• KGS/USD = 0.01144 0%
  • KZT/USD = 0.00205 0%
  • TJS/USD = 0.10784 0%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00205 0%
  • TJS/USD = 0.10784 0%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00205 0%
  • TJS/USD = 0.10784 0%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00205 0%
  • TJS/USD = 0.10784 0%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00205 0%
  • TJS/USD = 0.10784 0%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00205 0%
  • TJS/USD = 0.10784 0%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00205 0%
  • TJS/USD = 0.10784 0%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00205 0%
  • TJS/USD = 0.10784 0%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%

Viewing results 31 - 36 of 707

Shoqan Walikhanov: Kazakh Scholar Recognized in the West

Shoqan Walikhanov gained recognition far beyond the Kazakh steppe, earning admiration in Russian and European intellectual circles. Although his life was brief, he left a lasting impact on Oriental studies, ethnography, geography, history, and folklore research. Western academics especially valued his expedition to Kashgar and his detailed studies of Central Asia. Even today, many scholars writing about the region continue to rely on Walikhanov’s observations and publications. One example of this influence appears in A Century of Russian Rule in Central Asia, a scholarly volume edited by Edward Allworth and published in the United States in 1967. In the book, researchers frequently cite Walikhanov’s articles and reports on Central Asia, recognizing them as important historical sources. Russian Oriental scholars famously compared Walikhanov to “a fleeting meteor” whose brilliance appeared only briefly. The respected orientalist Nikolai Veselovsky also wrote about the high expectations scholars had for his future. Walikhanov’s studies first became known in Europe through the Russian Geographical Society. His works, including Sketches of Dzungaria, Journey to Altyshahr, and Notes on the Kyrgyz, introduced Western readers to the history, customs, and traditions of Central Asian peoples. By 1865, Walikhanov’s reputation had already reached the English-speaking world. That year, The Russians in Central Asia was translated into English and published in London by John and Robert Michell. The book examined the Russian Empire’s expansion into Central Asia, the Syr Darya military frontier, and political relations with the khanates of Khiva, Bukhara, and Kokand. It included Walikhanov’s accounts from his 1858 and 1859 expedition to Kashgar and Dzungaria, identifying him as “Capt. Valikhanof,” a Russian-based transliteration of his name. His writings offered Western audiences rare insights into the geography, political climate, ethnography, and daily life of Xinjiang and neighboring territories. The publication also featured studies by Russian travelers such as Mikhail Venyukov. The authors described the incorporation of the Kazakh steppe into the Russian Empire, the unstable political situation in the Central Asian khanates, and the international rivalry associated with the “Great Game.” [caption id="attachment_48496" align="aligncenter" width="300"] Decree of Emperor Alexander II on awarding Chokan Valikhanov the Fourth Class Order of Saint Vladimir for his journey to Kashgar, 1860. Photo credit: shoqan.kz[/caption] [caption id="attachment_48497" align="aligncenter" width="300"] Clothing of Kashgar Women. Drawn by Chokan Valikhanov, 1858.Photo credit: shoqan.kz[/caption] Modern historians still consider the book one of the most valuable nineteenth-century sources on Russian colonial expansion in Central Asia. At the time, Walikhanov’s observations on Kashgar were regarded as some of the most reliable information available to European scholars about a region that remained largely inaccessible. Western academics admired Walikhanov not only for his scholarship, but also for his role as a bridge between Eastern and Western cultures. English-language studies often describe him as “the first European-educated Kazakh intellectual.” His growing reputation in the English-speaking academic world has also been examined in later research. In the article Chokan Valikhanov and the English-speaking World, British researcher Nick Fielding explains how Walikhanov’s writings attracted the attention of nineteenth-century British scholars. According to Fielding, members of the...

Kazakh Writer Aigul Klinovskaya on Memory, Identity, and the Rise of Contemporary Literature

In recent years, interest in contemporary literature has grown noticeably in Kazakhstan. Authors are increasingly reaching readers directly, taking part in public events, promoting their books through social media, and speaking about local experiences as part of a broader cultural landscape. The Times of Central Asia spoke with Kazakhstani writer Aigul Klinovskaya about her path into literature, the role of memory and place in her prose, and what contemporary authors need today to gain greater visibility both within the country and abroad. TCA: To begin with, please tell us a little about yourself. How did you become a writer? Aigul: I came to literature from IT, that is a well-known fact, and something I often mention in interviews. I worked at a large telecommunications company and headed a department, but at a certain point, I completely changed my field of activity. Now I write my own books and also help other authors shape their manuscripts as a literary editor and mentor. People work with me to finish and refine their manuscripts, increasing their chances of publication or success in literary competitions. TCA: When did you first feel that writing was not just an interest for you, but an important part of your life? Aigul: I tried writing as a child. I had a science fiction novella with an interesting story behind it: I sent it to a children’s magazine, and they replied that the work was good but still needed improvement. I was offended and, in the heat of the moment, destroyed the manuscript. I regret that now because it would have been interesting to reread it. As a child, I wrote poems and short stories; many people go through that stage. But I began writing prose seriously about five years ago. At that time, I took part in a writing marathon, wrote a short story, and it was immediately included in an anthology. That inspired me: I realized that I could and wanted to write fiction. The transition from short stories to longer forms was not easy. I wondered whether I could do it and whether I would manage. But now two of my books have already been published, and a third is coming out in June, so something must be working. Many people are surprised to learn that, for most of my life, I was not involved in literature professionally but worked in a completely different field. Now, however, I feel that I am in the right place. TCA: Your texts often pay close attention to a person’s inner life, to memory, and to the warmth of everyday relationships. Why are these themes close to you? Aigul: I am interested in people in general, their relationships and emotions. As an author, I want readers, when they immerse themselves in my books, to feel something: to cry at some moments, laugh at others, smile, and reflect. I believe that every person’s fate is worthy of a book because many remarkable things happen in life. If they are described well,...

From Almaty to Bali: Two Cyclists from Kazakhstan on Their Bicycle Journey

Alina and Maksim Pak, a young married couple from Almaty, have spent several months cycling from Kazakhstan to the Indonesian island of Bali, a journey of more than 8,000 kilometers across multiple borders. Their daily updates on Instagram have drawn widespread attention, turning them into social media personalities. The Times of Central Asia spoke with them about how they embarked on the journey, the challenges they faced, and how the experience has changed them. TCA: Cycling from Almaty to Bali sounds bold. Do you remember the moment when the idea became a plan? Who initiated it? Maksim: It’s been my dream since childhood back when I used to ride a BMX bike. I thought about it a lot, but it always seemed impossible. Then one day I realized: if not now, then when? Alina initially thought it was a joke, but eventually I convinced her. We mapped out the route in just three or four days, and preparation took 45 days. We found sponsors, posted videos every day, learned blogging along the way, and gradually gained support from people. [caption id="attachment_48398" align="aligncenter" width="225"] @instagram.com/alina_pakk[/caption] TCA: Were you scared at all? Alina: Very much so. But not on the road, at the beginning, during preparation. We had almost nothing, no proper gear, no clear plan, no certainty that it would work. It felt like we physically wouldn’t even be able to start, too many “buts” and too few resources. But every day we sat down and visualized how we would travel, what we would eat, who we would meet. The fear was there, yes. That’s exactly why we went. If it’s not scary, then the goal isn’t big enough. TCA: What does a typical day on the road look like? Are all days different? Maksim: Our routine formed quite quickly. We wake up around 7 a.m., nature doesn’t let you sleep longer, especially when the tent is in the sun. We have breakfast, pack up, and by 9 a.m., we’re already cycling. The first stretch is about three hours, then we take a mandatory lunch break and rest for an hour or so, otherwise the body doesn’t recover. After that, we ride again until 5 or 6 p.m., depending on how we feel and the road conditions. When we find a place to stop, we set up the tent, and then the second shift begins: we work, editing videos and replying to messages. The day ends around 10 p.m. And yet every day is completely different, new cities, new people, new landscapes. It never gets boring. TCA: You’ve already cycled through China, Vietnam, Thailand, and are now in Malaysia. Which country surprised you the most? Are people the same everywhere? Maksim: Honestly, every country surprised us in its own way. It’s impossible to single one out. In some places it’s the nature, in others the food, in others the way people treat strangers. Overall, people are very similar everywhere, despite different languages and cultures. Everyone has the same concerns, work, family,...

Artist Aigerim Karibayeva on How Kazakhstan Is Searching for Its Visual Identity

Kazakh artist Aigerim Karibayeva is part of a new visual wave that seeks to blend traditional culture and contemporary aesthetics. Her distinctive style – bright, airy, almost spring-like imagery infused with ethnic motifs and scenes from everyday life – has moved beyond social media into major exhibition spaces. Her works are currently on display at the Kasteyev State Museum of Arts, where her solo exhibition My Sky Above Me recently opened. In an interview with The Times of Central Asia, she discusses how she coined the term “ethno-modernism,” why ethnic aesthetics is surging in popularity, and how Kazakhstan is searching for its own visual identity. TCA: Aigerim, you describe your work as “ethno-modernism.” How did you arrive at that concept? Aigerim Karibayeva: I started moving in this direction and sharing my work on Instagram several years ago. I quickly found my audience; there was strong interest from the media and many interviews. To talk about my work, I needed a term that would define it, something verbal. But I didn’t want to call it simply “contemporary art,” because that didn’t reflect the essence of what I do. I thought: why not call it “ethno-modernism”? I consulted the well-known art historian Olga Baturina, and she approved. The term immediately caught on. I now see it used in the press, on social media, and even in the profiles of young designers. Today, “ethno-modernism” is used to describe an entire wave of artists and designers, the boom we’ve been seeing over the past five years. TCA: Why do you think ethno-modernism has become so popular now? Aigerim Karibayeva: I think it’s been building for a long time. I’m trained as a graphic designer, so I have a strong visual awareness. I saw how interest in national style and ethnic elements gradually emerged in the country. First, businesses began using it in branding, then advertising picked it up, and eventually it spread into mass culture. Now, ethnic elements combined with modern aesthetics have become a visible part of everyday life. [caption id="attachment_48156" align="aligncenter" width="2000"] From a personal photo archive[/caption] TCA: That was especially noticeable during recent Nauryz celebrations – everyone seemed to be wearing ethnic-inspired clothing. Aigerim Karibayeva: Exactly. Everyone is searching for a new cultural code right now, artists, musicians, filmmakers, craftspeople. At first, you create something within your own circle, among fellow artists, and then it spreads outward. You start seeing and hearing it everywhere, for example, in new interpretations of Kazakh music. You recognize that mix, and it becomes a kind of key. You try to translate that same cultural fusion into your own work. I’ve had people tell me they were inspired by my work. One woman approached me and said that after seeing a traditional headpiece, a taqiya, in my illustration, she was inspired to start making them herself and  launched a successful business. That’s how this wave works, there’s a ripple effect, and everyone picks it up. TCA: There’s clearly strong demand for ethnic aesthetics right now. Aigerim...

From Kazakhstan to International Ballet: Meirambek Nazargozhayev’s Rise

Meirambek Nazargozhayev’s journey is a remarkable story of talent, determination, and transformation. Hailing from the small village of Karaoy in Kazakhstan’s Almaty region, he grew up like many boys in the countryside, playing football and the dombra, with little connection to the world of classical ballet. Today, however, he is a principal soloist at the Royal Danish Theatre, one of Europe’s most prestigious cultural institutions. Ballet was not part of Nazargozhayev’s childhood dreams. His path changed thanks to his aunt Farida, a choreographic instructor in Almaty, who noticed his potential early on and encouraged him to pursue dance. At the age of ten, he entered professional training, marking the beginning of an unexpected but extraordinary career. Creativity had always been part of his life. He recalls being drawn to music and performance from an early age, playing instruments, exploring artistic interests, and taking part in local cultural activities. In 2006, he was admitted to a choreographic school in Almaty, where he trained intensively. Watching dancers glide and leap across the stage left a lasting impression, turning his initial curiosity into a deep passion for ballet. [caption id="attachment_48150" align="aligncenter" width="300"] From a personal photo archive[/caption] With consistent effort and discipline, Nazargozhayev soon began gaining international recognition and winning awards. His artistic path echoes the words of Rabindranath Tagore, who described art as an expression of the inner self. While many of his classmates aimed to join local theaters in Astana or Almaty, Nazargozhayev aspired to build a career abroad. He first moved to Moscow, where he spent eight months working at a major theater, performing key roles and refining his skills. Eager to broaden his horizons, he then turned to Europe, known for its rich ballet traditions and high professional standards. His European career began in Kiel, Germany, where his distinctive style and talent quickly earned him a contract. He flourished there, particularly in contemporary dance, a genre he continues to value deeply. During his time in Germany, he heard a great deal about the Royal Danish Theatre, which soon became his ultimate goal. An offer from a major theater in Madrid followed, promising strong prospects. Shortly afterward, however, he received an invitation from the Royal Danish Theatre, the very stage he had long dreamed of joining. [caption id="attachment_48151" align="aligncenter" width="300"] From a personal photo archive[/caption] “I was in disbelief,” he admits. “I had applied, but I never imagined I would actually be accepted.” After joining the company, Nazargozhayev made an immediate impact by performing a solo role in Jiří Kylián’s ballet 27’52”, an opportunity rarely given to new members. His performance captivated both audiences and colleagues, establishing him as a standout artist. Over the past eight years, he has continued to grow professionally, appearing on major stages across Europe, China, North America, and at the Kremlin Palace. In recognition of his excellence and dedication, the Royal Danish Theatre granted him a lifelong soloist contract, an honor reserved for only the most distinguished performers. He has also performed before the Danish...

Victory, Memory, and Moscow: Central Asia’s Changing May Calendar

May is when Central Asia’s past crowds into the public square. Workers, soldiers, veterans, constitutions, unity campaigns, and the legacy of World War II all compete for space on the calendar. The dates are familiar across the region, but their meanings are no longer the same. Kazakhstan marks People’s Unity Day on May 1, Defenders’ Day on May 7, and Victory Day on May 9. Kyrgyzstan has a May calendar built around Labor Day, Constitution Day, and Victory Day. Uzbekistan has recast May 9 as the Day of Remembrance and Honor. Turkmenistan lists May 9 as Victory Day of the 1941-1945 Great Patriotic War, but it no longer carries the same public weight as the country’s main state holidays. Those choices show how each state is handling its Soviet past. May 1 can mean labor, unity, or almost nothing. May 9 can mean victory, mourning, family memory, or careful diplomacy. In Central Asia, the politics of memory rarely move through open rejection. It works through renaming, recalibrating, and changing the optics. Russia still treats May 9 as a central ritual of state power. Victory Day marks the Soviet defeat of Nazi Germany in what Russia calls the Great Patriotic War. Under Vladimir Putin, it has become a display of military strength, national sacrifice, and confrontation with the West. Since Russia’s full-scale invasion of Ukraine in 2022, that message has become more direct. This year, the image projected from Moscow will be weaker. Russia is preparing to hold its May 9 parade on Red Square without the usual display of military hardware. Tanks and missile systems, long central to the spectacle, are being kept away. Russia’s Defense Ministry cited the “current operational situation,” while the Kremlin linked the change to Ukrainian attacks. For Central Asian governments, that image will be hard to separate from their own handling of Victory Day. Moscow has long used May 9 to gather friendly leaders and place the post-Soviet region inside a shared wartime story. Attendance in Moscow has become a diplomatic signal. Absence has become one too. In recent years, Victory Day diplomacy has shown how Central Asian governments try to respect wartime memory while avoiding full alignment with Russia’s narrative. This year, at least some Central Asian leaders are again expected in Moscow. Kazakhstan’s Kassym-Jomart Tokayev and Kyrgyzstan’s Sadyr Japarov have been reported among those planning to attend, though the Kremlin has not yet published a full list of foreign guests. Central Asian states cannot simply discard May 9. Millions of people from the region served in the Red Army or worked behind the front during World War II; from Kazakhstan alone, around one million people contributed to the war effort, with nearly 271,000 soldiers still listed as missing. Families still carry those memories. Monuments, veterans’ payments, school events, and wreath-laying ceremonies remain important. For many people, Victory Day is personal before it is geopolitical. Yet governments have changed the tone. Kazakhstan still marks Victory Day as a public holiday, but large military parades...