kadyrhanova's installation Machine (2013) – a meditation on Stalin-era repression featuring a vintage typewriter, Soviet-era arrest warrants, and red thread – was dismantled before the exhibition opened. However, on the day of the pavilion inauguration itself, no trace of the controversies was visible inside the high-ceilinged space. Listening to the Quiet Housed within the Museo Storico Navale near the Arsenale entrance, Qoñyr: The Archive of Silence marks Kazakhstan's third participation in the International Art Exhibition of La Biennale di Venezia, and its most ambitious yet. It is also worth noting that it is the first time a Central Asian nation has selected its pavilion curator and artists through an open call – open to citizens of Kazakhstan, with priority given to those currently living and working in the country. It is a deliberate emphasis on rootedness rather than the diaspora-friendly internationalism that, for better or worse, dominates many national pavilions. The exhibition centres around the word qoñyr, a key term in Kazakh cosmology. While its literal meaning refers to the colour brown, qoñyr carries a far richer metaphorical significance: it can describe a sonic register, the scent of earth, or a form of silence with deeply embodied meaning. It is the attentiveness to minor vibrations – the wind, the breath, a footstep – that renders audible what is usually displaced by noise. The pavilion takes its cue from a traditional Kazakh instrumental composition of the same name by the twentieth-century composer Äbiken Khasenov, whose work embodies a broader cultural shift: as cultural theorist Zira Nauryzbay has noted, Kazakh music before the twentieth century was predominantly composed in major keys, while the century's upheavals – Soviet occupation, famine, mass deportations – precipitated a distinctive turn toward minor tonalities. That sonic transformation is the exhibition's guiding metaphor. "In periods of global instability, attention is often drawn to loud events and immediate reactions," the curator Bekbota explains. "Within this atmosphere of noise, personal memory, everyday experience, and quieter forms of knowledge can easily remain unnoticed." His curatorial wager is that restraint, rather than volume, can...

TEDxMarvila

Love Takes Center Stage at TEDxMarvila in Lisbon

Pátio da Galé, one of Lisbon’s most iconic public spaces, became a gathering place for ideas, art, and cultural exchange on Saturday as TEDxMarvila held its latest edition under the theme “What is Love.” Held in the heart of the Portuguese capital, the event drew an international audience for a full day of talks exploring love as emotion, language, identity, and shared human experience. Anel Imanbay, who is originally from Kazakhstan, founded and organized the event. She has built TEDxMarvila as a Lisbon-based platform that brings together people of different nationalities and creative backgrounds. This year’s edition extended beyond the stage, featuring an art exhibition titled “Love at First Sight,” which brought together artists from around the world. Among the participating artists was acclaimed Kazakhstani artist Eduard Kazaryan, who exhibited three works as part of the program. Kazakhstan was also represented diplomatically at the event. Jean Galiev, Kazakhstan’s ambassador to Portugal, attended as an honorary guest, adding to the gathering’s international character and its connections with the Kazakhstani community abroad. The event created an atmosphere of openness and exchange. Guiomar de Oliveira, one of the attendees, said the event showed how differently people can express the same universal emotion. “It was interesting to hear how different people translated love as emotion with words,” she said. “I met people from all over the world. Love is international, and I loved meeting all those translators of emotions.” Behind the scenes, organizers said the event reflected the work of a committed international team. Co-organizer Henrique Tiago del Castro praised Imanbay’s leadership in developing the event. “Anel Imanbay is the kind of professional who brings clarity, dedication, and a strong sense of purpose to every project she is part of,” he said. “For TEDxMarvila, her contribution reflects both confidence and thoughtful engagement, helping shape the conversation with relevance and depth.” With its blend of talks, international art, and cross-cultural participation, TEDxMarvila highlighted love as both a personal emotion and a language of connection across communities and borders.