Life & Culture - The Times Of Central Asia

Viewing results 133 - 138 of 1558

Public Transport

EBRD to Allocate €10 Million to Tajikistan for Electric Public Transport

The European Bank for Reconstruction and Development (EBRD) is continuing to support the green transformation of Tajikistan’s transport sector. Its latest project focuses on the city of Bokhtar, the administrative center of Khatlon region, and will fund a large-scale upgrade of municipal public transport with electric buses. The total financing for the Bokhtar project amounts to €10 million, of which €6.4 million is provided as a loan and €3.6 million as an investment grant. Additionally, technical assistance valued at more than €600,000 will be allocated to support the implementation of the new electric transport system. The funds will enable the municipality to acquire 50 modern electric buses. These vehicles will be accessible to passengers with disabilities and will be supported by the necessary charging infrastructure to ensure full operational capacity. Beyond the procurement of buses, the project encompasses the full integration of electric transport into Bokhtar’s urban environment. According to the EBRD, the introduction of electric buses is expected to significantly reduce carbon dioxide emissions and improve air quality in the city. The project will also create new jobs and includes a training program for personnel responsible for operating and maintaining the new fleet. Bokhtar and the EBRD have been partners in public transport development since 2018. In an earlier phase of modernization, the city constructed a bus depot and acquired 41 low-floor buses. To date, the EBRD has invested over €1 billion in Tajikistan through 190 projects.

Sports

Guardiola Praises Uzbekistan’s “Top” Khusanov After Champions League Start

Manchester City head coach Pep Guardiola has praised Uzbek defender Abduqodir Khusanov for his standout performance and professionalism, before the club’s UEFA Champions League clash with Norway’s Bodo/Glimt. Guardiola’s remarks were shared by City Xtra on X following the pre-match press conference. “Just read the media, how they praised Khusanov. They’re right. He’s top,” Guardiola said. “We don’t have complaints. The last game he was exceptional and the previous one as well. We’re really pleased.” Manchester City lost 3-1 to Bodo/Glimt on January 20, in the seventh round of the Champions League. Khusanov started the match and played the full 90 minutes, anchoring City’s defense throughout. Guardiola commended Khusanov’s attitude during a period of limited playing time earlier in the season. “After Arsenal, a month without playing, and you cannot imagine how he behaved in training and in the locker room. That defines Khusanov,” he said. The manager attributed the defender’s discipline and adaptability to his formative years in Uzbekistan and his stint in France prior to joining the Premier League champions. “He listened, he learned, and of course his condition is exceptional,” Guardiola added. “Manchester City will have a central defender for many, many years, and at a top, top level.” According to statistics from SofaScore, Khusanov was a key figure in City’s build-up play, registering 110 touches and completing 94 of 96 passes, a 98% accuracy rate. SofaScore rated his overall performance at 6.3/10. Defensively, Khusanov made eight key actions, including three interceptions, three clearances, and five ball recoveries. He won both of his ground duels, though he was less successful in aerial challenges, losing all three attempts.

Disability Inclusion

Disability Inclusion Is Emerging as Central Asia’s Next Social Frontier

More than 1.3 billion people worldwide live with some form of disability, yet disability remains one of the least visible dimensions of social and economic life. In Central Asia, that invisibility is especially pronounced. As governments focus on infrastructure, growth, and modernization, far less attention is paid to whether people with disabilities are becoming more present in schools, workplaces, and public life, or whether they remain largely confined to families and institutions beyond the reach of public discussion. Across the region, cities are expanding, labor mobility is increasing, and younger generations are more connected to global ideas through study and migration. These shifts are often treated as shorthand for progress. At the same time, people with disabilities consistently face lower educational attainment and weaker labor market outcomes, making inclusion a practical test of whether development reaches beyond headline indicators into everyday life. Disability policy across much of Central Asia has long centered on legal classification, benefit eligibility, and institutional care. Long-term institutionalization is associated with reduced autonomy and poorer social outcomes, yet institutions remain a common default, reinforcing the idea that disability is primarily an administrative or medical issue rather than a social one shaped by access and expectations. In practice, families remain the primary providers of care throughout the region. In Kyrgyzstan, around 200,000 people are officially registered as living with disabilities, and outside major cities, most daily support is provided by family members due to limited community-based services. In Turkmenistan, public disability data remain sparse, and undercounting is widely acknowledged, leaving extended families as the central source of long-term care. In Tajikistan, official estimates place the number of people living with disabilities between 150,000 and 200,000, with caregiving overwhelmingly home-based due to constrained public resources. Family-based care provides continuity and belonging, but it also carries an economic cost. Caregivers are more likely to reduce paid employment and experience long-term income loss, a burden that falls disproportionately on women and shapes household economic outcomes. This reliance on family support is often contrasted unfavorably with wealthier countries, but the comparison is more complicated. In the United States, more than one in four adults lives with a disability, and people with disabilities report significantly higher rates of loneliness and depression despite extensive legal protections and formal services. By contrast, strong family networks are associated with lower levels of severe social isolation, even in settings with fewer public resources. In recent years, small but notable shifts have begun to appear. Local organizations across the region are experimenting with community-based rehabilitation, inclusive education, and supported employment models that move beyond institutional care. These efforts remain fragmented and under-resourced, but they reflect a growing recognition that disability policy is about protection and participation. As Central Asian governments seek to retain talent, expand their labor force, and project social modernization, inclusion is increasingly intersecting with economic and demographic realities rather than remaining a niche social issue. Institutional care remains common across Central Asia, yet community-based rehabilitation is consistently linked to better social participation and quality...

Art and Culture

A Breakout Year for Contemporary Art in Kazakhstan

The year 2025 marked not only a busy period for contemporary art in Kazakhstan but also a decisive acceleration. Art moved beyond professional circles, claimed urban spaces, entered international agendas, and ceased to be a conversation “for insiders only.” The Kazakhstani art scene spoke with growing confidence both at home and abroad. New institutions, landmark exhibitions, festivals, and global collaborations signaled a pivotal shift: contemporary art has become a visible and integral component of the country’s cultural fabric. New Museums and Art Spaces in Kazakhstan Geographically, Almaty emerged as the epicenter of contemporary art activity in 2025. The city saw the opening of key institutions that became new focal points for artists, curators, and audiences. Opening of the Almaty Museum of Arts (ALMA) On September 12, 2025, the Almaty Museum of Arts (ALMA) opened its doors in Almaty, becoming one of the largest contemporary art museums in Central Asia. From the outset, ALMA signaled serious institutional ambitions, with a mission to support and study contemporary art processes and situate them within a global cultural context. The museum’s collection includes around 700 works, more than 70% of which are by notable Kazakhstani artists of the 20th century, such as Zhanatai Shardenov, Tokbolat Togyzbayev, Makym Kisameddinov, and Shaimardan Sariyev. Contemporary artists like Rustem Khalfin, Saule Suleimenova, and Said Atabekov are also prominently featured. Designed by the British architectural bureau Chapman Taylor, the 10,000-square-meter museum includes expansive exhibition halls (“The Great Steppe,” “Saryarka”), an Art Street atrium, storage and restoration facilities, and a creative workshop, setting a new standard for museum infrastructure in the region. [caption id="attachment_42431" align="aligncenter" width="1200"] Installation view of "I Understand Everything" – Almagul Menlibayeva (12 September 2025 - May 2026), Almaty Museum of Arts; image: Alexey Naroditsky[/caption] Tselinny Center of Contemporary Culture: Reclaiming a Building and Its Meaning Just days earlier, on September 5, 2025, the Tselinny Center of Contemporary Culture was inaugurated in Almaty. Housed in a restored 1964 Soviet-era cinema, the building underwent nearly seven years of renovation led by British architect Asif Khan. Notably, the facade’s unique sgraffito by artist Evgeny Sidorkin was preserved. The transformed space now features an exhibition hall, library, cafe, and workshop areas. Its opening was marked by the performance BARSAKELMES, with initial public access free of charge. Tselinny now operates three days a week and serves as a vital platform for exhibitions, education, and creative dialogue. [caption id="attachment_42433" align="aligncenter" width="2400"] The Tselinny Center of Contemporary Culture; image: SAPARLAS/Zhanarbek Amankulov[/caption] A. Kasteev State Museum of Arts: A New Status and Contemporary Focus Kazakhstan’s primary national art institution also redefined its role in 2025. Celebrating its 90th anniversary, the A. Kasteev State Museum of Arts was granted National Museum status. In conjunction with this milestone, a new gallery dedicated to contemporary Kazakhstani art from the independence period was unveiled. The exhibition Memory. Space. Progress brought together works from leading artists, charting the development of artistic practice from the 1990s to the present. Contributors included members of the Shymkent-based Red Tractor group, Almaty conceptualists,...

Religion

Epiphany in Central Asia: Orthodox Traditions and Regional Unity

On the night of January 18-19, Orthodox Christians across Central Asia gather at frozen rivers and lakes to celebrate the feast of Epiphany by plunging into icy waters, three times each, in line with tradition. Though rooted in the Christian faith, this ritual has evolved into a broader cultural event, drawing participation from people of many backgrounds. A Test of Faith and Endurance In Central Asia, Epiphany coincides with some of the coldest days of the year, often referred to as the "Epiphany frosts." Despite subzero temperatures, participation in ice bathing continues to grow. According to Orthodox tradition, Epiphany commemorates the baptism of Jesus in the River Jordan. While the climate in Israel was mild, believers in the region embrace the symbolic cleansing despite the extreme cold. The Orthodox Church does not consider ice bathing a requirement for the faithful. Instead, the central ritual of the holiday is the Great Blessing of Water, performed both on Epiphany and the evening before. Priests encourage believers to collect holy water from churches, sprinkle it throughout their homes, and drink it in small amounts on an empty stomach. Many believe this brings health and protection for the year ahead. Nevertheless, in the main Orthodox churches of Central Asia, fonts and pools are prepared for those who wish to immerse themselves. Designated ice holes are also opened in lakes and rivers for traditional bathing. Strict Safety Measures in Kazakhstan In Kazakhstan, authorities take extensive precautions to ensure public safety during Epiphany bathing. In Astana, the celebration began with a religious procession from the Constantine and Helen Cathedral to the embankment of the Ishim River, where the water was consecrated despite temperatures dipping to minus 30 degrees Celsius. Warm changing rooms were provided, and teams from the Ministry of Emergency Situations, along with paramedics and rescue personnel, were on hand throughout the night. In Almaty, where temperatures hovered around minus 15 degrees, Epiphany fonts were set up at 10 churches. Authorities reminded residents that swimming in non-designated natural bodies of water is prohibited due to the risk of slipping or falling through the ice. However, safety teams and patrols were stationed at approved bathing sites, including the Bolshaya Almatinka, Malaya Almatinka, Butakovka, Goryachiy Istochnik, and Gorenik rivers. Officials advised those with cardiovascular or endocrine conditions to avoid the ritual and warned against participating while intoxicated. A Cultural Tradition Embraced by Many Over time, Epiphany bathing in Central Asia has grown beyond a strictly religious practice. In Kazakhstan, many ethnic Kazakhs and other non-Christian residents eagerly take part, viewing the ritual as a source of health and vitality. It has become a powerful symbol of interethnic and interfaith unity in the region. While Muslim clerics typically do not encourage participation, they generally refrain from direct criticism, recognizing the tradition's broader cultural significance. Orthodox priests also emphasize that the ritual is more custom than doctrine, open to anyone. Some compare Epiphany bathing to the festive atmosphere of Kurban Ait, when Muslims share food in public spaces. Likewise,...

Uzbek Art

Mapping the Inner Landscape: An Interview with Oyjon Khayrullaeva

In recent years, a new generation of Uzbek artists has begun to reshape how culture, history, and identity are visually narrated. Among them is Oyjon Khayrullaeva, whose practice moves fluidly between photography, digital collage, and large-scale public installations. Born after independence and largely self-trained outside formal art institutions, Khayrullaeva works with inherited visual languages such as Islamic ornament and traditional textiles, reassembling them into contemporary forms that speak to the present moment. Her recent project for the Bukhara Biennial, called “Eight Lives,” marks a turning point in this exploration. Installed in the public and historical spaces of the ancient city, the work consists of monumental mosaic organs that connect physical vulnerability with emotional states and collective memory. Through the human body, Khayrullaeva maps experiences of anxiety, healing, spirituality, and social pressure, transforming ornament into anatomy and architecture into inner landscape. The Times of Central Asia spoke with the artist to trace how Eight Lives emerged, how collaboration with mosaic masters shaped its final form, and how audiences in Uzbekistan are responding to seeing contemporary art in public spaces. TCA: Can you tell me about your beginnings as an artist? Did you always want to become one? Khayrullaeva: From early childhood, my parents noticed that there was something a bit unusual about me. My father has always called me - and still does - an “alien,” because I’m probably the only person in my family who chose a creative path. No one else in my family has been involved in art, at least not for the past seven generations. I was always a creative child, but I never imagined that I would become an artist. As a child, I tried many things; I went to music school, studied piano, and attended various creative clubs. Still, the idea of pursuing art professionally never crossed my mind. Becoming an artist was, in many ways, an unexpected turn in my life. For a very long time, honestly, until around the age of 24, I had no clear idea of what I wanted to do or what my profession would be. I was never certain about it. So yes, life is an interesting thing. You never really know where it’s going to lead you. TCA: Your artistic journey began with photography before evolving into digital collage. How did your early work in photography shape the way you now approach layering, texture, and composition in your digital pieces? Khayrullaeva: When I was around 17 or 18, I became interested in photography. At that time, I didn’t have a camera, so I was shooting with my phone. For my birthday, I was given some money, and I decided to use it to buy a camera. My father added a bit more, and I bought my very first one. It was an incredible feeling taking photos, holding the camera, and shooting. Mobile photography and working with a camera are completely different experiences, and that difference brought me so much joy. I remember the pure pleasure of photographing everything...