• KGS/USD = 0.01144 0%
  • KZT/USD = 0.00189 0%
  • TJS/USD = 0.09217 0.44%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28615 0.14%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00189 0%
  • TJS/USD = 0.09217 0.44%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28615 0.14%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00189 0%
  • TJS/USD = 0.09217 0.44%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28615 0.14%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00189 0%
  • TJS/USD = 0.09217 0.44%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28615 0.14%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00189 0%
  • TJS/USD = 0.09217 0.44%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28615 0.14%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00189 0%
  • TJS/USD = 0.09217 0.44%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28615 0.14%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00189 0%
  • TJS/USD = 0.09217 0.44%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28615 0.14%
  • KGS/USD = 0.01144 0%
  • KZT/USD = 0.00189 0%
  • TJS/USD = 0.09217 0.44%
  • UZS/USD = 0.00008 0%
  • TMT/USD = 0.28615 0.14%
18 January 2025

Viewing results 1 - 6 of 47

Kazakhstan Mourns Murat Auezov – Intellectual, Diplomat, Activist and Patriot

Murat Auezov was a champion of Kazakh identity and culture under Soviet rule and threw himself into Kazakhstan’s transformation after independence in 1991. He wore many hats over a long career: writer, the new country’s first ambassador to China, opposition figure, head of the national library, chief editor of the state Kazakhfilm studio. He expanded on the legacy of his father, Mukhtar Auezov, a playwright and novelist who translated literary classics into the Kazakh language and is celebrated today as an early contributor to an emerging national identity. His mother was Fatima Gabitova, a teacher with her own story of persecution during the Soviet era. Murat Auezov, 81, died on June 14 after an illness, prompting tributes from President Kassym-Jomart Tokayev and many others. In Almaty, family, friends, politicians and government officials were among hundreds of people who attended a funeral service at the National Drama Theater, which is named after Auezov’s father. Murat Auezov was “an orator, a philosopher, a historian, a culturologist, a literary scientist, an educator, and a diplomat,” said Bigeldy Gabdullin, president of the Kazakh PEN Club, a branch of the international group that promotes freedom of expression. Auezov, who was a PEN Club member, promoted Kazakh identity even as a student in Moscow during Soviet times and “awakened Kazakh writers,” Gabdullin said on Facebook. In the 1960s, Auezov was a member of the Zhas Tulpar movement, a loose-knit group of Kazakh youths who studied in Russian universities but whose devotion to Kazakh art, literature and culture often collided with Soviet ideology. “I hope his diaries will be published in English to reflect on the depth of Soviet colonialism and how it crushed people,” Diana Kudaibergen, a political sociologist whose books include Rewriting the Nation in Modern Kazakh Literature, said on the X platform. Auezov, who was pressured and monitored by Soviet authorities, was among the first Kazakh intellectuals to talk openly about collectivization, famine and the destruction of the intelligentsia in Kazakhstan in the first half of the 20th century. “In 1974, in his speech at the plenum of the Writers' Union, he stated: ‘Without covering the topic of hunger, we cannot say that we have national literature,’” read one tribute after his death. In the 1990s, Auezov was a leader of the Azamat opposition movement and sparred with the government of President Nursultan Nazarbayev, who cracked down on dissent. He then worked as head of the Kazakh branch of the foundation created by financier and philanthropist George Soros to promote democratic and social reforms around the world. As ambassador, Auezov promoted economic and cultural ties with China. Years later, though, he increasingly voiced alarm at Chinese economic inroads in Kazakhstan, which he viewed as a threat to the country’s sovereignty. In an interview, he said, “we should not forget our Turkish ancestry. No matter how difficult it is for the brotherly countries of Central Asia, it is better to achieve cooperation, even if it is necessary to make sacrifices. If we cannot achieve this, it is quite...

The Evolution of Kazakh Ornamentation

Ornamentation, evolved over the centuries and influenced by the country’s history, is integral to Kazakhstan’s rich and unique cultural heritage. Art historian Raushan Yeschanova outlines its evolutionary path, significance to Kazakh life and society, and how it continues to develop and inspire contemporary art and culture. Origins of Kazakh Ornamentation Kazakh ornamentation emerged in ancient times, reflecting the peculiarities of nomadic life and the country’s natural environment. Simple geometric shapes and symbols were used in rituals and to decorate everyday objects, textiles, clothing, jewelry, dwellings and graves. The main components of Kazakh ornamentation were lines, curves, dots, circles, zigzags and geometric figures, arranged and intertwined to create rhythmic compositions and patterns. Abstracted from natural phenomena and zoomorphic, these early ornaments were valued both aesthetically and for their deep symbolic significance. Influence of Cultural Traditions Over time, due to exposure to other nations’ cultural traditions through trade and the passage of caravans through the country, Kazakh ornamentation became more complex and diverse. Many of its motifs share similarities with designs found in artefacts made by other Turkic-speaking peoples, including the Kyrgyz and Mongolian Alai Kazakhs. Interaction with Turkic, Mongolian, Persian and other cultures, enriched Kazakh ornaments making them more multi-layered and multifaceted. For example, the Mongolian influence is apparent in the introduction of more complex zoomorphic and plant motifs, whilst that of Persia is evident in the refinement and elegance of linear design. Among plant patterns, Raushan singles out the early "shytyrman"; a complex interweaving of geometric, horn-shaped and plant motifs. [caption id="attachment_19112" align="alignnone" width="4000"] Image Source: liveinternet.ru[/caption] Ornamentation in the Medieval Period One of the most important stages in the development of Kazakh ornamentation was the formation of the khanate and the development of urban centers during the medieval period. At this time, complex ornamental compositions including abstract patterns, plant motifs, animal images and heraldic symbols appeared in the khans’ palaces as well as religious buildings. Widespread in their application, these ornaments decorated architectural features, luxury items, jewelry, and textiles. Totemism and Symbolism in Kazakh Ornamentation Kazakh ornamentation is also closely related to the totemic beliefs of the ancient Turks. Totemic signs and symbols, often related to animals, had a deep sacred meaning. A symbol of prosperity and vitality, the ram’s horn is ubiquitous in ancient cultures from the Pacific Ocean to the Mediterranean Sea, and is widespread among both Iranian and Turkic tribes. Images of the ram and closely related animals, such as the argali and the Siberian goat, are the most common themes in ancient Eastern art. For millennia, horns have appeared in fluid, interlocking designs in Turkic artefacts, and, denoting prosperity and wellbeing in Kazakh ornamentation, are frequently seen above the doors of yurts and on ancestral graves. The bird is also a powerful symbol within Kazakh ornamentation. Representing freedom, "kus kanat" or "kus muryn" was commonly used in jewelry. Images of eagles were favored in the art of the Saks, whilst nationwide the popular abstracted image of ravens’ claws represents protection. [caption id="attachment_19113" align="alignnone" width="4000"] "Kus...

Decolonial Futurism: A Focus on Kazakhstan’s Pavilion at the 60th Venice Biennale

Kazakh artists have traditionally been marginalized in the global art scene due to political intricacies and a complex cultural identity. With historical influences and colonization by both Russia and China, Kazakh artists are now carving out a unique artistic identity and sharing it with international audiences. The Kazakh pavilion "Jerūiyq: Journey Beyond the Horizon" at the 60th International Art Exhibition of the Venice Biennale, from April 20 to November 24, represents a major milestone in changing perceptions of Kazakh art. Staged in the Naval Historical Museum, the exhibition reinterprets the ancient legend of Jerūiyq, drawing inspiration from Kazakh myths and the visionary journey of the 15th-century philosopher Asan Kaigy. The word "kaigy" means "pain" in Kazakh, symbolizing the nation's traumatic encounters with modernity's darker aspects: the devastating famine of the 1930s, the craters left by nuclear tests in Semey, the shrinking of the Aral Sea, and the wounds inflicted on the Kazakh landscape. The exhibition traces the evolution of Kazakh utopian imagination from the 1970s to today through artists’ visions of ideal worlds, where their utopian imagination merges with the artistic movement of "decolonial futurism." On behalf of TCA, Naima Morelli interviewed curator Anvar Musrepov on the concept and significance of Kazakhstan's participation in the Venice Biennale. TCA: How did the idea for the Kazak pavilion “Jerūiyq: Journey Beyond the Horizon” evolve? A.M: In our curatorial research, we found that the theme of utopia and futuristic imagination has concerned several generations of Kazakhstan's artists since the 1970s. Using this as a starting point, we decided to establish, in chronological order, a collection of works by multiple generations of artists. Divided by decades, the collection manifested a wave of Kazakh futurism, including themes of spirituality, cosmism, nomadism, and utopian ideas. This in turn, will help formulate a term to comprehensively describe and unite all these intuitions that have concerned Kazakh artists in different historical periods. [caption id="attachment_18933" align="aligncenter" width="522"] Sergey Maslov, "Baikonur" at the Venice Biennale [/caption]   TCA: The exhibition’s title alludes to the ancient legend of Jerūiyq. What is it about and  how have you interpreted it? A.M: Jeruiq is an ancient legend about a utopian land that according to many myths, was sought by Asan Kaigy, advisor to the first Kazakh khans Zhanibek and Kerey. Legend describes it as a land that has fermented, a place where time has stopped, a land full of vividness, devoid of disease or longing. We found in this ancient Kazakh legend, an ideal metaphor to unite all the intuitions presented in the exhibition and manifest the chronology of post-nomadic futuristic imagination. If established, the definition of this unique phenomenon, could become a movement in Kazakh art. TCA: What can you tell us about the philosopher Asan Kaigy? A.M: Asan Kaigy is a quasi-historical character who features in Kazakhstan’s rich oral tradition where history and memory are passed down from mouth to mouth. Every region of Kazakhstan has local legends about miracles performed by Asan Kaigy. One such legend says that he found...

VI ECG Film Festival Goes Beyond the Moving Image

The VI ECG Film Festival staged in London from 24-28 May, in partnership with the eighth UK Romford Film Festival at Premier Cinemas Romford, attracted over 100 entries from 22 countries. The Eurasian Creative Guild (ECG) is the sole platform promoting Eurasian cinema in the UK and this year’s festival featured work by directors from Poland, the UK, Kyrgyzstan, Spain, Russia, Iran, Uzbekistan, China, Armenia, and Kuwait. The non-profit organization was founded by Marat Ahmedjanov in London in 2015 to unite and promote Eurasian cultural and artistic practices to English-speakers, and as befits its mission, the festival went far beyond the ‘moving image’ to showcase work by visual artists, authors, poets, and musicians. In film, the competition attracted over 100 competition entries from 22 countries and with support from  SIFFA film festival organiser Lubov Balagova-Kandur, included screenings of several Russian films such as the comedy ‘Aul's Challenge;’ the war drama ‘Maria. Save Moscow;’ a documentary on the poet ‘3723 Voznesensky’, and a Jordanian love story ‘Cherkes’. Central Asian films took several awards, including Best Eurasian Short film: ‘Happy Independence Day’ by Camila Sagyntkan (Kazakhstan); Best Eurasian Documentary Film: Sailing Seven Seas by Tatania Borsh (Russia-Kyrgyzstan); Audience Choice Award: ‘Sharaf Rashidov- Inspirer for the Development of Mirzachul’ by  Shukhrat Khaitov (Uzbekistan); and the Honorary Achievement Certificate for Documentary Drama: ‘Behtarin’ by Mohsen Rahimi (Kuwait-Tajikistan). Visual artists from Kyrgyzstan took centre stage in the exhibition ‘‘Nomadic Narratives’, which also highlighted work by Dungan artist Rahima Arli, created during her ECG Horizons Rugby residency near London. ECG has a long and ongoing tradition of publishing works by Central Asian writers which would otherwise remain inaccessible to English readers, under Hertfordshire Press. Editor John Farndon took pleasure in presenting three new stories under the collective title ‘Akhriman, Lord of Darkness’ by highly renowned Tajik author Gulsifat Shahidi, as well as ‘Is It Necessary to Worship at Notre Dame?’ by Kazakh author Alikhan Zhaksylyk. Lovers of literature also enjoyed the opportunity to view the Kazat Akmatov Memorial in Romford, which both honours the esteemed Kyrgyz writer and serves as a beacon of strength for all Central Asian artists living and visiting London. The well-established Azerbaijani poet Sahib Mamedov read poems which he dedicated to the festival participants. Music too, featured highly at the event. In addition to a concert, medals of appreciation from Marta Brassart, ECG Chair, were presented to the musical duo Sherkhon, alongside artist Rahima Arli and young film director Timur Akhmedjanov, and recitals given by the duo from Uzbekistan Sherxon and the director of the Kazakh Cultural Centre in London, Kamshat Kumysbai. Now in its sixth season, the festival continues to gather momentum and this year, attracted audiences from Italy, Kazakhstan, Poland, USA, Russia, Kyrgyzstan, Austria, and Uzbekistan, and welcomed as guests of honour, the Mayor of Romford, Gerry O'Sullivan with MPs from the London Borough of Havering, and representatives from the embassies of Kyrgyzstan, Uzbekistan, Tajikistan, Russia and Belarus. As testimony to ECG’s unique promotion of Eurasian film, cinema audiences were...

Kazakhstan’s Goodwill Ambassadors

A Goodwill Ambassadors of Kazakhstan project has been newly launched by Kazakhstan’s Ministry of Foreign Affairs. Initiated by President Kassym-Jomart Tokayev, the project aims to increase the country’s visibility and promote its achievements abroad. Under the scheme, Kazakhs excelling in art, sports, science, medicine, and other fields are enlisted to expand cultural and humanitarian communications by serving as conduits of peace, friendship, and international solidarity. Addressing the ‘ambassadors’ at the launch ceremony on June 6, Deputy Prime Minister–Minister of Foreign Affairs of Kazakhstan Murat Nurtleu announced: “In an unprecedented geopolitical environment, public and cultural-humanitarian diplomacy is becoming increasingly in demand. Thanks to your victories and outstanding performances on world stages, arenas, and conferences, our turquoise flag is raised across the globe, and our national anthem resounds with pride.” The profile of participants, publicly recognized for their contribution in shaping a positive image of the country internationally, is wide-ranging and to date, includes: Violin virtuoso, conductor, and director of the Alliance of Orchestras of the Asia-Pacific region Marat Bisengaliev; Olympic champion cyclist Alexander Vinokurov; artist and anti-nuclear activist Karikbek Kuyukov; pop singer Mirhidai Mirfarukh, known globally by his stage name Adam; Chairman of the Executive Board of the University Medical Center Corporate Fund and cardiac surgeon Yuri Pya; political scientist and historical map researcher Mukhit-Ardager Sydyknazarov; chief conductor of the State Academic Folklore and Ethnographic Orchestra named after Tlendiyev “Otyrar Sazy” Dinara Tlendiyeva; and powerlifting world record holder and Guinness Book record holder Sergey Tsyrulnikov.    

Sixth Eurasia Creative Guild Film Festival to be Held in the U.K.

From May 24-28, Premier Cinemas Romford will host the Eurasia Creative Guild (ECG) Film Festival, in collaboration with the Romford Film Festival for the sixth consecutive year, featuring a diverse line-up of films from across the globe. Founded by the ECG to foster deeper cultural ties and understanding, the festival will feature 100 submissions from 22 countries, with movies from Spain, Kazakhstan, Kuwait, the U.K., Iran, Uzbekistan, Russia, Cyprus, Kyrgyzstan, Jordan, Tajikistan, Armenia, and China. In addition to the competition, there will be a program of educational films. The opening ceremony will feature an exhibition of original work by Central Asian artists, headlined by Rahima Makhmut from Kyrgyzstan, and a presentation by Gulsifat Shakhidi, a renowned writer from Tajikistan, of her latest book. On May 28, the ECG will present awards for the Best Eurasian Film, Best Short Film, Best Documentary, and Best Screenplay.