• KGS/USD = 0.01144 0%
  • KZT/USD = 0.00202 0%
  • TJS/USD = 0.10626 -0.19%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28571 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00202 0%
  • TJS/USD = 0.10626 -0.19%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28571 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00202 0%
  • TJS/USD = 0.10626 -0.19%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28571 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00202 0%
  • TJS/USD = 0.10626 -0.19%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28571 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00202 0%
  • TJS/USD = 0.10626 -0.19%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28571 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00202 0%
  • TJS/USD = 0.10626 -0.19%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28571 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00202 0%
  • TJS/USD = 0.10626 -0.19%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28571 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00202 0%
  • TJS/USD = 0.10626 -0.19%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28571 0%
12 February 2026

Viewing results 715 - 720 of 1300

Gods and Demons of Central Asia

In today's dynamic world, Central Asia is emerging as a trendsetter in fashion, culture, lifestyle, and worldview. The ancient Tengrian faith, deeply rooted in Central Asian mythology and superstitions, may soon resurface creatively among the region's people, though it is unlikely to be reinstated as an official religion. While some in Kazakhstan attempt to distance themselves from Abrahamic religions, Tengrism remains a vital part of the cultural heritage, featuring gods, demigods, and dark entities that shaped the beliefs of our ancestors during the pre-Islamic era.   [caption id="attachment_22010" align="aligncenter" width="167"] photo: pininterest: Tengri's domain[/caption]   Divine entities According to Tatar scientist and writer Gali Rahim, shamanism attributes significant roles to various spirits and deities. Among the Turkic peoples, the supreme deity is Tengri, the eternal blue sky. Rahim's lectures on “The Folklore of the Kazan Tatars,” presented at the East Pedagogical Institute in the 1920s, describe Tengri as the primary god in Turkic cosmology, with the earth and humanity emerging from the union of the sky and the earth. Umai, the goddess associated with motherhood and children, stands next in importance. Ancient Turkic inscriptions and symbolic artifacts, such as the stone carving discovered in 2012 in the Zhambyl district of Almaty, Kazakhstan, depict her as a protective figure for children. Teleut pagans represented her as a silver-haired, young woman who descended from heaven on a rainbow to guard children with a golden bow, and the Kyrgyz appealed for her help during childbirth and when children fell ill. Motifs dedicated to Umai by Shorian shamans, were positioned around cradles. Boys' cradles were pierced with an arrow,  girls' with a spindle, and wooden arrows were placed within the those of both. Another prominent character common to Turkic, Mongolian, and Altaic mythology is Erlik or Yerlik Khan. Ruler of the underworld, the horned deity presides over the realm of the dead from a palace of black mud or blue-black iron on the bank of the Toibodym, a river of human tears. A single horsehair bridge is guarded by monsters known as dyutpa whilst the palace is protected by Erlik’s sentries or elchi, brandishing pike poles known as karmak. His breath, carried by a tan, a light warm breeze, was believed to paralyze anyone who inhaled it, which is why the Khakas term for paralysis, tan sapkhany, literally means “wind blow.” Kudai (Khudai), also known as Ulgen, is another central deity who, alongside his brother Erlik, created the land, its vegetation, mountains, and seas. Kudai created man from clay, and Erlik gave him his soul. Kudai created a dog but it was Erlik who clothed it in hair. Whilst Kudai created the first animals, the horse, the sheep, and the cow, Erlik created the camel, the bear, the badger, and the mole. Kudai brought down lightning from the sky and commanded thunder. In a dispute over who was the mightiest creator, Kudai won. The brothers parted ways, and after producing nine sons, from whom the tribes of Kpchak, Mayman, Todosh, Tonjaan, Komdosh, Tyus, Togus,...

Turkmenistan Tourism: Dinosaur Footprints, a Mystical Crater and Healing Lakes

Dotted with historical and cultural sites, and blessed with beautiful nature and a good climate, Turkmenistan is beginning to develop its tourism industry. Turkmen authorities are expanding tourist itineraries, and improving the infrastructure and quality of services. Measures are also in place to provide a clean environment, safe drinking water and better food hygiene. Turkmenistan has a variety of natural wonders. The unique landscapes of Kopetdag, the Karakum desert, the Amu Darya river, Koytendag, the subtropics of south-western Turkmenistan and the Turkmen coast of the Caspian Sea are ideal spots for ecological tourism. The Aydere Gorge in western Kopetdag is also popular with travelers. Here there are dozens of picturesque valleys with pure springs, as well as ancient fortresses and historical monuments that guard the secrets of ancient times. Koytendag, located in the south-east of the country, attracts tourists seeking the traces of dinosaurs that lived here in prehistoric times. The Sumbar Gorge in the south-west of the country also offers great opportunities for tourism development. Its beautiful mountain valleys, life-giving springs, and diversity of animal life make this place especially attractive. The national tourist zone Avaza on the Caspian Sea coast attracts tourists from all over the world. Its comfortable climate, therapeutic mud, and mineral springs create ideal conditions for the development of ecotourism. The Caspian Sea coast, with its amazing nature, changing in every season, impresses one with its beauty and charm. Places that are also worth visiting in Turkmenistan: Darvaza In the heart of Turkmenistan's Karakum Desert is the Darvaza gas crater, which looks like a gateway to the underworld. The fire pit results from unsuccessful drilling conducted by Soviet geologists in 1971. To prevent the natural gas from harming people and livestock, the geologists decided to set it on fire. The fire, which was supposed to go out in a few days, is still burning to this day. The tongues of flame, reaching ten meters in height, can be seen from several kilometers away. The crater is about 60 meters in diameter and 20 meters deep. Darvaza is located 266 kilometers north of Ashgabat and 90 kilometers north of the village of Erbent. Several sinkholes can be found in the vicinity of the crater; one of them is filled with a bright turquoise liquid. The most impressive sight is Darvaza in the early evening light. Arriving before sunset, you can enjoy a fantastic contrast: the crater, bathed in the orange rays of the setting sun, gradually sinks into darkness, illuminating the desert landscape with bright flames. Other sinkholes are best viewed during daylight hours, but one should be careful as the loose earth near the edges crumbles and chunks of earth fall into the abyss. There is a strong smell of gas near the pit, and the temperature is quite high, so staying here for a long time is not recommended. Yekedeshik Yekedeshik, or “one hole,” is a mysterious cave city located near the village of Takhta Bazar in Mary province, on the left bank of...

Elderly Kyrgyz Woman, Who Told of Mass Burial Site From 1930s Purges, Is Mourned

Bubuira Kydyralieva, a Kyrgyz woman who led authorities to a mass grave of victims of 1930s Stalinist purges that became a centerpiece of Kyrgyzstan’s national identity after Soviet rule, has died at the age of 96. Kydyralieva, who died on Wednesday, had provided details about the burial site at Chon-Tash, a village south of the capital of Bishkek, around the time of Kyrgyzstan’s independence from the Soviet Union in 1991. The revelation led to the construction of the nearby Ata-Beyit Memorial Complex, a tribute to about 140 people who were shot and buried at an abandoned brick factory in the village as well as the several tens of thousands believed to have been killed in Kyrgyzstan during years of repression under Soviet leader Josef Stalin. After her secret came to light, Kydyralieva was hailed by Kyrgyz officials as a patriotic citizen who helped to forge the character of the young nation by revealing the fate of a group of intellectuals and other prominent figures who were marked for death by Soviet enforcers. She had carried the burden of knowing for many years, learning about the burial site from her father, a local worker, during the Soviet era, but only finding a receptive audience for the information as Kyrgyzstan moved toward independence and a more open political climate. “We would not know many of our country’s founding fathers” if Kydyralieva had not spoken up, said Kyrgyz President Sadyr Japarov, referring to her affectionately as “Mother Bubuira.” She made “an immeasurable contribution to clarifying our history,” enabling Kyrgyzstan to learn about the ancestors who died while laying the groundwork for the eventual creation of a separate state, Japarov said on Facebook. After Kydyralieva told a Kyrgyz national security official about the mass grave, exhumations at Chon-Tash began promptly in 1991. The bodies were found, and a reburial service with government honors was held. In 2000, Kydyralieva was awarded Kyrgyzstan’s medal of courage. The Ata-Beyit site was later used to commemorate those who died during the ouster of an authoritarian government in 2010 as well as a 1916 uprising during Russian Tsarist rule. Foreign dignitaries visit the site. Some Kyrgyz politicians have said more funding is needed to prevent the complex falling into disrepair.

An Exploration of Identity by Kazakh Artist Gulnur Mukazhanova

There are some abstract works that can feel like a spiritual encounter. We are all familiar with the work of Mark Rothko, a master in materializing emotions and bringing viewers to transcendence through simple hues, nuances, and color gradients. Far fewer people however, will be aware of Gulnur Mukazhanova, a Kazakh artist whose felt paintings are imbued with a tenderness that offers viewers solace and comfort, and grounded in hope, open new horizons. When I first saw the artist’s work at the Parisian art fair ‘Asia Now’ two years ago, I was immediately struck by her unique use of wool and felt in the creation of abstract art. Delicate and evocative at once, her work successfully elevates craft to the status of fine art. [caption id="attachment_21715" align="alignnone" width="732"] Photo: Estefania Landesmann: Gulnar at work[/caption] Born in Semipalatinsk, Kazakhstan, shortly before the end of the USSR, the artist has been working with textiles since beginning her practice, and influenced by Kazakh traditions, employs felt as a primary material. Mukazhanova studied at the Art Academy in Almaty and later, at the Kunst Hochschule in Berlin Weißensee. She has now lived and worked in Berlin for many years and it was here, that she started to process her Kazakh origins, heritage, and the state of society, with an international audience in mind. Spiritual and emotional, her abstractions are informed by issues concerning identity and the transformation of traditional values of her  native culture in the age of globalization. TCA caught up with Gulnur to discuss her latest work, her creative process, and how her Kazakh origins continue to influence her art. TCA: What initially drew you to art and how did your journey begin? GM: My earliest memories involve drawing animals when I was around five years old. My cousin, also an artist, had a significant influence on me and was the first person to open my eyes to the world of art. I studied art at the university in Kazakhstan and then moved to Berlin, initially to study textile design. However, I quickly realized that design wasn’t my path and so, shifted my focus to more experimental approaches with textiles. By the end of my studies in Berlin, I was fully immersed in working with felt and it has remained a central part of my practice ever since. [caption id="attachment_21716" align="alignnone" width="2500"] Photo: Thierry Bal : Öliara & the Dark Moon[/caption] TCA: Your work often carries deep emotional and historical weight, as illustrated by your series “Öliara: The Dark Moon” and your abstract self-portraits. How do you approach abstraction in these works? GM: “Öliara: The Dark Moon” was a solo show in Mimosa House in London that dealt with dark periods in Kazakh history, particularly the tragic events of "Bloody January" 2022. The series reflects on life, death, and the fragile nature of existence; themes that are unfortunately all too relevant in our world today. The felt pieces in this series are abstract allowing them a deep emotional resonance which would not be afforded by a...

Unveiling the Magic: Behind the Scenes of “Baikonur”

Space continues to capture our imagination and inspire our stories, as we try to make sense of this vast final frontier. In the last part of our series on Baikonur, we explore its depiction within cinema. In 2011, German filmmaker, Veit Helmer released Baikonur, a story about space, scavenging and misguided love that was shot within the region. TCA spoke to him about filming in this heavily restricted landscape.   TCA: What was the inspiration behind your film, Baikonur? What drew you to this subject matter? Helmer: I was fascinated by the actual place, or what I knew about it; a hidden city with such a glorious past. Whilst researching, I found out about the scavengers who collect the pieces which fall on the steppe when the rockets are heading to space. To tell both stories at the same time intrigued me: space exploration and hunting for scrap metal. TCA: Given you also directed Absurdistan and Tuvalu, would it be fair to say you’re drawn to far-flung places? Helmer: Yes, I love to explore and find locations which haven’t been filmed before. But compared to the locations of my previous films - Tuvalu, which was shot in Bulgaria, and Absurdistan, which was shot in Azerbaijan - to travel to Baikonur was a much longer journey. [caption id="attachment_21684" align="aligncenter" width="2560"] Still from the film, "Baikonur," Alexander Asochakov as "Gagarin" leaving, villagers standing near yurt; image: Veit Helmer[/caption]   TCA: As stated in the tagline of your film, “Whatever falls from heaven, you may keep. So goes the unwritten law of the Kazakh seppe. A law avidly adhered to by the inhabitants of a small village, who collect the space debris that falls downrange from the nearby Baikonur space station.” The village scavengers portrayed in your film are based in reality; how did you find out about them, and what was your experience with them? Helmer: It was very funny reading the first review from Kazakhstan, where a young journalist wrote that the film is based on the old Kazakh law “Whatever falls from heaven, you may keep,” which in reality was an invention by my screenwriter, Sergey Ashkenazy. But as this fable seems to feel so real, I never tried to dispel that myth. When writing the screenplay, Sergey and me went to Zheskaskan and the surrounding steppe, talking to the hunters of the scrap metal. It was not an ideal moment, because Roscosmos started to collect the debris themselves and the local villagers’ activity became illegal. The new reality was not villages against each other, but villagers against Roscosmos. [caption id="attachment_21685" align="aligncenter" width="2560"] Still from the film, "Baikonur," Alexander Asochakov as "Gagarin" (center) cleaning assembly hall in Baikonur ; image: Veit Helmer[/caption]   TCA: As a Western filmmaker you were granted a unique opportunity to film within Baikonur - what did you observe of the landscape? What were the highlights of this experience? Helmer: There was a saying among the early cosmonauts that the Central Asian steppe was for them...

A Guy From the Bronx and His Contribution to Uzbekistan’s Boxing Gold

Uzbekistan’s five gold medals in boxing at the Paris games owe something to Sidney Jackson, an accomplished boxer from a poor Jewish family in the Bronx, New York City, who is credited with introducing the sport to Central Asia in the early 1920s. That’s the view of Uzbekistan’s ambassador to the United States, Furqat Sidiqov, and other people in Uzbekistan who know about the country’s evolution as an Olympic boxing power. “This remarkable success is tied to Sidney Jackson, founder of Uzbekistan’s boxing school,” Sidiqov said on the X platform. He said Jackson’s legacy is still shaping champions today and urged people to watch a documentary about the American that was released in 2022 with the backing of the Uzbek government. Jackson, a beloved figure in Uzbekistan who died in Tashkent in 1966, started boxing when he was a boy, won featherweight titles in the United States and joined a boxing tour in Europe just before World War I. He dropped out of the tour because of an injury, traveled to Russia and then diverted to Tashkent when fighting erupted in Europe. Short of money, he stayed there, found a job, joined an international brigade that fought in the civil conflict sweeping Central Asia and the Caucasus after the Russian Revolution, and opened a threadbare boxing club in Tashkent after the war ended. [caption id="attachment_21805" align="aligncenter" width="400"] Sketch of Sidney Jackson by Rifkat Azihanov[/caption]   Over the years, he trained Russian and Central Asian boxers who had international success as representatives of the Soviet Union. Jackson laid foundations for athletes including Russian middleweight boxer Valeri Popenchenko, who won gold at the Olympics in Tokyo in 1964, and Rufat Riskiyev, an Uzbek middleweight boxer who won silver at the 1976 Olympics in Montreal. Uzbekistan’s boxing federation was founded in 1928, and Jackson served as its chairman for more than 20 years. The history of boxing in Uzbekistan is “inextricably linked” with Jackson, according to Uzbek boxing officials. “To call Sidney Jackson the grandfather of boxing in Uzbekistan is accurate, but still undersells his impact on the sport,” the asianboxing.info website said in 2020. “And whilst it may have been more than 50 years since he died, his impact is still felt there, and always will be for any Uzbek stepping between the ropes.”