Kazakhstan Life & Culture - The Times Of Central Asia

Viewing results 37 - 42 of 707

Social Protection

How Kazakhstan Is Using Big Data to Reshape Its Social Protection System

Kazakhstan is accelerating its transition to a digital model of social protection, integrating government databases and introducing algorithmic oversight to improve the targeting of welfare payments and reduce corruption risks. In spring 2026, the merger of databases between the Ministry of Labor and tax authorities was completed, marking a key stage of the reform. Authorities view this process not only as a technological upgrade but as a shift in the principles governing interaction between the state and citizens. Historically, the country’s system of distributing social benefits has faced challenges related to the misuse of funds. In 2020, the Supreme Audit Chamber identified violations in the implementation of the “Enbek” employment program, resulting in significant budget losses. In subsequent years, auditors continued to record similar cases. A report for 2023-2024 noted that targeted social assistance was being received by citizens who concealed their actual incomes. According to anti-corruption authorities, approximately $50 billion has been allocated to social support over the past five years, of which around $6.5 billion was used inefficiently. The lack of transparent oversight enabled abuses, including fictitious employment schemes and payments to so-called “ghost recipients.” A turning point came with the introduction of digital oversight. Since 2024, Kazakhstan has been integrating databases and automating processes. According to official reports, the implementation of digital tools helped prevent financial violations amounting to approximately $45 billion in 2025 alone. At the core of the system is the transition to the international ISO 20022 standard, enabling real-time data processing. Since 2026, algorithms have been automatically assessing citizens’ eligibility for social benefits without the involvement of officials, significantly reducing opportunities for fraudulent claims. One example is a grant program for low-income citizens to start businesses, with grants of up to approximately $3,800. Funds are now transferred directly to suppliers, while transactions are monitored by tax authorities. If inconsistencies are detected, payments are automatically canceled. Similar mechanisms are being applied in subsidized employment programs. The system is also integrated with the “Social Wallet” project and the digital tenge platform. Payments are programmed through smart contracts, restricting their use to predefined purposes such as purchasing food, medicines, or paying utility bills. In addition, algorithms track changes in the income of unemployment benefit recipients. If commercial activity is detected, payments are automatically terminated. Despite these advances, experts warn of potential risks. International experience shows that such systems can both improve efficiency and lead to errors. In Denmark, algorithms are used to provide proactive support, automatically offering benefits when life circumstances change. In Australia, however, a similar system wrongly accused citizens of welfare fraud, triggering lawsuits and a political crisis. Analysts note that the effectiveness of digital systems depends on their design: they perform better when focused on identifying those in need, rather than solely detecting violations.

TCA Interviews

Singer MEREY on Kazakh-Language Music, Tradition, and a New Sound

Singer, poet, and lyricist MEREY is among a younger group of artists bringing a different sensibility to music in Kazakhstan. Her work is rooted in Kazakh-language expression, but it also pushes beyond familiar expectations of how a female singer should sound and present herself. In an interview with The Times of Central Asia, MEREY discusses the influence of poetry on her lyrics, the reaction to experimentation, and what she believes is missing from Kazakhstan’s contemporary music scene. TCA: Tell us a little about yourself. How did you get into music? MEREY: I came to music at 17, that’s when I wrote my first song in English. Before that, for as long as I can remember, I had been writing poetry; it was my first form of self-expression. During my school years, I also studied music more formally. I played in a national orchestra, where I both sang and performed dombra parts. That experience strongly shaped my sense of stage presence and musical language. Today, I position myself as a poet, singer, and lyricist. For me, text and music are inseparable. TCA: Who or what influenced your artistic development the most? MEREY: Since school, I have read the works of Mukaghali Makatayev, a classic of Kazakh poetry known for lyrical verses about love, homeland, and the human experience, and Fariza Ongarsynova, a prominent poet who wrote about emotions, time, and women’s lives. They left a deep mark on me as a poet, and echoes of their style can be found in my lyrics. As a teenager, I listened to Billie Eilish, Lana Del Rey, and The Neighbourhood. Later, Mitski, Zemfira, Valentin Strykalo, and Børns. Now I feel close to what Chappell Roan and Meg Myers are doing. My taste leans toward alternative music with an emphasis on vocals, lyrics, and guitar riffs, with a slightly detached aesthetic. This directly informs my own music. TCA: Your music is often described as a blend of traditional elements and modern electronics. How did this sound take shape? MEREY: I wouldn’t fully agree with the phrasing about electronics, but my sound is in many ways inspired by Darkhan Juzz. He was the first artist from Kazakhstan who truly impressed me with his sound. I come from a Kazakh-speaking background, so my lyrics tend to be more literary rather than conversational, unlike many artists of the new school. That’s thanks to my parents and my education in a Kazakh-language school. The modern side comes from my musical tastes, especially the Western scene. My sound combines a Western sensibility with precise, expressive Kazakh language. It’s a mix of Western thinking and Kazakh tradition and that is exactly what resonates with listeners. TCA: How important is it for you to preserve cultural roots in contemporary music? MEREY: It is fundamentally important. As I grow older, I become more conscious, and even stricter, about the Kazakh language and tradition. I’m glad that today national elements, ornaments, traditional clothing, interest in Tengriism, and the language itself, are once again becoming part of the cultural...

Astana to Host International AI Film Festival

Astana will host the Astana AI Film Festival (AAIFF 2026) this autumn an international event dedicated to films created using artificial intelligence. The festival will focus on the growing influence of AI on the creative industries. Its central feature will be an international competition of short films produced using AI technologies, according to the Creative Industries Alliance of Kazakhstan. Speaking at an awards ceremony for the Alem.ai Battle and AI Governance Cup competitions, President Kassym-Jomart Tokayev said the festival reflects a “fundamental shift” in the development of the creative sector. According to him, AI is transforming the nature of creativity, opening new forms of expression and lowering barriers for creators. At the same time, Tokayev acknowledged more cautious views suggesting that AI could reshape, or even displace, traditional segments of the creative industries. In this context, he stressed the importance of adapting in a timely manner to emerging technological trends. The festival is expected to serve as a platform for showcasing innovative approaches to filmmaking and promoting Kazakh creative projects internationally. Applications for participation are set to open in May. The announcement comes amid broader efforts by Kazakhstan to develop AI. The Times of Central Asia previously reported plans to establish an AI fund backed by the National Bank, aimed at financing key digital projects and educational programs.

Silk Road

Silver, Silk, and Forgotten Power: Central Asia’s Islamic Past Comes to London

At Sotheby’s in London, Central Asia comes into view as a world of dazzling craft and taste. The Arts of the Islamic World & India auction on April 29th gathers rare eastern Islamic works that show how the region turned faith, power, and luxury into art. The standout lot is a 12th or 13th-century silver ewer, catalogued as Persian or Central Asian. Most related vessels are brass or bronze. This one is comparable to vessels from the Harari Hoard, a group of 10th and 11th-century silver objects now largely held in the L.A. Mayer Museum for Islamic Art in Jerusalem. The ewer’s presence gives the sale its sharpest point of entry. It is rare, ambitious, and unusually personal. [caption id="attachment_47817" align="aligncenter" width="2447"] A pair of Seljuk gold bracelets, Persia, Khurasan, 12th century; image: Sotheby's[/caption] A 10th-century Nishapur calligraphic dish shifts the focus from metal to script, turning a simple object into a work shaped by the visual grace of the written word. Timurid horse trappings, Qur’an pages, Sogdian silks, golden Mongol cloths, an embroidered robe, and a Shakhrisabz suzani broaden the picture from courtly power to sacred text and textile brilliance, ending in a tradition still closely associated with Uzbekistan. The timing gives the auction added weight. Uzbekistan is building a major new stage for Islamic heritage. The Times of Central Asia reported in April 2026 that its Center of Islamic Civilization has entered the Guinness World Records as the world’s largest museum. TCA asked Frankie Keyworth, a Specialist in Islamic and Indian Art at Sotheby’s, why Central Asia’s artistic legacy is commanding fresh attention now. [caption id="attachment_47818" align="aligncenter" width="8984"] A turquoise-set silver and brass belt buckle, Bukhara, Central Asia, 19th century; image: Sotheby's[/caption] TCA: Why are the artifacts in this auction so important for understanding Central Asia as a center of artistic production, rather than just a corridor between other civilizations? Keyworth: They really reiterate the breadth of artistic production in Central Asia, which is incredibly rich in terms of medium, design and chronology. The works presented here range from the 8th to the 19th century, from textiles to ceramics, metalwork to manuscripts, and they reveal traditions that are distinct to Central Asia, and others that inform and are informed by artistic production in other regions. The impressive silver ewer is a good example of this. Its nielloed decoration on silver is typical of a distinct group of silver vessels produced in Central Asia, but its form would go on to inform examples in other materials, such as bronze or ceramics produced later in Persia. [caption id="attachment_47819" align="aligncenter" width="2560"] A Timurid or early Ottoman tinned copper goblet (mashrabe), Central Asia or Eastern Anatolia, late 15th century; image: Sotheby's[/caption] TCA: Which object best captures Central Asia’s wider historical importance, and what makes it so revealing? Keyworth: It’s hard to pinpoint such a vast artistic tradition to one object, but luxurious textile production is synonymous with the arts of Central Asia. In this sale, we can see one of the earliest...

Science

Kazakhstan Student and Researcher Gain Global Recognition in Science

Two recent achievements from Kazakhstan have drawn attention from the international scientific community, highlighting advances by young Kazakhstani researchers in water technology and education. One standout is Dana Kadyrbek, an 11th-grade student at Gymnasium No. 79 in Almaty, who has been named among the world’s top three young inventors. She received this recognition at the Cleantech Days Forum 2026, held with the support of the United Nations Industrial Development Organization (UNIDO) at the United Nations headquarters in Vienna. Kadyrbek has been working toward this achievement for several years. In 2024 and 2025, she became a prizewinner at the Kazakhstan Smart Space international competitions, later secured second place at the Olympiad USA, and won the YISF competition in Indonesia. However, her project on extracting water from air has drawn the most attention. Her development, titled “Synthesis of Metal-Organic Framework Structures Based on Aluminum Fumarate for Atmospheric Water Harvesting,” makes it possible to produce drinking water even in arid conditions. In July 2025, the project earned her a gold medal at the World Invention Creativity Olympic (WICO) in Seoul. Another researcher from Kazakhstan has gained recognition in the academic field. Assel Sharimova, a postdoctoral researcher at the Graduate School of Education at Nazarbayev University, has been awarded the Michael Fullan Emerging Scholar in Professional Capital and Community Award. According to the organizers, she is the first recipient of the award not only from Kazakhstan but from the entire post-Soviet region. Only two researchers worldwide received the award in 2026. Sharimova has been conducting research in education for several years. She holds a PhD from the University of Cambridge and previously worked within the Nazarbayev Intellectual Schools system. Her research focuses on the professional development of teachers. “My research examined how teachers build and mobilize professional capital within virtual professional communities, with a particular focus on Kazakhstan. I explored how social networks facilitate informal learning, especially in the context of reforms where access to professional support is uneven. I also integrate these insights into my teaching and work with educators and researchers to support the development of collaborative professional communities,” Sharimova said. The Michael Fullan Award is considered a notable recognition in the field of education. It is presented by the Journal of Professional Capital and Community for research with both academic and practical impact. Award recipients receive a monetary prize and international recognition within the academic community.

TCA Interviews

Kazakhstan’s Ruslan Kurbanov on Reaching the World Fencing Elite

Ruslan Kurbanov is a Kazakhstani épée fencer, a Master of Sport of International Class in Kazakhstan, a World Cup medalist, a two-time World Championships bronze medalist, and a two-time Olympian. He began his journey in a children’s fencing club in Ust-Kamenogorsk and has since risen to fourth in the world rankings. Today, he competes on the biggest stages, where a single touch can decide the outcome of a bout and the pressure from the stands can be overwhelming. In an interview with The Times of Central Asia, he explains how he handles that pressure, maintains focus amid crowd noise, and stays in control when everything is at stake. TCA: Congratulations, you’ve already won two World Cup medals this year, gold and silver. That’s an impressive result. Ruslan: Thank you. I’m pleased with these medals because, in reality, very few athletes can deliver consistent results across two consecutive competitions. TCA: How did you manage it? Ruslan: With experience, you gradually learn more about your body and how to prepare for competitions. You also become more familiar with the fencing world, you get to know many athletes, understand their strengths and weaknesses, study them, and prepare accordingly. Over time, you mature as an athlete and become more consistent. You develop a clear understanding of the level of results you are capable of. [caption id="attachment_47744" align="aligncenter" width="300"] @kazfencing.kz[/caption] TCA: You won silver in Astana. Do home conditions give you an advantage? Ruslan: There are two sides to that. On the one hand, the advantages are obvious: you’re at home, with familiar food, climate, and time zone, all of which help you prepare in a comfortable environment. On the other hand, there is pressure. When you compete at home, people expect you to deliver your best result. TCA: So winning a medal was a must? Ruslan: Of course. But I also had another goal. This was the first World Cup event held in Kazakhstan, and I understood that many local spectators would attend, perhaps seeing fencing for the first time. First impressions are crucial. People either fall in love with the sport or they don’t. For me, it was important to present fencing at its best, dynamic, exciting, and worthy. Maybe “present” is too strong a word, but I wanted people, especially children, to feel inspired, to have that spark. When kids see victories and the emotions athletes experience afterward, they start thinking, “I want that too,” and they come into the sport. TCA: Do you think you managed to inspire them? Ruslan: I hope so. After the final, when I stepped off the piste, many children came up to me, and parents asked for photos and autographs. It’s very rewarding to see that it resonated with someone and may have stayed with them. TCA: You were ranked seventh in the world? Ruslan: Now I’m fourth. After the tournament in Astana, I moved up to fourth place. TCA: In the final, you lost only to Ukraine’s Roman Svichkar. Do they have a particularly strong...