Our People > Duisenali Alimakyn

Duisenali Alimakyn is a Kazakh journalist, translator, and researcher covering literature, culture, and science. His research, including at the George Washington University, has a strong focus on Western narratives about Central Asia over the centuries.

Articles

History

Twentieth Century Travelogue Documents British Women’s Experiences in Central Asia

Interpreting English-language sources accurately for Kazakh readers can be quite challenging. It often requires drawing on the richness, expressiveness, and natural rhythm of the Kazakh language. I came to appreciate this during an internship in the United States. Each evening, on the first floor of our home in Arlington, Virginia, I would spend about three hours in the study, poring over old library books containing historical records about Kazakhs. A quote often came to mind during those long nights: “A person with a good book is never truly alone.” It became both a source of inspiration and motivation. One day, I discovered a remarkable book, published in 1927 in both Boston and New York, titled Through the Jade Gate and Central Asia. Written by Mildred Cable and Francesca French, the book recounts their travels as British female missionaries across northwestern China and Central Asia. It offers a vivid portrayal of life in the region a century ago. The authors journeyed through Gansu, Xinjiang, the Gobi Desert, and visited Mongol and Tibetan settlements. In 1923, Cable, French, and their companion, Evangeline French, traveled more than 2,400 kilometers through Central Asia. They set out from Huozhou, spreading Christianity along the way. During their travels, they opened a mission school, distributed religious literature, and tried to learn local languages, such as Uyghur, to better communicate with Muslim women. However, conversions among local women were rare. The group crossed the desert five times, traversed the Tibetan plains, and eventually reached Zaysan via Shauyeshek. In Zaysan they met with Kazakh families and documented their encounters. For example, one Kazakh man asked if they knew how to operate a sewing machine, likely one he had purchased from Russians. They also met a Nogai man with two wives and a son, one wife being Kazakh and the other from another Turkic group. Throughout the book, the authors include photographs and descriptions of the people they met along the way. Their journey continued along the Irtysh River, where they were moved by a boatman’s song. Upon reaching Semey, they then traveled by train to Novosibirsk and Omsk. On a boat from Omsk, they observed a Kazakh family and were struck by their blend of nomadic tradition and Western education. The family’s Western-style clothing, musical abilities, and refined manners stood out. One Kazakh man even played traditional music on the piano for his child, a moment that so impressed the authors that they included the musical notation in their book. The book also records a striking demographic insight: “We were told the Kazakh population exceeds seven million.” The travelers were clearly impressed by the Kazakhs’ adaptability, modesty, and political awareness, suggesting these qualities would soon position them for greater influence. They were especially taken by the poise and beauty of a Kazakh nurse, who left a lasting impression. In the end, every foreign source that offers insight into our history is an asset. This travelogue stands out as a vivid and respectful portrayal of our ancestors and as...

1 year ago

Historic Photo

Photograph of a Kazakh Female Harvester Preserved in a U.S. Library

In the 1940s, British researchers William and Zelda Coates traveled to Kazakhstan and later published a book titled Soviets in Central Asia. The book included a previously unpublished photograph of a Kazakh female combine operator. The English caption identified her as "A typical Kazakh collective farm woman – Kudyash Avnimasova, of the 'Red Kombine' farm." The book also offers detailed insights into Kazakhstan’s agriculture and industry during the Soviet era. The authors highlight the significant progress made in food production over the previous decade, noting the establishment of numerous factories in southern Kazakhstan. They report that the country had five sugar factories, four distilleries, ten canneries, and three starch factories. Additionally, they emphasize the impact of large-scale industrialization, pointing out that Kazakhstan’s industrial workforce grew dramatically from just 20,000 in 1920 to nearly one million by early 1945. The Coates focus not only on economic and industrial developments but also on the aspirations, perspectives, and reform-driven mindset of smaller nations. The inclusion of the Kazakh female combine operator’s photograph is intentional; it complements the broader discussion on production and labor in the region. The authors present data showing that in 1938, Kazakhstan had 191 state farms, 363 machine and tractor stations, 25,646 tractors, and 9,522 combines. By 1947, those numbers had grown to 254 state farms and 670 collective farms, with 12,000 combines and tens of thousands of tractors operating in the fields. There is a common saying: 'History is a mirror.' Indeed, recorded history does not fade; rather, its significance deepens over time. The image of this female combine operator, preserved in the British scholars’ book housed in the Gelman Library at George Washington University, serves as a powerful representation of the resilience, determination, and vitality of Kazakh women in the 20th century.

1 year ago

Art and Culture

Kazakh Theatrical Performance Breaks Annual Record

The play Gauhartas, directed by Kazakhstani theater artist Askhat Maemirov, has been staged over 250 times within a year, marking a record achievement in Kazakhstan’s theater industry. This widely acclaimed production is an adaptation of a work by esteemed Kazakh writer, Dulat Isabekov. His story depicts the life of a Kazakh family during the Soviet period, shedding light on the struggles of ethnic minorities under an authoritarian regime. In 1975, the Kazakhfilm studio produced a movie based on this work. With every show selling out, the play has already drawn nearly 75,000 spectators. It has been performed in several major cities across Kazakhstan, including Aktau, Atyrau, Oral, Taldykorgan, and Almaty. Plans are now in place to present the production on an international stage. “In this production, we emphasize the significance of family and cultural values in Kazakh society,” said the director of the musical drama. “We examine the roles of mothers and fathers, questioning their responsibilities and influence. By portraying the life of an ordinary Kazakh family, we aim to reflect deeper human emotions. At its core, the play conveys the importance of safeguarding love and happiness within the home.” Though Gauhartas was first introduced to readers fifty years ago, its themes remain highly relevant today. The dynamics of family life and the bond between parents and children continue to be timeless subjects in literature and theater, and currently, many young people in Kazakhstan are coming to watch this play. [caption id="attachment_29683" align="aligncenter" width="1023"] Image: TCA, Duisenali Alimakyn[/caption] This work was written by the recently deceased Kazakh writer, Dulat Isabekov, when he was 25 years old while serving in the military near Moscow. Depicting Kazakh society, including one family’s internal resistance to the system and the impact of Soviet society on people, this work became one of the author’s timeless creations. The play offers a fresh perspective to Kazakh audiences by addressing the issue of women’s equality. It delves into the fractured relationship between society, a father, and a son, highlighting their inability to connect and understand one another, ultimately leading to tragedy. In essence, this work looks back at the past, aligns with the present, and paves the way for a hopeful future.

1 year ago

Art and Literature

The Journeys of Kazakh Fairy Tales to the United States

The Kazakh people have always been dedicated to preserving and advancing their culture and literature and sharing them with the world. Over the thirty-plus years since independence, the Kazakh state has actively sought valuable historical records and archival materials about its people. It is remarkable to discover that during the Soviet era, numerous Western travelers explored Kazakhstan’s territory, documenting their observations on traditions, daily life, religion, and political perspectives in books that were later published in English. In the fall of 2023, with funding from the Bolashak program, I started a project to research the history of the Kazakh people and steppe based on the English-language accounts of Western travelers who visited the steppe in the late 19th and early 20th centuries. Although I started this project when I was working as a newspaper reporter in Kazakhstan, there was no way to access the database of large libraries abroad. Nineteen Kazakh Fairy Tales and Mary Lou Masey Kazakh-American relations did not begin solely after the collapse of the Soviet Union but can be traced back to the late 19th century. This is evident from old books written in English and printed by major American publishers, which I discovered in archival collections. While exploring the catalogs at George Washington University’s Gelman Library, I came across an intriguing book titled Stories of the Steppes, retold by Mary Lou Masey and illustrated by Helen Basilevsky. Published in 1968 by the David McKay Company, Inc. in New York, this book reflects Masey’s fascination with Central Asian culture. Having traveled to the region with her husband, Jack, she introduced American readers to its rich heritage through this collection. The book features 19 folktales from Russian sources, not as literal translations but as engaging retellings that remain faithful to the original plotlines. [caption id="attachment_29332" align="aligncenter" width="207"] The cover of Stories of the Steppes, retold by Mary Lou Masey [/caption] In this work, Masey presents traditional Kazakh folktales, including fairy tales, satirical stories about daily life, humorous tales and stories about animal, as well as narratives about both wise and foolish individuals. In the preface, she notes that while some reflect Russian cultural influence and others share common elements with global folklore, the collection remains distinctly Kazakh. It captures a unique way of life and showcases the remarkable artistry of the wandering storytellers who passed these tales down through the generations. [caption id="attachment_29333" align="aligncenter" width="490"] Illustration of the fairy tale "The One-Eyed Giant" from the book by Mary Lou Masey, 1968[/caption] As I flipped through the pages of this book, I became curious about its author. A writer and researcher with a background in International Studies, Masey earned her B.A. from Ohio State University with a major in Russian. She authored four children’s books published by David McKay: Branislav the Dragon (1967), Stories of the Steppes (1968), The Picture Story of the Soviet Union (1971), and Teddy and the Moon (1972). In adapting Kazakh folktales for Western readers, particularly children, Masey prioritized preserving the essence and richness...

1 year ago

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