Kazakhstan Life & Culture - The Times Of Central Asia

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Victory Day

Opinion: What May 9 Means to a Generation Without War Memories

One evening, sitting beside my grandmother, we opened an old photo album, the kind with thick pages and photographs tucked carefully beneath thin plastic sheets. We turned the pages slowly. At one photograph, she stopped. It showed her as a young girl beside a close relative she rarely speaks about, a man who never came home from the war. The mood changed almost instantly. For her, May 9 is not simply a date. It belongs to a family story shaped by absence, grief, and survival. For me, it is inherited. For many people of my generation, May 9 is no longer a memory of war itself, but a memory passed down by those who lived closer to it. That distance is changing the meaning of Victory Day in Kazakhstan and across much of Central Asia. The day still carries enormous symbolic weight, but the link between public commemoration and private family memory is becoming less direct. What older generations remember, younger generations are increasingly asked to learn. What Remains for Those Who Remember For older generations, May 9 remains deeply personal. It is tied to lives shaped by loss, names repeated year after year, stories retold within families, and the enduring presence of those who never returned. The meaning of the day is not abstract for people who lived through the war or grew up in its immediate aftermath. It is part of their family history. In many households, remembrance is expressed less through public slogans than through quieter acts: visiting memorials, keeping photographs, passing down names, or sharing stories that do not need much explanation. For those generations, the past has not fully receded. It remains close to the surface of the present. A Generation That Learns, Not Remembers For younger people, the connection is often weaker and less detailed. The war may still be respected, but it is no longer remembered in the same way. It is encountered through family fragments, school lessons, monuments, ceremonies, and public language rather than through the direct emotional force of lived experience. This generational gap is visible in recent polling. A 2025 survey by the Center for Social and Political Research “Strategy,” based on 1,100 respondents across nine regions of Kazakhstan, found that 46% of people aged 18-24 knew someone in their family had participated in the war but could not recall any details. Another 33% had no information at all. Among respondents over 55, only 13% reported similar uncertainty. The same survey found that many respondents could not identify a significant historical figure connected to the war, while nearly one in five could not name a single wartime event. These gaps suggest more than a decline in historical knowledge. They point to a weakening personal connection to what was once a defining collective experience. When Memory Exists Without Experience As lived experience gives way to inherited knowledge, remembrance changes form. Historical events are preserved through families, schools, state ceremonies, monuments, and media, but the emotional connection becomes harder to sustain. A...

Ice Hockey

Kazakhstan Returns to National Ice Hockey Team World Championship Top Division

Kazakhstan’s men’s national ice hockey team has secured an immediate return to the top division of the IIHF Ice Hockey World Championship after winning the 2026 Division I, Group A tournament in Sosnowiec, Poland. Under the championship format, the two lowest-ranked teams in the top division are relegated each year, while the top two teams from Division I, Group A earn promotion. Kazakhstan and France were relegated from the elite division in 2025 and returned this May to compete for promotion back to the top tier. The Division I tournament, which began on May 2, featured Kazakhstan, France, Poland, Ukraine, Japan, and Lithuania. Kazakhstan entered the tournament under head coach Talgat Zhailauov, who was leading the national team at a World Championship for the first time. By May 7, Kazakhstan had moved to the top of the standings with victories over Lithuania (4-1), Japan (6-0), and Poland (3-2). The decisive match came against Ukraine, Kazakhstan’s closest challenger in the standings. Vsevolod Logvin opened the scoring for Kazakhstan before Ukraine equalized. In the second period, goals from Kirill Lyapunov and veteran forward Roman Starchenko gave Kazakhstan a 3-1 advantage, but Ukraine fought back to level the score once again. Ukraine then took the lead early in the third period before Batyrlan Muratov quickly equalized, sending the game into overtime. No winner emerged in extra time, and Muratov scored the decisive goal in the shootout to seal a dramatic 5-4 victory for Kazakhstan. The win lifted Kazakhstan to 11 points, leaving the team unreachable with one round remaining for Poland, Ukraine, and France, all of whom had seven points. “The guys are fantastic. I’m proud of them, and I think the whole country is proud of this team,” Zhailauov said after the match. “It was an extremely difficult game today. I wouldn’t say we were lucky, we simply had a little more skill.” The coach added that team selection had been based not on experience, but on players’ current form. “I believed in the younger players, and with every game they kept improving. It turns out the choice was the right one,” he said. Kazakhstan will play its final match of the tournament against France on May 8. The game will have no impact on Kazakhstan’s standing, while France must win in regulation time to keep its hopes of promotion alive. The Times of Central Asia previously reported that Kazakhstan had introduced a legal ban on the use of public funds to finance foreign athletes in team sports, including hockey.

Shoqan Walikhanov

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...

TCA Interviews

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,...

TCA Interviews

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,...

TCA Interviews

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...