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

History

Kinship Clans in Modern Kazakhstan: Historical Continuity and New Realities

Ancestral ties are seemingly embedded in the DNA of every Kazakh. This tradition, rooted in antiquity, reflects the clan structure that historically shaped Kazakh society. The notions of zhuz (a set of clans) and ru (clan) largely determined the social organization of the nomadic lifestyle. Kazakh society traditionally consisted of three zhuzes, the Older, Middle, and Younger which in turn united many clans. The zhuzes were large tribal unions, a kind of higher-level “horde” that included dozens or even hundreds of distinct clan groups (ru), while ru referred specifically to a group of close blood relatives. Such clan structures formed the basis of traditional society. Historical Roots: The System of Zhuzes and Shezhire The origin of the three Kazakh zhuzes remains a subject of historical debate. In early written sources from the 17th century, the names of the zhuzes had not yet been formalized. Chronicles described only a geographic custom: those living in the upper reaches of a river were called the “Big zhuz,” those in the middle the “Middle zhuz,” and those in the lower reaches the “Younger zhuz.” The 16th-century work Majmu al-Garaib mentions Kazakhs but notes that the terms Uly zhuz, Orta zhuz, and Kishi zhuz were not yet in use. The classical three-zhuz system only fully formed by the late 17th to early 18th century, during the reign of Tauke Khan (1680-1715), when the Kazakhs united under a single Kazakh Khanate. According to a legend recorded by traveler G. N. Potanin, one ruler gathered 300 warriors and divided them into three groups: the first hundred, Uly zhuz, were settled upstream along the Syr Darya; the second hundred, Orta zhuz, in the middle; and the last hundred, led by the chief Alshin, downstream as Kishi zhuz. These legends provide a cultural explanation for the emergence of the zhuzes, though historians stress there is no single agreed version. Hypotheses range from military-administrative divisions into “wings” to the influence of geography and climate across Semirechye, Saryarka, and Western Kazakhstan. Alongside the zhuz system, clan identity was reinforced through genealogical chronicles, shezhire, in which Kazakhs recorded their ancestors’ names and clan history. Knowledge of seven generations (jeti ata) was obligatory for every Kazakh and was absorbed “with mother’s milk”. These genealogies had practical implications: knowing one’s lineage helped determine kinship laws, including prohibitions on marrying within the same clan. The clan was not just a social structure, but a fundamental part of identity. As publicist Khakim Omar wrote: “The main idea of the shezhire is revealed in the close connection of ancestors’ and descendants’ names, in the continuity of generations,” allowing a person, through genealogy, “to define their place in the world”. Transformation of Tradition in the Soviet Era Under Soviet rule, internationalism and a break from “tribalism” were officially promoted. Yet in practice, the clan system continued to operate informally as a mechanism of social mobility and legitimacy. While divisions into zhuzes and clans were no longer legally recognized, they endured as a way of thinking, a cultural filter...

2 months ago

Comics

“Ergenekon Is Not Just a Myth, It’s a Cultural Bridge”: An Interview with Artist and Designer Emre Erdur

Today, comics and visual storytelling are increasingly going beyond entertainment. They are becoming part of a cultural dialogue, helping audiences reconnect with their roots. One such project is the graphic novel series The Legend of Ergenekon (Ergenekon Destanı), created by Turkish artist and designer Emre Erdur. The Legend of Ergenekon is a Turkic origin myth that tells of a people driven into a remote valley after defeat in battle, where they lived in isolation for centuries until a blacksmith forged a path through the surrounding mountains. Guided by a gray wolf, they emerged to reclaim their strength and expand across the steppe. In Central Asia, the story symbolizes resilience, unity, and renewal, often invoked as a metaphor for nations overcoming hardship to reassert independence and identity on the Eurasian crossroads. It resonates strongly in Kazakhstan, Kyrgyzstan, Turkmenistan, and Uzbekistan, where Turkic identity, language, and heritage are foundational. Born in Istanbul and trained as an architect at Mimar Sinan Fine Arts University, Emre Erdur worked for many years in the entertainment and design industries. Since 2019, however, he has dedicated himself to developing a multi-volume graphic novel series inspired by ancient Turkic history and mythology. His work was first presented at a festival in Taldykorgan. As part of his research, he visited the National Museum of Kazakhstan in Astana and collaborated with historian Assoc. Prof. Dr. Talgat Moldabay to ensure historical accuracy. [caption id="attachment_35647" align="aligncenter" width="1824"] Image: Emre Erdur[/caption] For Central Asia, Ergenekon Destanı is more than a creative project; it represents an effort to connect a shared heritage through the language of comics and popular culture. In an interview with The Times of Central Asia, Emre Erdur spoke about his inspiration, research, the role Kazakhstan plays in his work, and his plans for expanding this unique visual universe. TCA: You were born and educated in Turkey, yet you chose to dedicate yourself to wider ancient legends and Turkic history. When did you first feel drawn to this theme? Erdur: Yes, I was born in the westernmost corner of Turkic geography, but every individual in this world has cultural roots that reach out and nourish them. Naturally, as an artist, the desire to draw from and explore my own roots is an inner force. Although I was born and raised in Istanbul, you can find traces of our roots as far as Yakutia in Russia, Buryatia, Mongolia, the Altai, further south in East Turkestan, in the Gobi Desert, and even in Korea. None of these places feels separate from us; you can sense the connection. Of course, as a human being, every part of this world is valuable and fascinating; each region holds its own beauty and heritage. But there is also something called “national identity,” which is different from our individual identity. Our soul cannot be confined to this world; it knows no geography or race, it belongs beyond time and space. Yet during our lifetime on Earth, we do carry both national and individual identities, and defining them correctly...

2 months ago

Culture

“Recipes for Broken Hearts”: Bukhara Launches First Art Biennale

This autumn, the ancient Silk Road city of Bukhara is poised to reemerge as a global cultural destination, hosting its first-ever international art biennale, Recipes for Broken Hearts. Running from September 5 to November 20, the ten-week festival will transform Bukhara, a UNESCO Creative City, into a vibrant arena for contemporary art, community rituals, and culinary experiences. The initiative is spearheaded by Gayane Umerova, chair of the Uzbekistan Arts and Culture Development Foundation (ACDF), with renowned curator Diana Campbell at the helm. More than 70 new works, created in Uzbekistan, will be displayed in historic madrasas and caravanserais, reimagined as immersive exhibition spaces. The event promises to be among the region’s largest cultural gatherings, aiming to reclaim Bukhara’s place on the global cultural map. Not Just an Exhibition, A Sensory Ritual Recipes for Broken Hearts is not a traditional exhibition. Designed as a “ritual for the senses,” it invites audiences to engage with art not just visually but through touch, scent, sound, and taste. Sculptures, textiles, music, and food converge into an experimental space for “emotional healing.” Visitors become participants rather than spectators. At the opening ceremony, instead of a red carpet, guests will be welcomed by the scent of fermentation. Korean Buddhist nun and chef Jeon Kwan will prepare kimchi, place it in a clay pot, and bury it. Ten weeks later, the fermented dish will be unearthed and shared with the public, symbolizing transformation and healing through time. A Dialogue Between Cultures The biennale’s installations span a wide geographic and cultural range. Egyptian-American artist Laila Gohar will craft navata, a crystal made from grape juice and saffron. Colombian artist Delcy Morelos will construct a dome of clay, sand, and spices to symbolize human connection to the earth. Uzbek artist Oizhon Khairullaeva and ceramist Abdurauf Tahirov will create “organs of the city,” including a beating ceramic heart and a “stomach” integrated into historic architecture. Indian sculptor Subodh Gupta will build a giant dome from enamel teapots and bowls, shaped like a yurt, where guests will be served fusion cuisine. Central to the project is the in situ approach: every piece is created in Bukhara with the support of local artisans, potters, weavers, and carpet makers, infusing contemporary works with traditional skills. “This isn’t an art fair,” explained the curators. “Each piece speaks from this land, even if the whole world sees it.” [caption id="attachment_21936" align="aligncenter" width="2560"] The Kalon Mosque, Bukhara; image: TCA, Stephen M. Bland[/caption] Bukhara as a Living Gallery Festival venues are dispersed throughout Bukhara’s historic core, effectively turning the city into an open-air gallery. Four restored caravanserais symbolize the emotional journey from grief to hope. The 16th-century Gavkushon madrasa, repurposed as the “House of Softness,” will host workshops, public readings, and a symposium titled The Craft of Mending. There, artists and scholars will explore the “culture of repair”, from object restoration to the preservation of historical memory. “Erasing history is also a form of pain. Restoration is resistance to oblivion,” notes Harvard-based art historian Aziza Izamova. Concurrently,...

2 months ago

Art and Culture

Almaty to Open Central Asia’s First Private Museum of Contemporary Art

Almaty is preparing for a cultural milestone of international significance. In September 2025, the Almaty Museum of Arts will open its doors as the first private museum of contemporary art in Central Asia. The project is poised to reshape Kazakhstan’s cultural landscape and position Almaty as a new regional hub for artists, curators, and global audiences. Architecture and Concept The 10,000-square-meter building was designed by British firm Chapman Taylor, in collaboration with Buro Happold and Lord Cultural Resources. The architectural concept draws on Almaty’s unique identity: stone elements evoke the surrounding mountains, while metal structures reflect the city's dynamism. Together, they create a space where art exists in a dialogue with both nature and urban life. The museum will include permanent and temporary exhibition halls, artist studios, educational auditoriums, a performance venue, a restoration laboratory, a café, and a museum shop. [caption id="attachment_35388" align="aligncenter" width="657"] Image: Almaty Museum of Arts[/caption] Investment and Collection The project is valued at approximately $100 million, with $30 million allocated for construction and $70 million for building the collection and outfitting the museum. The collection already comprises more than 700 works, spanning Kazakh and Central Asian artists as well as internationally renowned figures such as Yayoi Kusama, Alicja Kwade, Richard Serra, Yinka Shonibare, and Bill Viola. One permanent installation has already captured the public's attention: Nades, a 12-meter sculpture by Spanish artist Jaume Plensa, stands at the museum's main entrance. Depicting a young girl with her eyes closed, the artwork has sparked mixed reactions. Museum founder Nurlan Smagulov described it as a symbol of the "strength, dignity, and beauty of women.” While some praised its serenity and conceptual elegance, others questioned its cost and originality. Regardless, Nades has succeeded in igniting a public discourse, something all meaningful art aspires to, making the museum a topic of national conversation before its official opening. [caption id="attachment_35389" align="aligncenter" width="527"] Image: Almaty Museum of Arts[/caption] Curators and Opening Program Meruert Kalieva, founder of Almaty’s Aspan Gallery, has been appointed artistic director. The museum’s chief curator will be Inga Lāce, formerly of the Latvian Centre for Contemporary Art and a contributor to the Venice Biennale. The inaugural program includes: “I Understand Everything” - a solo exhibition by Kazakh artist Almagul Menlibayeva, tracing her work since the 1980s, and “Qonaqtar” - a group exhibition exploring themes of hospitality and migration, curated from the museum’s growing collection. [caption id="attachment_35399" align="aligncenter" width="884"] Aisha Galimbaeva, "Shepherd's Wedding", 1965; image: Almaty Museum of Arts[/caption] Role for the City and the Region The Almaty Museum of Arts aims to serve as a bridge between Central Asia and the global contemporary art world. Beyond exhibitions, it will function as an educational platform, hosting lectures, masterclasses, and programming for children and students. The institution is expected to boost the local art scene while drawing international visitors, contributing to the creation of a new cultural district in Almaty. More broadly, it signals Central Asia’s readiness to participate fully in global artistic discourse. Almaty stands to emerge as the cultural...

2 months ago

Labor migrants

Fatherless Tajik Children: The Social Consequences of Labor Migration

Labor migration has become a daily reality in Tajikistan, and a vital means of survival for many families. It is estimated that between 800,000 and 1 million citizens (up to 20% of the labor force) work abroad. Remittances make up a significant share of GDP, estimated between 27 % and nearly 50 %, with one measure at 45 % in 2024, helping families cover essential expenses such as food, education, and healthcare. However, this economic stability comes at a high social cost, which is often paid by the children left behind, many of whom grow up without adequate parental care. Shifting Roles: Mothers and Children Left Behind The prolonged absence of a father figure significantly alters family dynamics. Women, mothers, grandmothers, and often older children assume all household and caregiving responsibilities. Tasks traditionally viewed as “men’s work,” such as repairing windows, chopping wood, and cultivating land, are now undertaken by those remaining at home. Children are frequently forced to grow up early. Older siblings help raise younger ones, cook meals, and manage household chores while their mothers work. In some cases, these duties interfere with education. In rural areas, it is not uncommon for girls to leave school after the ninth grade to help sustain the household. Experts note that parental absence accelerates emotional and social maturity by placing an undue burden on children. Studies confirm this trend: around 15% of children aged 10 to 14 in migrant households are engaged in informal labor, working in markets or fields instead of attending school. As a result, many children are deprived of a full childhood and are compelled to act as “little adults,” shouldering family responsibilities. The issue is widespread. In Tajikistan, where labor migration is especially intense, up to 30% of school-age children are raised by grandparents or extended family members. Thousands grow up under the care of older siblings while both parents or, more commonly, fathers, are abroad. The Emotional Toll: Loneliness and Psychological Strain The long-term absence of fathers also takes a psychological toll. While phone and video calls offer some form of connection, they are no substitute for physical presence. Communication is often irregular: surveys show that 70% of children speak with their migrant parent less than once a week, and 15% only once a month. Feelings of abandonment and emotional detachment are widespread. One in three children of labor migrants reportedly exhibits signs of depression, including apathy, sadness, and a declining interest in school. Approximately 40% feel lonely and emotionally neglected. Teachers note lower academic performance and reduced motivation among these children. Moreover, the absence of paternal supervision can contribute to behavioral issues: up to 10% of adolescents from migrant families in Tajikistan display signs of deviant behavior, such as aggression and minor offenses, significantly higher than among their peers in two-parent households. Family relationships often suffer as well. Women left behind effectively become single parents, managing both emotional and material responsibilities. Years of separation, financial strain, and infrequent visits can lead to emotional distance between spouses. Observers note...

4 months ago