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,...

1 month 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 months 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 months 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...

2 months 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...

2 months ago

TCA Interviews

How Kazakhstan’s Animation Industry: An Interview with an ARA Studios Co-Founder

Kazakhstan’s animation industry is gradually developing despite a number of persistent challenges. The Times of Central Asia spoke with Bakytzhan Shabdukarimov, co-founder of ARA Studios, about how the team was formed, the difficulties animators face today, and how he views the future of the industry. TCA: How did the idea to create ARA Studios come about? Bakytzhan: The studio has two co-founders: Bakytzhan Shabdukarimov, that’s me, and Meirzhan Sandybay. The idea first emerged in 2017, and the studio was officially established in 2018. Before that, we worked on the project Shyraq. Last year, we had to disband most of our team after joining the animated series Säbi for the Balapan TV channel. That’s when we began transitioning to 3D projects. Originally, the studio focused more on 2D, while I personally worked in 3D. Over time, we fully shifted toward 3D production. TCA: Who is behind the studio and how many people are on the team? Bakytzhan: Right now, the core team is essentially just the two of us. But last year, we had more than 20 people. Unfortunately, projects and orders suddenly stopped, and it became difficult to maintain a large staff. So we switched to a new format, an online studio. We used to rent an office and maintain a large in-house team, but that has recently become too challenging. Now our team works remotely, and we come together when we take on larger projects. TCA: Which projects do you consider the most important? Bakytzhan: Of all our projects, Maqta Qyz remains the most important because it’s our flagship and we continue to develop it. But in reality, all our projects matter to us; each one has contributed to our growth and given us valuable experience. Our YouTube channel is active, and we’ve gained around 7,000 subscribers organically, without advertising or targeting. We plan to keep releasing new episodes and possibly expand into merchandise in the future. TCA: How is the animation industry developing in Kazakhstan today? Bakytzhan: Honestly, I haven’t been closely following all industry developments lately, but from what I can see, progress is slow. The industry remains relatively small; there is hardly a fully developed market. Most studios either work on government commissions from the Ministry of Culture or collaborate with “Qazaq Animation,” which allocates funding annually for short films, with the aim of developing them into larger projects. Other studios, including independent teams, focus on commercial work, advertising both domestically and internationally, as well as short films. At the same time, we do have strong 2D and 3D specialists and talented teams. TCA: Is there any support for animation studios? Bakytzhan: Yes, there is some support. As I mentioned, part of it comes through “Qazaq Animation.” There is also a new creative fund being launched that will support not only animation but the broader creative industries, film, music, and dance. Private funds are also emerging. For example, there are initiatives involving private investors and financial institutions. However, they mostly invest in feature live-action films. I’ve...

2 months ago

TCA Interviews

“Ornament Is a Language”: How a Tattoo Artist from Almaty Turns Culture into Art on Skin

Almaty-based tattoo artist Saltanat Kuanova, known under the pseudonym tana.creator, is among those reinterpreting traditional culture through contemporary art. In her work, Kazakh ornaments become more than decorative elements, they form a complex system of symbols, personal stories, and cultural memory. The Times of Central Asia spoke with her about why Kazakhstanis are increasingly choosing national motifs, how attitudes toward tattoos are changing, and whether tattooing can serve as a means of preserving identity. Path into the Profession TCA: When and why did you start practicing tattoo art? Saltanat: I became interested in tattoos at around 14. Even then, I had a clear sense that it was “mine.” It wasn’t just curiosity, I immediately knew I wanted to become a professional in this field. At 16, I began tattooing. By that time, I had already studied the theory, watched videos, and understood the process, so I was well prepared for formal training and quickly started working. After completing my training, I was offered a position at a studio. That was important because it provided a steady flow of clients, and my work stood out. I worked there for about three years before moving into independent practice. I have now been working independently for more than five years. I’ve gained experience in different studios, and today I have my own private workspace in Almaty and manage bookings through Instagram. TCA: Do you remember your first work? Saltanat: Of course. It was a small tattoo with Roman numerals that I did for a friend during my training. She came as a model to support me, and honestly, I was more nervous than she was. My first paid piece left an even stronger impression it was a wolf with a dreamcatcher. That was the moment I first felt real responsibility toward a client. At the same time, I was surprised that I could actually earn money from this. Even now, years later, I don’t feel like I’m “already a pro.” It’s an ongoing process; there is always room to grow. [caption id="attachment_46606" align="aligncenter" width="225"] @instagram.com/tana.creator[/caption] Working with Kazakh Ornaments TCA: When did you start working with Kazakh ornaments? Saltanat: It happened gradually. At some point, I realized that ornament is not just a pattern, it’s a full-fledged language. It has structure, logic, even “grammar.” Everything matters: the shape, the number of elements, the color. Even a small detail can completely change the meaning of a piece. TCA: Who usually comes for such tattoos locals or foreigners? Saltanat: Primarily Kazakhstanis and, more broadly, representatives of Turkic peoples, Kyrgyz, Uzbeks, Tatars. But there are also many foreigners, and their number is growing. I tend to group them into categories. The first group includes people who come to Kazakhstan for work or travel and want a lasting memory of the country. The second consists of those who have a partner from Kazakhstan. They come together and, through tattoos, connect with each other’s cultures. The third and most touching category is people who were adopted abroad as...

2 months ago

TCA Interviews

Why More Students in Kazakhstan Choose to Study Abroad

An increasing number of students in Kazakhstan are considering education abroad. For some, it offers access to high-quality academic programs; for others, it provides opportunities to gain international experience, learn new languages, and improve career prospects. Interest in foreign universities is growing among school graduates and their parents, who increasingly view overseas education as an investment in their children’s future. According to the Bureau of National Statistics, 678,100 students were enrolled in higher education institutions in Kazakhstan at the start of the 2025-2026 academic year. At the same time, data from the International Trade Administration indicate that more than 90,000 Kazakhstani citizens are currently studying abroad. Sanzhar Uvashev, an employee of InterPress Abroad, a company that assists applicants seeking admission to foreign universities, spoke about the factors influencing students’ choices and the opportunities offered by international education. TCA: Tell us about your work. What does your organization do? Uvashev: Our company helps students apply to universities abroad. We support applicants in selecting academic programs, preparing documents, and navigating the entire admissions process. One of our distinguishing features is that we are not limited to a specific list of partner institutions or countries. We can assist students in applying to a wide range of universities, depending on their individual preferences. TCA: Which countries are currently the most popular destinations? Uvashev: We work with a broad range of destinations, particularly the United Kingdom, the United States, and Canada, as well as countries across Europe and Asia. Recently, students have shown greater interest in exploring multiple options rather than focusing on a single country. Some prioritize studying in an English-speaking environment, others seek more affordable tuition, while some focus on scholarship opportunities and employment prospects after graduation. TCA: What opportunities exist today for students from Central Asia to study abroad? Uvashev: Opportunities are expanding. Many universities are paying closer attention to applicants from Central Asia, as international students contribute to a more diverse academic environment. As a result, institutions are offering scholarships, tuition discounts, and preparatory programs. Awareness of the region is growing, and with it the range of options available to students. TCA: Why do students continue to choose the U.S. and other destinations? Uvashev: The U.S. remains one of the most popular destinations because of its strong universities and perceived career opportunities. At the same time, countries such as Italy, Austria, and China are also attracting interest. Italy and Austria appeal to students because public universities there can offer relatively affordable, and in some cases almost free, education. China has gained popularity due to the quality of its universities, their rising positions in global rankings, and the availability of scholarships for international students. TCA: Are there programs that allow students to study free of charge? Uvashev: Yes. Students often inquire about scholarship schemes that significantly reduce tuition fees or cover them entirely. Examples include the Bolashak international scholarship program, Stipendium Hungaricum, and Erasmus Mundus. These initiatives provide talented applicants with real opportunities to obtain an education abroad, provided they are well...

3 months ago

Esports

Games, Ambitions, and a New Industry: How Esports are Developing in Kazakhstan

Just ten years ago, esports in Kazakhstan were widely seen as little more than a hobby for teenagers and university students. Today, the situation has changed dramatically. The industry is expanding, international tournaments are being hosted in the country, and Kazakhstani players are competing on the global stage. The development of infrastructure, growing government support, and the success of individual esports athletes are gradually making Kazakhstan a visible player on the global esports map. From Computer Clubs to International Arenas The first esports competitions in Kazakhstan were held in small computer clubs, which became centres for the formation of local gaming communities. Over time, the standard of tournaments rose, and audiences grew. Today, Kazakhstan hosts major international competitions. One such event was the PGL Astana 2025 Counter-Strike 2 tournament, held in the capital. Featuring some of the world’s strongest teams, the event had a prize pool of $1,250,000. Team Spirit defeated Astralis in the final. The tournament attracted thousands of spectators to the arena and a large online audience worldwide. Mobile esports are developing in parallel. In spring 2025, Almaty hosted the PUBG Mobile Super League Central & South Asia Spring 2025. Teams from across the region took part, competing for a total prize pool of $200,000. Alpha Gaming won the tournament after demonstrating consistent performance throughout the championship. Hosting events at this scale highlights Kazakhstan’s growing attractiveness as a venue for international esports tournaments. Government Support and Future Plans The rising popularity of esports has prompted the government to view the sector as a promising area for development. In 2025, the Concept for the Development of Esports in Kazakhstan for 2025-2029 was approved. The document outlines plans to create a comprehensive system for player development. These include expanding school and university leagues, organising regional tournaments, and developing infrastructure for training professional teams. According to projections, the country’s esports audience could reach around 5 million people by 2026. Kazakhstan is also preparing to host the international “Games of the Future” in 2026, a large-scale “phygital” event combining traditional sports and esports. Organisers have indicated a multi-million dollar prize fund, with figures varying depending on the competition structure. Hosting such a tournament could become one of the biggest esports milestones in the region’s history. A New Generation of Stars Kazakhstan’s esports scene has long been regarded as one of the strongest in the CIS region, particularly in Counter-Strike 2 and Counter-Strike: Global Offensive. In recent years, several players from the country have gained international recognition. Among them is Abay “HObbit” Khasenov, champion of one of the biggest CS:GO tournaments, PGL Major Kraków 2017. Also well-known are Alexey “Qikert” Golubev, who played for Virtus.pro, and Dauren “AdreN” Kystaubayev, one of the most experienced players on the Kazakhstani scene and a winner of major international championships. Their achievements have helped shape Kazakhstan’s reputation as a country with a strong Counter-Strike tradition. A new generation is continuing this legacy. One of its most notable representatives is Counter-Strike 2 player Danil “molodoy” Golubenko, who is...

3 months ago

Nauryz

How Kazakhstan’s Southern Cities Celebrated Nauryz

Across southern Kazakhstan, cities welcomed the arrival of spring with vibrant Nauryz celebrations that combined centuries-old traditions with modern cultural elements. Public squares, parks, and pedestrian areas were transformed into festive spaces filled with concerts, exhibitions, national games, and family activities. Almaty Kazakhstan's biggest city is one of the main venues for celebrating Nauryz. In 2026, the city marked the spring holiday on a particularly large scale, hosting more than 200 events across various locations. The main festivities unfolded in central squares, where concerts, exhibitions, craft fairs, and interactive cultural zones were organized. One distinctive feature of the celebrations was the concept of blending traditional rituals with modern technologies. Themed yurts were installed in public spaces, each dedicated to different aspects of Great Steppe culture, from musical heritage and archaeological reconstructions to contemporary ethno-design. [caption id="attachment_45770" align="aligncenter" width="2560"] Image: TCA[/caption] Pedestrian streets were decorated with light installations, LED displays, and interactive digital projects. In the evening, there were concerts by Kazakhstani performers and light shows. Residents attended the celebrations with their families, many wearing national costumes. Ethno-villages were also set up in several districts of Almaty, where sports competitions and children’s programs took place. Shymkent Nauryz was also celebrated on a large scale in Shymkent. Ethno-villages were organized throughout the city, allowing visitors to learn about Kazakh traditions, sample national dishes, and watch performances by local artists. A distinctive feature of the celebrations in Shymkent was the balanced combination of traditional festivities with modern cultural initiatives. Alongside folk performances, guests could explore digital exhibitions, interactive spaces, and educational programs dedicated to Kazakhstan’s history and heritage. [caption id="attachment_45769" align="aligncenter" width="2560"] Image: TCA[/caption] Concerts and theatrical performances featuring well-known national performers became a central part of the program, blending traditional motifs with modern stage production. Craft fairs, entertainment areas, playgrounds, and creative workshops were organized for children and families in the city’s main public spaces. Taraz In Taraz, Nauryz was celebrated with lively public festivities reflecting both tradition and contemporary creativity. Central squares were transformed into festive ethno-villages, with yurts installed, folk craft exhibitions arranged, and traditional dishes offered to guests. Residents and visitors watched theatrical performances dedicated to the history of the Kazakh people and the arrival of spring. Folklore groups, dance ensembles, musicians, and young performers took to the stage throughout the day. [caption id="attachment_45772" align="aligncenter" width="2560"] Image: TCA[/caption] The celebrations also incorporated modern elements. Visitors could see robots dressed in national costumes, an unusual symbol of the connection between cultural heritage and technological progress. Playgrounds, swings, and various entertainment activities were organized, while many residents took photographs against the backdrop of yurts, traditional decorations, and spring floral displays. The holiday concluded with a large open-air concert and mass public celebrations, reinforcing the sense of unity, joy, and renewal that accompanies Nauryz each year in Kazakhstan.

3 months ago

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