Our People > Tamila Olzhbaekova

Tamila Olzhbaekova

Journalist

Tamila Olzhabekova is a journalist, award-winning illustrator, and a volunteer, curator and event organizer in the DOSTAR diaspora of Kazakhstan organization.
Prior to working for The Times of Central Asia, she has written for Peter Tv, First Line, Five Corners, Sport.Kz, and numerous other publications. A campaigner for interethnic harmony and the protection of stray animals, she studied at St. Petersburg State University.

Articles

TCA Interviews

Kazakh Writer Aigul Klinovskaya on Memory, Identity, and the Rise of Contemporary Literature

In recent years, interest in contemporary literature has grown noticeably in Kazakhstan. Authors are increasingly reaching readers directly, taking part in public events, promoting their books through social media, and speaking about local experiences as part of a broader cultural landscape. The Times of Central Asia spoke with Kazakhstani writer Aigul Klinovskaya about her path into literature, the role of memory and place in her prose, and what contemporary authors need today to gain greater visibility both within the country and abroad. TCA: To begin with, please tell us a little about yourself. How did you become a writer? Aigul: I came to literature from IT, that is a well-known fact, and something I often mention in interviews. I worked at a large telecommunications company and headed a department, but at a certain point, I completely changed my field of activity. Now I write my own books and also help other authors shape their manuscripts as a literary editor and mentor. People work with me to finish and refine their manuscripts, increasing their chances of publication or success in literary competitions. TCA: When did you first feel that writing was not just an interest for you, but an important part of your life? Aigul: I tried writing as a child. I had a science fiction novella with an interesting story behind it: I sent it to a children’s magazine, and they replied that the work was good but still needed improvement. I was offended and, in the heat of the moment, destroyed the manuscript. I regret that now because it would have been interesting to reread it. As a child, I wrote poems and short stories; many people go through that stage. But I began writing prose seriously about five years ago. At that time, I took part in a writing marathon, wrote a short story, and it was immediately included in an anthology. That inspired me: I realized that I could and wanted to write fiction. The transition from short stories to longer forms was not easy. I wondered whether I could do it and whether I would manage. But now two of my books have already been published, and a third is coming out in June, so something must be working. Many people are surprised to learn that, for most of my life, I was not involved in literature professionally but worked in a completely different field. Now, however, I feel that I am in the right place. TCA: Your texts often pay close attention to a person’s inner life, to memory, and to the warmth of everyday relationships. Why are these themes close to you? Aigul: I am interested in people in general, their relationships and emotions. As an author, I want readers, when they immerse themselves in my books, to feel something: to cry at some moments, laugh at others, smile, and reflect. I believe that every person’s fate is worthy of a book because many remarkable things happen in life. If they are described well,...

2 days ago

TCA Interviews

Singer MEREY on Kazakh-Language Music, Tradition, and a New Sound

Singer, poet, and lyricist MEREY is among a younger group of artists bringing a different sensibility to music in Kazakhstan. Her work is rooted in Kazakh-language expression, but it also pushes beyond familiar expectations of how a female singer should sound and present herself. In an interview with The Times of Central Asia, MEREY discusses the influence of poetry on her lyrics, the reaction to experimentation, and what she believes is missing from Kazakhstan’s contemporary music scene. TCA: Tell us a little about yourself. How did you get into music? MEREY: I came to music at 17, that’s when I wrote my first song in English. Before that, for as long as I can remember, I had been writing poetry; it was my first form of self-expression. During my school years, I also studied music more formally. I played in a national orchestra, where I both sang and performed dombra parts. That experience strongly shaped my sense of stage presence and musical language. Today, I position myself as a poet, singer, and lyricist. For me, text and music are inseparable. TCA: Who or what influenced your artistic development the most? MEREY: Since school, I have read the works of Mukaghali Makatayev, a classic of Kazakh poetry known for lyrical verses about love, homeland, and the human experience, and Fariza Ongarsynova, a prominent poet who wrote about emotions, time, and women’s lives. They left a deep mark on me as a poet, and echoes of their style can be found in my lyrics. As a teenager, I listened to Billie Eilish, Lana Del Rey, and The Neighbourhood. Later, Mitski, Zemfira, Valentin Strykalo, and Børns. Now I feel close to what Chappell Roan and Meg Myers are doing. My taste leans toward alternative music with an emphasis on vocals, lyrics, and guitar riffs, with a slightly detached aesthetic. This directly informs my own music. TCA: Your music is often described as a blend of traditional elements and modern electronics. How did this sound take shape? MEREY: I wouldn’t fully agree with the phrasing about electronics, but my sound is in many ways inspired by Darkhan Juzz. He was the first artist from Kazakhstan who truly impressed me with his sound. I come from a Kazakh-speaking background, so my lyrics tend to be more literary rather than conversational, unlike many artists of the new school. That’s thanks to my parents and my education in a Kazakh-language school. The modern side comes from my musical tastes, especially the Western scene. My sound combines a Western sensibility with precise, expressive Kazakh language. It’s a mix of Western thinking and Kazakh tradition and that is exactly what resonates with listeners. TCA: How important is it for you to preserve cultural roots in contemporary music? MEREY: It is fundamentally important. As I grow older, I become more conscious, and even stricter, about the Kazakh language and tradition. I’m glad that today national elements, ornaments, traditional clothing, interest in Tengriism, and the language itself, are once again becoming part of the cultural...

2 weeks ago

Cyberbullying

Cyberbullying in Central Asia: What Legal Protections Are There?

Cyberbullying has long ceased to be merely an argument on the internet. Insults, harassment in chats, the publication of humiliating photos and videos, coordinated mockery, threats, and the spread of false information can cause harm comparable to offline violence. In Central Asia, the problem is becoming increasingly visible, but legal responses still vary significantly. As of 2026, Kazakhstan and Uzbekistan have incorporated bullying and cyberbullying into legislation more directly, while Kyrgyzstan, Tajikistan, and Turkmenistan continue to address such cases mainly through general provisions on insult, defamation, threats, child protection, and internet regulation. Kazakhstan has taken the most explicit legislative approach to cyberbullying. The law introduced an official definition: cyberbullying is understood as systematic actions, that is, actions committed two or more times of a humiliating nature against a child, including persecution and intimidation using internet resources. The law also grants a citizen or the legal representative of a child the right to submit a complaint to the authorized body regarding instances of cyberbullying against a child, specifying the relevant internet resource. At the same time, laws on children’s rights and education have formally incorporated the concept of child bullying, including acts committed through media and telecommunications networks. A further step was taken in 2024, when Article 127-2 (“Bullying of a Minor”) was added to Kazakhstan’s Code of Administrative Offenses. It provides for a warning or a fine, with higher penalties for repeated violations within a year. In December 2024, Kazinform reported that Kazakhstan became the first country in Central Asia to establish specific liability for the bullying and cyberbullying of children in a separate legal provision, which entered into force on June 16, 2024. It is also significant that the provision is now being applied in practice. According to data released in February 2026 by the Deputy Chair of the Committee for the Protection of Children’s Rights, around 200 cases of bullying and cyberbullying against children had been recorded in 2025. This figure is important not only in itself; it indicates that the state has begun systematically recording such incidents and that victims and their families are more likely to seek protection. The main strength of the Kazakh model is its clarity. The law explicitly defines the problem, outlines complaint procedures, and establishes specific liability. Its main limitation lies in implementation: as with domestic violence legislation, effectiveness depends on how prepared schools, parents, law enforcement, and online platforms are to apply it in practice. Uzbekistan: Cyberbullying Within the Child Protection Framework In Uzbekistan, there is no separate legal provision titled “cyberbullying,” but the country has taken a significant step in terms of child protection. The Law “On the Protection of Children from All Forms of Violence,” adopted on November 14, 2024, and in force since May 15, 2025, explicitly recognizes bullying as a form of violence against children. The law defines such violence as actions, including those carried out through telecommunications networks and the internet, that cause or may cause physical or psychological harm. The definition of bullying explicitly includes...

2 weeks ago

Stalking

Stalking in Kazakhstan: Why People Have Only Started Talking About It Now

Until recently, stalking in Kazakhstan was widely perceived as something more typical of movies, TV dramas, or social media discussions than of everyday life. Persistent phone calls, dozens of messages, or being followed near one’s home or workplace were often not seen as a serious threat. Such behavior was frequently excused with phrases like “he just can’t let go,” “he’s just being too persistent in courting her,” or “that’s how he shows his feelings.” But in recent years, attitudes toward this issue have begun to change, and on September 16, 2025, amendments came into force in Kazakhstan, introducing a separate Article 115-1, “Stalking,” into the Criminal Code. Under this article, stalking is defined as the unlawful pursuit of a person, expressed in attempts to establish contact with and/or track them against their will, without the use of violence, but causing substantial harm. What Exactly Is Considered Stalking? In practice, stalking is not limited to following someone on the street. Kazakhstan’s Ministry of Internal Affairs includes repeated phone calls, constant messaging, intrusive attempts to establish contact, harassment through social media, and other actions against a person’s will in this category. Official explanations also state that stalking may include threats, insults, defamation, online surveillance, reading private correspondence, monitoring through cameras, and GPS trackers. All of this causes fear, anxiety, and a sense of insecurity. For a long time, society did not view stalking as a separate problem for several reasons. First, many people still held the dangerous belief that persistence is almost normal, especially in the context of former relationships or attempts to “win over” someone’s attention. Second, psychological harm was often underestimated: if there were no bruises or obvious physical violence, it was assumed that there was no serious problem. Third, before a separate article appeared in the law, it was harder for people to explain exactly what was happening to them and why it deserved a legal response. The introduction of a clear legal norm helped call the problem by its proper name, and this matters not only for the police and courts, but also for the victims themselves. What Changed After the Law Was Adopted? In reality, stalking is not about feelings and not about “love that is too strong.” Its purpose is control, intrusion into another person’s personal boundaries, and forcing one’s presence upon them. The Ministry of Internal Affairs directly emphasizes that such actions cause serious harm to personal safety and psychological well-being. Stalking causes fear, stress, and anxiety about one’s life and health, and in some cases may escalate into more serious crimes, including violence, bodily harm, or property damage. The introduction of Article 115-1 showed that the state no longer regards intrusive harassment as something minor or as “a private story between two people.” The penalties for stalking include a fine of up to 200 monthly calculation indices (MCI), community service for up to 200 hours, or arrest for up to 50 days. If the harassment is accompanied by violence, threats, blackmail, or the unlawful...

3 weeks ago

TCA Interviews

Contemporary Theater in Kazakhstan: Between Tradition and Experiment

Contemporary theater in Kazakhstan is undergoing a period of active development, balancing the preservation of cultural heritage with the search for new forms of expression. The Times of Central Asia spoke with Abai Kazbayev, an actor at the Zhambyl Regional Russian Drama Theater who is currently studying acting and directing, about how the theater scene is evolving, the challenges faced by actors and directors, and why experimentation has become essential. TCA: Tell us about yourself. How did your journey into theater begin, and what influenced your decision to become an actor? Abai: I entered the profession through my love of cinema. At first, I took part in crowd scenes, and then I became fascinated with the filmmaking process itself. To deepen my involvement, I joined a private theater on the recommendation of friends. There, I had the opportunity to work with Saulius Varnas from Lithuania, as well as with professionals such as Marat Amirayev and Altynshash Shayakhmetova. Today, I'm studying acting and directing at university, while also working at the Zhambyl Regional Russian Drama Theater. TCA: How do you assess the current state of contemporary theater in Kazakhstan? Abai: If we distinguish contemporary theater from traditional formats, most such productions are concentrated in Almaty. In other cities, theater tends to follow a more academic style, although there are exceptions. Personally, I'm drawn to how contemporary theaters reinterpret and reimagine classical works. This approach attracts both new and more discerning audiences. TCA: What makes Kazakhstani theater distinctive compared to that of other countries? Abai: Its uniqueness lies in the combination of cultures. We have European forms, ballet and opera, alongside contemporary interpretations, including those inspired by Bulat Ayukhanov. On the one hand, there are traditional productions about khans and batyrs; on the other, there are stories such as that of a boxer in Almaty in the 1980s, a stage adaptation of Martin Scorsese’s Raging Bull. TCA: How can contemporary theater preserve national traditions while remaining engaging for younger audiences? Abai: Through experimentation. For example, last year in Taraz, a sound drama based on Alexander Grin’s novella Scarlet Sails was staged. It offered a new interpretation: some lines were delivered in Kazakh, and Captain Grey’s song was also performed in Kazakh. It was an attempt to reflect Kazakhstan’s multiculturalism. Interestingly, the production was staged by students from GITIS in Russia. I believe such experiments help attract younger audiences while preserving national traditions. TCA: How important are elements of national culture, language, music, and folklore in today’s productions? Abai: There's currently a broader trend across the arts of returning to cultural roots, and theater is no exception. Every culture seeks self-identification. In cinema, folklore characters are widely used, particularly in the horror genre. In the theater, however, folklore tends to remain within traditional productions and is often treated with a sense of reverence. At the same time, it is worth mentioning the ballet Aldar Köse at the Abai Kazakh National Theater of Opera and Ballet in Almaty. TCA: How do you view experimental...

3 weeks ago