• KGS/USD = 0.01144 0%
  • KZT/USD = 0.00200 0%
  • TJS/USD = 0.10470 -0.19%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00200 0%
  • TJS/USD = 0.10470 -0.19%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00200 0%
  • TJS/USD = 0.10470 -0.19%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00200 0%
  • TJS/USD = 0.10470 -0.19%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00200 0%
  • TJS/USD = 0.10470 -0.19%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00200 0%
  • TJS/USD = 0.10470 -0.19%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00200 0%
  • TJS/USD = 0.10470 -0.19%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00200 0%
  • TJS/USD = 0.10470 -0.19%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28490 0%

Viewing results 1 - 6 of 98

An Early European View of Nomadic Central Asia

During a period when Central Asia remained largely unknown to European audiences, Among Kirghiz and Turkimans offered Western readers a rare first-hand account of the vast steppe and desert regions. The book was written in the late nineteenth century by Richard Karutz, a German traveler whose work belongs to the broader tradition of European exploratory travel literature. I first encountered this book while studying in the United States and later incorporated it into my research. A copy preserved in the library of the Catholic University of America in Washington, D.C., was published in Leipzig in 1911. Since then, it has been regarded as one of the more noteworthy works in early European writing on Central Asia. Who Was Richard Karutz? Richard Karutz was a late nineteenth-century German traveler and writer who journeyed through parts of the Russian Empire’s Central Asian territories. Though not widely known today compared to some British or Russian explorers, Karutz represents a generation of European intellectuals fascinated by the perceived “frontier zones” of empire, regions seen as remote, exotic, and culturally distinct. [caption id="attachment_44400" align="aligncenter" width="312"] Richard Karutz[/caption] He was neither a colonial administrator nor a military officer; rather, he traveled as an independent observer. His writings reflect the curiosity of an educated European shaped by the intellectual currents of his era, including Orientalism and the growing interest in ethnography. Like many travelers of his time, Karutz sought to document ways of life he believed were on the verge of transformation under imperial modernization. Across the Steppe and Desert In Among Kirghiz and Turkimans, Karutz traveled among communities then commonly referred to in Russian and European sources as “Kirghiz”, a historical term often applied to Kazakhs, as well as Turkmen tribes. His route took him across vast grasslands, caravan routes, and oasis settlements shaped by pastoral migration, tribal organization, and Islamic traditions. Rather than producing an official report or military survey, Karutz wrote in a personal and descriptive style typical of travel literature. His narrative often reads as impressionistic reflection rather than systematic analysis. He documents everyday life, including nomadic encampments and felt yurts, equestrian culture and elaborate codes of hospitality, tribal leadership and clan loyalty, as well as desert trade routes and caravan movement. Mangyshlak, a peninsula on the eastern coast of the Caspian Sea in present-day Kazakhstan, features prominently in his descriptions. Significant mineral deposits were later discovered there, leading to its designation as a “peninsula of treasures.” Mangyshlak is characterized by stark desert landscapes and was once described as a barren land consisting largely of sand and stone. In the Middle Ages, it served as a gateway for trade between East and West. The region also played a role in the early history of Turkmen communities. Karutz’s writing attempts to capture both the hardship and the quiet grandeur of steppe existence. Depicting Nomadic Society A central strength of the book lies in its attention to social organization. Karutz was particularly struck by the mobility of Kazakh life, seasonal migrations, a livestock-based economy, and...

Kazakhstan Moves to Export Its Legendary Aport Apples

Kazakhstan is preparing to introduce its iconic Almaty aport apples to international markets after the variety attracted strong interest from European partners at Grune Woche 2026 in Germany. During the exhibition, QazTrade and the Association of Almaty Aport Producers signed a memorandum aimed at promoting aport apples and their processed products abroad, according to the Ministry of Trade and Integration of Kazakhstan. The aport is one of Kazakhstan’s most distinctive apple varieties and is closely associated with the natural and cultural heritage of Almaty, widely regarded as the ancestral home of apples. Known for their large size, rich aroma, and juiciness, aport apples are also highly demanding to cultivate. High-quality aport can only be grown at elevations between 850 and 1,250 meters above sea level, primarily in the foothills surrounding Almaty. Unlike commercial apple varieties that begin bearing fruit within four to six years, aport trees typically require eight to nine years before producing their first harvest. Despite the longer maturation period, the apple’s distinctive qualities and heritage value position it as a premium niche product. “The main advantage of aport is its uniqueness. Unlike mass-produced varieties designed for volume and long storage, aport stands out for its vivid taste, rich aroma, and large fruit size. Our orchards are located above 850 meters above sea level, which affects the firmness of the pulp and depth of flavor. In Germany, we presented not only fresh apples but also processed products such as fruit pastilles and apple chips. We also produce aport-based juice, vinegar, and dried fruit,” said Roman Safarov, president of the Association. According to QazTrade, participation in Grüne Woche confirmed strong export potential, particularly for processed aport products. “The Almaty aport is registered as a geographical indication. This status confirms its unique characteristics shaped by the natural conditions of the Almaty foothills, special soils, clean water, and temperature fluctuations. The geographical indication protects the brand and allows it to be promoted as a premium product in international markets,” said QazTrade CEO Aitmuhammed Aldazharov. Horticulture is increasingly viewed as a strategic growth area within Kazakhstan’s agro-industrial sector. According to Yerbol Taszhurekov, apple orchards in Kazakhstan now cover nearly 29,000 hectares, concentrated mainly in the southern regions of Almaty, Turkestan, Zhambyl, and Zhetisu. In the Almaty and Zhetisu regions alone, orchards span more than 2,400 hectares and include over 416,000 trees. Kazakhstan is also working to revive the aport variety, which had previously faced near extinction. Under a targeted 2024-2028 program involving private investors and specialized nurseries, authorities aim to produce certified saplings and expand commercial cultivation. By 2027, plans call for planting at least 110 hectares of new aport orchards.

TCA Interview: Musician Merey Otan on the Reinvention of Kazakh Musical Instruments

Until recently, Kazakh national instruments were largely associated with school concerts, folk ensembles, and official ceremonies. The dombra (a long-necked, two-stringed plucked instrument), kobyz (a bowed string instrument with two horsehair strings), and sybyzgy (a wooden end-blown flute traditionally made from apricot wood) seemed to occupy a separate cultural space: symbolically important, yet detached from everyday life. “Before, the dombra was for me only part of school concerts,” recalls Sanzhar Uvashev, 24, a sales specialist from Almaty. “It was brought out on holidays, people dressed in national costumes, played a couple of obligatory songs, and that was it. I never thought this instrument could sound different, or be part of contemporary music.” Today, that distance is steadily narrowing. The sound of the dombra is increasingly featured in contemporary original music, electronic compositions, film scores, and social media. Young musicians are not abandoning tradition, but they are no longer treating it as something frozen in time. To understand how this rethinking is taking place, and why tradition need not remain 'untouched', The Times of Central Asia spoke with Merey Otan, a researcher and musician who works with Kazakh instruments in a modern cultural context. ТCA: Merey, how did your study of national instruments begin? Was it a deliberate decision? MO: It started during my master’s studies, when I was writing a thesis on contemporary music in Kazakhstan. As part of that research, I interviewed the ethno-rock band Aldaspan and kobyz player Almat Saizhan. I was especially interested in how the dombra and kobyz were being transformed and modernized and eventually devoted a whole chapter of my work to this topic. So yes, it was a conscious choice. TCA: People often argue that tradition should be preserved in its original form. What’s your take on that? MO: I’ve heard that view often, especially from traditional musicians. Some believe, for example, that an electronic dombra desecrates the instrument. Given the sacred meaning of the dombra and kobyz, I understand that stance. In sociology, these people are sometimes called purists. But I disagree. The world is changing, and some traditions from the nomadic era have lost their relevance or even become barriers. I believe traditions can, and sometimes should, evolve. If modifying an instrument helps engage younger generations, why not? TCA: Where do you personally draw the line between respect for heritage and experimentation? MO: I see nothing wrong with experimentation. On the contrary, bands like Steppe Sons show deep respect for heritage. Their members have formal musical education and a strong grounding in tradition. However, it's important to consider the concept of cultural appropriation from postcolonial theory. This occurs when privileged groups use the culture of marginalized communities for personal gain. In music, this might look like a Western artist profiting from Kazakh instruments without acknowledging Kazakh musicians. That, in my view, is disrespectful. TCA: Is there still criticism about the “incorrect” use of traditional instruments? MO: Yes, certainly. When Aldaspan introduced the electronic dombra, public figures like Bekbolat Tleukhan were highly critical....

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,...

Beshbarmak, Pilaf, and Olivier Salad: What Will Be Served on New Year’s Eve Tables in Central Asia

New Year remains one of the most significant holidays in Central Asia. While its scale and prominence have gradually declined due to rising religiosity, many residents still regard it as the foremost secular and ideology-free celebration of the year. Across the region, households prepare their most beloved dishes to ring in the occasion. No New Year Without Olivier Salad For many families, traditional fare is an essential part of New Year’s Eve. Olivier salad has long been a staple of the holiday table. Originally created in the 1860s by a French chef in Russia, the dish once featured ingredients such as hazel grouse and seafood. Over time, particularly during the Soviet era of shortages, the recipe evolved. Today, Olivier salad typically includes beef, chicken (or boiled sausage), potatoes, green peas, pickled cucumbers, and mayonnaise. It is usually prepared in large batches to ensure there is enough for all guests. Other popular salads include herring under a fur coat, vinaigrette, and “Tenderness”, hearty dishes that can leave guests too full for main courses. Even in modest households, red caviar often finds its way to the table, adding a touch of festivity and indulgence. Kazakhstan: Beshbarmak with a Twist In Kazakhstan, beshbarmak remains the centerpiece of the New Year’s feast, as it is for most major celebrations. Traditionally, the dish combines three cuts of horse meat, kazy, karta, and zhay, served with flat noodles and onions. However, some families are adapting their menus in line with the Chinese zodiac. As the Year of the Red Horse approaches, online advice has suggested avoiding horse meat out of respect for the symbolic animal. A vegan version of beshbarmak, featuring mushrooms and pumpkin, is gaining traction. Baked koktal fish is another showpiece dish, while kuydak (lamb with potatoes and onions) and khan syrbaz (a rich stew of lamb, vegetables, barley, and broth) are popular additions. Desserts often include traditional fermented milk products such as zhent, katyk, and irimshik, and the table is rarely without kumys, a fermented mare’s milk beverage. Uzbekistan: Pilaf Reigns Supreme In Uzbekistan, New Year is celebrated with great enthusiasm. According to folklore, Korbobo, a local version of Santa Claus, arrives on a donkey with his granddaughter Korgyz to distribute gifts to well-behaved children. Pilaf, or plov, is the dominant holiday dish. Made with rice, carrots, onions, meat, and spices, regional variations might include raisins or quince for added sweetness. Each area boasts its own version of the national favorite. Samsas, meat-filled pastries baked in a tandoor, are also served, as are manti, large, steamed dumplings filled with lamb, beef, or pumpkin. Other popular dishes include kazan-kabob (fried meat and potatoes). For dessert, chak-chak (fried dough with honey) and halva (made from sesame, semolina, or nuts) are perennial favorites. Kyrgyzstan: Boorsoki and Beshbarmak In Kyrgyzstan, beshbarmak, prepared with either horse meat or lamb, is also a central dish. Families commonly serve manti, baked chicken, and boorsoki (known in Kazakhstan as baursaki), fried dough balls that are a holiday staple. Other meat-based specialties...

Astana Student’s Horse Milk Video Makes Finals of “Breakthrough” Science Contest

Another Kazakh scientist received an accolade this month, after 17-year-old Tomiris Abylkairova from Astana was voted into the final 16 of the prestigious international Breakthrough Junior Challenge. The Breakthrough contest, an initiative of the Breakthrough Challenge Foundation in the United States, is a global science competition for young people aged 13-18. Held for the last 11 years, students are invited to create videos of up to two minutes in length that explain a particular concept or theory in the area of life sciences, physics or mathematics.  Abylkairova’s video has a Kazakh flavor, quite literally, as she uses her two minutes to discuss how fermented foods such as kymyz (horse’s milk) influence gene regulation. Her animated video was among the top 16 in a public vote, sending her to the finals after receiving a high number of “likes” on the event website. Collectively, the 30 submitted videos were viewed more than 300,000 times. Abylkairova, a student at Haileybury Astana School who also competes in national fencing championships, commented: “Representing Kazakhstan internationally is both an honor and a responsibility. For me it’s a chance to contribute to my country’s intellectual, scientific, and cultural legacy while engaging in meaningful global dialogue and research.”  She added: “I’m proud to help demonstrate that young people from Kazakhstan can make impactful, long-term contributions to the global scientific community". Isabella Leonel Lelles, also 17, from Brazil, was the overall top scorer in the popular vote, with more than 66,000 likes for her video on the protein folding problem. The videos of the 16 finalists will now be reviewed by a Selection Committee of esteemed figures in American science. It has not yet been announce when the committee will select the overall winner. The winning entry will receive $400,000, with the victorious student being awarded $250,000 in educational prizes. Past Breakthrough Junior Challenge winners have come from Canada, India, Mauritius, Peru, the Philippines, Singapore, and the United States. Alumni have gone on to attend institutions including MIT, Harvard, Princeton, and Stanford. All videos, including Abylkairova's, can be viewed on the Breakthrough Junior Challenge’s website.