Silk Road Treasures - The Times Of Central Asia

Viewing results 1 - 6 of 107

Milan Design Week

Uzbekistan’s ‘When Apricots Blossom’ Shortlisted for Fuorisalone Award at Milan Design Week

Uzbekistan’s first national exhibition at Milan Design Week 2026 has closed with strong international recognition, drawing large crowds and earning praise from critics for its focus on culture, craft, and environmental change. Titled When Apricots Blossom, the exhibition ran from April 20 to 26 at Palazzo Citterio, welcoming around 25,000 visitors over seven days. Organized by the Uzbekistan Art and Culture Development Foundation (ACDF), the project was commissioned by its chairperson Gayane Umerova and curated by architect Kulapat Yantrasast, founder of WHY Architecture. The exhibition was shortlisted for the main Fuorisalone Award, which recognizes leading installations among the thousands of events held across Milan during the week. It also received a Special Mention from a panel of media partners and critics. The jury praised the project for creating “a dialogue between the space and the content” and for encouraging deeper engagement with its themes. Uzbekistan’s debut comes at a time when design is increasingly addressing global challenges, including climate change and sustainability. In this context, When Apricots Blossom stood out for its focus on the Aral Sea region, one of the world’s most widely recognized environmental disasters. [caption id="attachment_47943" align="aligncenter" width="451"] Cooking demonstration led by Bayrangul. Still from the film Where the Water Ends by Manuel Correa and Marina Otero 2026. Courtesy of ACDF[/caption] Over the past six decades, the Aral Sea has largely disappeared, reshaping life in Karakalpakstan, an autonomous region in northwestern Uzbekistan. The exhibition explored how communities in the area have adapted to these changes, not only through new solutions but also through long-standing traditions. Rather than presenting craft as something of the past, the project framed it as a form of living knowledge. “Our intention was for the Aral Sea to be recognized not only as a site of loss, but as a lens through which design considers broader questions of climate, culture, and responsibility,” Umerova said. She emphasized that collaboration played a key role in the exhibition. Designers from different countries worked alongside Uzbek and Karakalpak artisans, creating a space for exchange between tradition and contemporary practice. “The knowledge exchange between our craftspeople and international designers has helped reconnect past, present, and future,” she said. Inside Palazzo Citterio, visitors moved through installations centered on three fundamental aspects of life: food, shelter, and clothing. These were represented through bread-making, yurt-building, and textile weaving, practices that have helped communities adapt to changing environments. Twelve designers created new works inspired by these traditions, including bread trays and stamps used in the preparation of non, a staple of Uzbek cuisine. Made from materials such as wood, ceramics, felt, and reeds, the objects reflected both local resources and evolving design approaches. The exhibition also included artifacts selected by participants of the Aral School, an international educational program focused on the region through design and research. A film, Where the Water Ends, offered visitors a closer look at the lives and landscapes shaped by the disappearance of the sea. For Yantrasast, the project marks the beginning of a longer process. “This...

Art and Culture

Life After the Water: Uzbekistan Brings the Aral Sea Story to Milan

Uzbekistan made its debut at Milan Design Week 2026 on April 20, with When Apricots Blossom, an immersive exhibition at Palazzo Citterio exploring how craft and design can respond to environmental crisis. Running through April 26, the project is organized by the Uzbekistan Art and Culture Development Foundation (ACDF), commissioned by its chairperson, Gayane Umerova, and curated by Kulapat Yantrasast, founder of WHY Architecture. It marks the country’s first major presentation at one of the world’s leading design platforms. At the center of the project is Karakalpakstan, a region in northwestern Uzbekistan that has experienced one of the world’s most severe environmental crises. Over the past six decades, the shrinking of the Aral Sea has transformed the area’s landscape, economy, and way of life. Once a vast inland body of water, the sea has largely disappeared, leaving behind desert, salt plains, and struggling communities. [caption id="attachment_47478" align="aligncenter" width="926"] The Garden Pavilion at Palazzo Citterio, indicative render: Lightweight latticed framework ‘deconstructed yurt’ by Kulapat Yantrasast. When Apricots Blossom, Milan Design Week 2026. Courtesy of ACDF and WHY Architecture[/caption] When Apricots Blossom traces this transformation while also looking ahead. “The Aral Sea is both a cautionary tale and an opportunity to offer a blueprint for other regions facing extreme environmental change,” Umerova said ahead of the opening. She emphasized that design and craft are not separate from these challenges, but part of the response. “They begin with people and knowledge.” Inside Palazzo Citterio, the exhibition unfolds as a journey through the region’s past, present, and possible futures. The main gallery features an installation of reed-like structures that evoke the landscapes of Karakalpakstan. Within this setting, visitors encounter objects and ideas connecting everyday life with broader environmental questions. A key focus is on three traditional practices: bread-making, yurt-building, and textile crafts. These are presented not as relics of the past, but as systems of knowledge shaped by generations of adaptation. [caption id="attachment_47534" align="aligncenter" width="8192"] Bethan Laura Wood at Palazzo Citterio - When Apricots Blossom - commissioned by ACDF. Image courtesy of ACDF[/caption] Twelve international designers have worked with Uzbek and Karakalpak artisans to create new pieces inspired by these traditions. Among them are custom bread trays and stamps (chekich), reflecting the central role of bread in Uzbek culture. Made from materials such as wood, felt, ceramics, and reeds, the works reinterpret familiar forms while remaining rooted in local techniques. Alongside these contemporary designs are artifacts selected by participants of the Aral School, an international postgraduate program that treats the region as a site for creative and critical exploration. The exhibition also premieres Where the Water Ends, a new film by filmmaker Manuel Correa and architect Marina Otero Verzier, offering a closer look at landscapes and communities shaped by the Aral Sea’s decline. [caption id="attachment_47480" align="aligncenter" width="976"] The main gallery interior, indicative render: Reed-link forms by WHY Architecture. When Apricots Blossom - Milan Design Week 2026. Courtesy of ACDF and WHY Architecture[/caption] Together, these elements form a broader narrative about how people adapt to...

Food & Drink

Traditional Kazakh Foods Find a Niche in Foreign Markets

Traditional Kazakh food products such as kazy (a sausage-like delicacy made of horse meat), kumys (a fermented beverage made from mare’s milk), and kurt (dry cheese made from fermented milk) are now expanding beyond Kazakhstan's borders, becoming part of the country's export potential. According to QazTrade Trade Policy Development Center, with state support, the export of traditional Kazakh foods could reach $50-$80 million by 2028. Russia and China remain the largest markets for traditional Kazakh foods, as these countries are home to more than 2 million ethnic Kazakhs, which creates a stable demand for traditional products. Kurt and kumys are particularly popular on the Russian market. In China, especially in the Xinjiang Uyghur Autonomous Region, home to more than 10 million Muslims, there is growing demand for meat delicacies and halal products. The export of traditional Kazakh dairy products shows steady growth. The export of kumys, shubat (camel's milk), and ayran (fermented cow's milk) totaled $13.4 million in 2024 and $17.3 million in 2025 (a 29.4% increase). The main difficulty in exporting kumys is its short shelf life. Chilled kumys can be stored for only 3-5 days, so delivering it to more distant markets is a challenge. Producers are currently seeking solutions to this problem, including pasteurising it so that it can be stored for up to 30 days, as well as lyophilised kumys powder. Such products are already being supplied to China, although volumes remain modest for now. Kazakhstan's traditional foods are gradually finding their niche in foreign markets under a nomadic gastronomy brand, the cuisine of steppe culture, based on natural meat and dairy products. In October 2025, another Kazakh delicacy entered the U.S. market when Tary Coffee, a cafe aimed at introducing visitors to Kazakh cuisine and traditional products, began operating in Chicago. One of the products featured on the menu is talkan, which is made from roasted and ground grains. In addition to talkan, the cafe’s menu features traditional Kazakh foods such as millet, nawut (crystallised sugar), alongside various grain-based ingredients. According to Aitmukhamed Aldazharov, General Director of QazTrade, traditional Kazakh foods meet the world's growing demand for functional foods and superfoods. Kurt is a source of valuable microelements, while tary and talkan are becoming increasingly recognised by foreign buyers during trade missions and international exhibitions. “Traditional steppe food sells well and is in demand through networks of Kazakh restaurants and cafes abroad. For example, the famous cappuccino with tary, a kind of 'ground steppe coffee,' has already entered the U.S. market," he said.

History

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...

Aport Apples

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 Interviews

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....