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Cold War History

Kazakh Academic Kanysh Satpayev in Britain: A View from 1947

After the end of World War II, relations between the Soviet Union and Western countries began to deteriorate rapidly. Although Britain, France, the United States, and the Soviet Union had been allies, the period known as the Cold War began. Winston Churchill's famous speech in Fulton, Missouri, on March 5, 1946, is often regarded as one of its defining early moments. Nevertheless, just over a year after the speech, a large official Soviet delegation visited Britain in March 1947. The delegation represented the Supreme Soviet, the Soviet Union's legislature, and arrived in London at the invitation of both houses of the British Parliament. Clement Attlee's Labour government supported expanding contacts with the Soviet Union despite growing disagreements over the postwar settlement in Europe. [caption id="attachment_59046" align="aligncenter" width="1600"] Soviet delegates at Karl Marx’s grave. From left: Kanysh Satpayev, president of the Kazakh SSR’s Academy of Sciences; mathematician N. I. Muskhelishvili; and Soviet official P. A. Shariya. The other individuals have not been identified.[/caption] The delegation consisted of 20 people and was led by Vasily Kuznetsov, chairman of the Soviet of Nationalities, one of the Supreme Soviet's two chambers. Among its members were Alexander Fadeev, head of the Union of Soviet Writers and author of The Young Guard, about Soviet youth resisting Nazi occupation during World War II, and the poet and writer Konstantin Simonov. Aviator Mikhail Gromov, a Hero of the Soviet Union who commanded a nonstop flight from Moscow across the North Pole to San Jacinto, California, in 1937, also joined the delegation. Kanysh Satpayev, president of the Academy of Sciences of the Kazakh Soviet Socialist Republic, was also among the invited delegates. [caption id="attachment_59047" align="aligncenter" width="1600"] Soviet delegates meeting Newcastle’s Lord Mayor Pearson. From left: Ukrainian poet N. P. Bazhan, test pilot M. M. Gromov, Kanysh Satpayev, an unidentified individual, Soviet official P. A. Shariya, Communist Party foreign policy department head M. A. Suslov, and Pearson.[/caption] The delegation stayed for almost a month, from March 13 to April 11, 1947. The visitors met with Prime Minister Attlee, Conservative opposition leader Churchill, and members of Parliament. According to Satpayev's notes, the participants visited the University of London, the Royal Society, the British Museum, industrial enterprises, and government institutions. Outside the capital, the delegation visited Newcastle, Sheffield, Cardiff, Manchester, Oxford, Cambridge, Stratford-upon-Avon, Coventry, Edinburgh, and Glasgow. [caption id="attachment_59048" align="aligncenter" width="1600"] Soviet delegates viewing armor in the White Tower at the Tower of London. Among the delegates, from right: A. M. Ivanov, Kanysh Satpayev, and M. Z. Babayev.[/caption] In his report following the trip, Satpayev claimed that the British organizers had tried to overwhelm the visitors with official events and limit their contact with ordinary workers: "It should be noted that government officials tried to organize our visits to industrial enterprises in such a way that the delegation had practically no opportunity to communicate with workers. Visits to factory workshops often coincided with lunch breaks. Sometimes the delegation was shown workshops during working hours, but these were places where there were few...

Kazakh Cinema

Kazakh Director Daulet Zhumabayev on New Film Kesu and Pursuing a Career in Hollywood

Kazakh director Daulet Zhumabayev hopes to bring his new action film, Kesu, featuring South Korean actors, to South Korean theaters. The film was released in Kazakhstan on October 15. It follows a Kazakh taekwondo practitioner and a South Korean champion as they travel to Seoul in search of their missing mentor. The film is Zhumabayev’s second feature, following the sports drama Arlan: The Final Round. Zhumabayev focuses on mainstream genre films and sees international collaboration as an opportunity to reach audiences beyond Kazakhstan. His debut feature became available on Amazon Prime Video, although he does not consider a streaming release equivalent to breaking into the American market. In an interview with The Times of Central Asia, Zhumabayev discussed working with South Korean actors, the prospects for international film production, his experience studying abroad, and why Kazakhstan may find it difficult to replicate Korean cinema’s success in Hollywood. TCA: Your new film, Kesu, features both Kazakh and South Korean actors. Did you have to change your directing approach when working with an international cast? Daulet Zhumabayev: No, I worked with everyone the same way. I don’t really have a fully developed directing system yet. I have my own methods for trying to communicate to actors what I want to achieve. I’ve taken some things from Judith Weston’s book Directing Actors, others from the Stanislavski method, and still others I’ve come up with intuitively. I gave both groups of actors the same kind of direction, and everyone understood perfectly well what I wanted from them. TCA: How did you build relationships between the Kazakh and Korean members of the film crew? Zhumabayev: That’s very important. And I’m extremely grateful to our lead actor, Asylkhan Tolepov, for the way he supported his Korean co-star, Ben (Joo Woo Geon). From the very beginning, we tried to create a particular atmosphere. When the Korean actors arrived in Kazakhstan, we didn’t just put them up in a hotel and provide meals. We welcomed them as real guests. We took them to Shymbulak, treated them to beshbarmak, and introduced them to our traditions. We wanted them to experience Kazakh hospitality and never feel like outsiders here, not even for a second. That immediately set the tone for our relationship. They could see that we treated them warmly and sincerely, that we cared not only about getting good performances from them but also about making their stay in Kazakhstan comfortable. And I think that probably motivated them to give their best on set as well. TCA: Did you make any allowances for the foreign actors during filming? Zhumabayev: None whatsoever. I expected complete dedication from them. They trained in the gym, learned Kazakh, and prepared for difficult scenes. We treated them as guests, but we worked as one team, with everyone having their own responsibilities. They’re very respectful and attentive. After filming ended, they all sent me warm messages thanking me for working together. They said they’d felt comfortable working with me and had learned a lot themselves....

Art and Literature

Memoirs of East Turkestan Republic’s First Leader Published in France

A French edition of Turkiston Qayg‘usi (The Sorrow of Turkestan), written by Alihan Tora Saghuni, an Uzbek religious leader who headed the East Turkestan Republic established in 1944 in what is now China's Xinjiang region, has been published in France under the title Amer Turkestan (Bitter Turkestan). The 448-page volume, published by Bleu Autour on October 23, brings the memoirs of a leading figure in the region's independence movement to French readers. The book examines the political upheavals of the 20th century through Saghuni's experiences of persecution by Soviet and Chinese authorities and his involvement in the East Turkestan independence movement. Combining history and memoir, the work reflects the author's personal experiences and political views. The French edition also includes writings in which Saghuni recounts his leadership of the East Turkestan Republic between 1944 and 1946. The translation was prepared by French historian and Orientalist Stéphane A. Dudoignon, a senior researcher at France's National Center for Scientific Research (CNRS). From 2024 to 2026, he worked on the book with Saghuni's son, Qutlughkhan. The edition includes scholarly commentary to help readers understand the historical events and political context of the narrative. Alihan Tora Saghuni was born in 1885 in Tokmok, in present-day Kyrgyzstan, to a family of Uzbek origin. His pen name is associated with the ancient city of Balasagun, one of the centers of the medieval Karakhanid state. After receiving a religious education, he became involved in the social and political life of Turkestan and later moved to China's Xinjiang region. In November 1944, amid an uprising against Chinese authorities, the East Turkestan Republic was proclaimed in the city of Ghulja, also known as Yining. Saghuni became head of its provisional government. The republic existed amid a complex struggle involving local nationalist movements, Chinese authorities, and the Soviet Union, which exercised considerable influence over events in the region. The name East Turkestan remains politically sensitive in China, where authorities associate it with separatist movements seeking independence for Xinjiang. Beijing rejects the term as a designation for the region, which has been under Chinese Communist rule since 1949. In a 2019 government white paper, Beijing declared that "there has never been any state known as 'East Turkistan,'" despite the establishment of short-lived republics of that name in 1933 and 1944. In 1946, Saghuni was forcibly taken to the Soviet Union. He spent the remainder of his life in Tashkent, where he worked on historical and religious writings. He died in 1976. The Sorrow of Turkestan became one of his best-known works on the region's history and fate. Dudoignon presented the book at the Rendez-Vous de l'Histoire festival near Blois, France, on October 9. According to Uzbekistan's UzA news agency, an English translation is planned as the next step. The work has previously appeared in other languages, including Turkish. According to Dudoignon's research institute, the French edition is the first translation of Saghuni's writings into a Western European language.

Tselinny Center

Tselliny HIMOYA Exhibition: Women’s Memory, Protective Amulets, and Colonial Legacies

Kazakh protective amulets incorporating family photographs are among the works on display at HIMOYA: Matrilineal Energies, Oracular Kin at the Tselinny Center of Contemporary Culture in Almaty. Elsewhere, a pregnant bird-woman stands at the boundary between life and death. Artists from Central Asia and beyond explore how inherited beliefs and women’s experiences help preserve cultural identity. The exhibition opened on October 15, 2026, and runs through April 4, 2027. It features more than 20 artists and is curated by Natasha Ginwala, who has previously worked on international projects, including the Gwangju and Sharjah biennials. [caption id="attachment_59058" align="aligncenter" width="682"] From Natasha Ginwala’s personal archive.[/caption] The title HIMOYA evokes protection across several linguistic traditions. In the participating artists’ works, that includes preserving ancestral memory. Speaking at the center, Alima Kairat, Tselinny’s artistic director, said the exhibition’s concept had developed over several years. “For Tselinny, HIMOYA is the culmination of a conversation that began in 2021. We gradually explored questions of maternal memory, rituals, protection, inherited ideas about shame, and care. These themes are deeply rooted in life in Kazakhstan and Central Asia, where ancestral knowledge continues to influence the present and helps us imagine the future in new ways,” she said. Female Figures and Ancestral Memory Ginwala’s curatorial concept centers on women’s experiences and knowledge passed down through generations. The artists draw on folk narratives and religious practices, including pre-Islamic steppe beliefs, to reconsider ideas about women’s roles and power. “During conversations with the artists as we prepared the project, different female figures emerged – nurturing and powerful figures, as well as ‘monstrous’ beings from folk tales, steppe mythology, and pre-Islamic cosmologies,” Ginwala said. In Kazakh tradition, genealogy is closely linked to the concept of zheti ata, the knowledge of seven generations of ancestors on the paternal side. The custom also served as the basis for prohibitions on marriage between close relatives. HIMOYA turns to another line of inheritance: the maternal one. The grandmother holds a particularly important place as a guardian of family memory. This theme intersects with the history of colonial and Soviet pressure on local beliefs. The artists explore how traditions once dismissed as backward or superstitious have survived through family practices and acquired new meanings in contemporary art. The Bird-Woman Between Two Worlds One of the exhibition’s central works is Gatekeeper by Rajni Perera, an artist born in Sri Lanka and based in Toronto. Her work draws on South Asian folklore and fantasy to explore migration and motherhood, including questions of reproductive rights. [caption id="attachment_59059" align="aligncenter" width="1024"] “Gatekeeper” by Rajni Perera. Image: Theo Frost.[/caption] The life-size sculpture was first presented at the 2025 Sharjah Biennial in the United Arab Emirates. It depicts a pregnant woman with features of a hornbill and a crow. Its surface is decorated with motifs inspired by azulejos, painted ceramic tiles widely associated with Portugal and shaped by Islamic decorative traditions. “When I was creating this figure, I was thinking about the umbilical cord because she is pregnant. She seems to pull life out...

Art and Culture

Threading a New Canon: Interview with Batima Zaurbekova

How does an artist born in a remote village in Kazakhstan become one of the country’s most recognized artists? “I realised that if I put in the work, I can achieve everything,” says Batima Zaurbekova, a pioneer of Kazakh tapestry, as she walks through Threads of Heritage at the Abylkhan Kasteyev National Museum of Arts in Almaty. The exhibition runs from September 25 to November 8, 2026. An energetic lady with a strong personality and a playful attitude, Zaurbekova is the subject of a retrospective marking her 80th birthday and consecrating a lifetime of artistic production, at a time when Kazakhstan, event after event, is gaining ever greater international cultural recognition. Video: TCA. Narration: Naima Morelli. It is indeed a momentous time to be in the art world in Kazakhstan. At the forefront of the discourses on de-coloniality in the arts, and among those contributing to a new canon of contemporary art, Kazakh artists like Zaurbekova embody what is truest to their culture and local specificity, letting it flow in the global discourse. [caption id="attachment_58628" align="alignnone" width="936"] Detail of Batima Zaurbekova’s The Bride’s Farewell (2003). Credit: Naima Morelli.[/caption] The passion with which Zaurbekova describes even the smallest technical details reveals her deep love for weaving. That devotion is also a political stance in the face of the Western canon of art history. The reclamation of an art canon which would belong to Central Asia started in the second half of the 20th century, when artists worldwide challenged the relegation of textiles to the category of craft. Starting from the very local arts of felt and weaving, and against the canon of Soviet painting, a generation of artists recovered something that was truly theirs and called it by its name: not simply craft, but art in its own right, with Zaurbekova at the heart of that movement. [caption id="attachment_58629" align="alignnone" width="2560"] Entrance display for Threads of Heritage at the Abylkhan Kasteyev National Museum of Arts in Almaty. Credit: Kirill Fedorov.[/caption] A matriarchal line While today biennales and fair around the world look for those artists whose cultural background is legible in their art, it wasn’t always like that. When Zaurbekova began weaving in the late 1960s, her teachers strongly discouraged her from devoting herself to weaving. Her teachers, many of whom had trained in Leningrad and Moscow, saw her as a painter, at a time when textiles were still considered a “lower” type of art, and far too slow and demanding. “I’d spend fifteen hours every day for days on end working on just one tapestry, and my teachers would tell me: ‘It’s so slow! In the same amount of time you could have painted three paintings already!” she tells me, laughing. They used to scold her with a Kazakh saying for it: “You’re digging a huge well with a small needle.” Zaurbekova was born in 1946 in Furmanovka, in the Moiynkum district of the Jambyl region, and grew up in Merke, where her family moved when she was in fifth...

Tobacco

Kazakhstan Vape Ban Faces a Test Under Eurasian Economic Union Rules

Kazakhstan banned vapes two years ago, but anti-tobacco organizations now fear that new rules being developed by the Eurasian Economic Union (EAEU) could allow them back onto the market. Public health advocates have appealed to President Kassym-Jomart Tokayev, accusing the government's economic officials of attempting to weaken the restrictions. Undermining Prohibition? Since June 2024, Kazakhstan has prohibited the production, import, and sale of electronic cigarettes, vaping liquids, and certain smokeless tobacco products. This includes snus, a form of tobacco placed under the upper lip. Violations can result in criminal prosecution. The EAEU, which comprises Armenia, Belarus, Kazakhstan, Kyrgyzstan, and Russia, is developing a common technical regulation for nicotine-containing products allowing manufacturers to operate under common standards across several national markets. The Coalition for a Smoke-Free Kazakhstan argues that the regulation, being developed at Armenia's initiative, could create a legal basis for resuming trade in products currently banned in Kazakhstan. However, a version of the proposed draft prepared by Russia's Agriculture Ministry in November 2025 explicitly states that products cannot be placed on the market in EAEU member states where their circulation is prohibited under national law. Compliance with common technical standards would therefore not, by itself, authorize vape sales in Kazakhstan. It remains unclear whether this provision has been retained in the text currently under negotiation. A Boon for the Treasury The coalition also accused Deputy Prime Minister and Minister of National Economy Serik Zhumangarin of pressuring the Ministry of Health. According to the activists, he has been pushing for approval of the regulation despite the ministry's objections. In July, Zhumangarin met with executives from Philip Morris International, a multinational tobacco company with manufacturing operations in Kazakhstan. According to the government, the deputy prime minister supported common EAEU rules that would take national legislation and public health commitments into account. The company presented plans to establish a laboratory in Kazakhstan to test nicotine-containing products, with the facility also intended to serve markets in other countries. The tobacco industry generates substantial revenue for Kazakhstan's budget. In 2025, excise taxes on tobacco products totaled 330.7 billion tenge (approximately $735 million). During the first three months of 2026, Kazakhstan exported $42.5 million worth of cigarettes. The Hookah Lobby In spring 2026, Kazakhstan also debated relaxing its anti-tobacco legislation by allowing hookah smoking in licensed restaurants and other food-service establishments. Hookah smoking has been prohibited in enclosed public places since 2020. Supporters of legalization argued that the restrictions had driven the hookah business underground. According to their estimates, approximately 22,000 establishments offer hookahs. They projected that licensing would generate more than 16 billion tenge annually (approximately $35.5 million) in government revenue. The anti-tobacco coalition opposed the proposal. Its leader, Jamilya Sadykova, warned that licensing would effectively legalize tobacco use in places where the government is supposed to protect customers and employees from smoke exposure. In August, the World Health Organization supported maintaining the existing ban. Nevertheless, hookahs continue to be offered in cafes and specialized establishments, and customers are periodically fined during police raids....