Cultural Heritage - The Times Of Central Asia

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Cultural Heritage

Rain Festival: How Ancient Tirgon Became an Official Holiday in Tajikistan

Until recently, Tirgon was remembered mainly through medieval poetry and scholarly references. In 2023, an apricot festival and dried-fruit exhibition were held in its honor in Dushanbe. Now, the ancient agricultural holiday is listed in Tajikistan’s official calendar of festive dates. In 2026, it was celebrated for the first time under its new official status. A Holiday Rooted in Antiquity Tirgon belongs to the ancient seasonal traditions of Iranian peoples and is mentioned in sources including Ferdowsi’s epic poem Shahnameh. Tajik sources trace these seasonal holidays back several millennia. Tirgon was traditionally associated with the 13th day of the month of Tir in the ancient Iranian calendar, with celebrations lasting several days. At its core, the holiday is connected with water and the fertility of the land. In ancient practice, people prayed to ancestral spirits for protection from drought before the new harvest was gathered. From Custom to Law Tirgon received official status only recently. An amendment to Tajikistan’s Law “On Holidays” added the festival to the country’s calendar of official holiday dates in 2025. The change was presented as part of Tajikistan’s effort to preserve national cultural heritage and revive ancient folk traditions. The country’s holiday calendar already contained dozens of dates, though not all official holidays are non-working days. Tirgon’s new status shows its place in the country’s cultural life and in the state-backed revival of ancient seasonal traditions. The First Official Tirgon In 2026, Tirgon was marked for the first time after being added to the official holiday calendar. The date is observed on July 1, but the 2026 production calendar did not make it an additional non-working day. To mark the holiday, the president addressed the nation with a message connecting the ancient reverence for water with Tajikistan’s modern water diplomacy. The message referred to the International Decade for Action “Water for Sustainable Development” and Tajikistan’s glacier-protection initiatives. Through that framing, the old ritual was tied to one of Tajikistan’s main foreign-policy themes: water. Part of a Seasonal Cycle Tirgon is part of Tajikistan’s revived cycle of ancient seasonal holidays. In that cycle, Sada is associated with fire and purification. Nowruz marks renewal, and Mehrgon is linked to the harvest. Tirgon occupies the place of water and rain, without which farming is impossible. Each holiday is tied to a time of year and a natural element revered in ancient tradition. Its return to the official calendar gives an old ritual a new public role. For many years, knowledge of Tirgon survived mainly in old manuscripts and scholarly descriptions. Its modern revival moved quickly. Public celebrations resumed in 2023. Official recognition followed in 2025, and the first observance under the new status came in 2026. Tajikistan has made water diplomacy a major part of its international agenda, including glacier protection. In that context, an ancient holiday dedicated to rain and the fertility of the land has taken on contemporary political meaning. Tirgon is a reminder that water in the region is a condition for agriculture and survival.

Bukhara Biennial

Bukhara Biennial Sets 2027 Dates and Names New Artistic Director

Organizers of the Bukhara Biennial have announced key details of its second edition: the event will run from September 3 to November 21, 2027, with architect and designer Kulapat Yantrasast appointed artistic director. The announcement was made at the Fondation Beyeler during Art Basel in Basel, Switzerland, placing the Uzbek cultural project before an international art and museum audience. What Is Known About the 2027 Concept Yantrasast will succeed Diana Campbell, who curated the first edition in 2025. The biennial’s organizer remains Gayane Umerova, chairwoman of the Art and Culture Development Foundation of Uzbekistan (ACDF). In 2025, artists were paired with Uzbek master craftsmen. The 2027 format will expand that model by involving local ecologists, scientists, and economists. The central theme will be the connection between art, urban space, and sustainable development. Bukhara as Venue Biennial projects will be housed in restored caravanserais, madrasas, hammams, city squares, and other historic sites, some of which are expected to open to the public for the first time. The aim is to place contemporary art within Bukhara’s historic urban fabric. The city holds UNESCO Creative City status in crafts and folk art, giving the biennial a venue with international cultural recognition. [caption id="attachment_51635" align="aligncenter" width="1280"] Image: bukharabiennial.uz[/caption] Who the New Artistic Director Is Kulapat Yantrasast studied architecture under Tadao Ando and founded the studio WHY Architecture in 2004. His recent projects include the reconstruction of the Michael C. Rockefeller Wing at New York’s Metropolitan Museum of Art, the ILMI Science and Innovation Center in Riyadh, and the Dib art museum in Bangkok. His studio is also working on the Department of Byzantine and Eastern Christian Art at the Louvre in Paris and the National Museum of India, which is expected to become the largest museum in the world. Yantrasast has previously worked with ACDF on When Apricots Blossom, shown at Milan Design Week in 2026. The First Edition The first Bukhara Biennial ran from September 5 to November 23, 2025, under the theme Recipes for Broken Hearts, curated by Diana Campbell. It drew 1.8 million visitors, more than half of them from Bukhara and other regions of Uzbekistan. Participating artists included Antony Gormley, Marina Perez Simão, Erika Verzutti, Subodh Gupta, Delcy Morelos, and Dana Awartani. [caption id="attachment_51636" align="aligncenter" width="1280"] Image: bukharabiennial.uz[/caption] Part of a Wider Cultural Strategy The Bukhara Biennial forms part of a wider ACDF program to expand Uzbekistan’s cultural infrastructure. The foundation is overseeing the Center for Contemporary Art in Tashkent, due to open on September 6, 2026, and the National Museum of Uzbekistan, designed by Tadao Ando. ACDF has also formed an international advisory board for the biennial, with members including Chris Dercon and Michael Govan. [caption id="attachment_51637" align="aligncenter" width="1024"] Image: bukharabiennial.uz[/caption] The Art Basel announcement suggests that Uzbekistan is positioning the biennial as a recurring international platform, while keeping Bukhara’s historic sites and local audiences at its center. In 2025, nearly two million people attended the event in the city’s restored historic spaces. For the 2027 edition, the challenge...

Cultural Heritage

Mikhail Borisoglebsky’s Dzhangyr-Bai: Kazakh Steppe Culture and a Society in Transition

Among the overlooked literary works of the early Soviet period, Mikhail Borisoglebsky’s Dzhangyr-Bai stands as a fascinating cultural and historical artifact. Published in Moscow and Leningrad in 1926, the illustrated book follows Dzhangyr-Bai, a Kazakh figure of the old steppe order, as he confronts a changing world. It is also a vivid ethnographic portrait of the Kazakh steppe, with close attention to its music, clothing, traditions, and spiritual atmosphere. The surviving illustrated edition shows how literature once acted as a bridge between cultures, documenting a way of life being rapidly reshaped by modernization and Soviet reform. The opening pages immediately immerse the reader in the vastness of the steppe, described as boundless and almost eternal in its quiet. Borisoglebsky presents the Kazakh landscape poetically, comparing it to a calm sea beneath the sky. The rhythm of the seasons defines life there: harsh winters bury the earth beneath snow, while spring brings birdsong, grasslands, and nomadic movement. This introduction is not decorative. The steppe itself becomes a living presence in the story, shaping the mentality and fate of the people who inhabit it. At the center of the narrative is Dzhangyr-Bai, a representative of the old order. Through his character, Borisoglebsky explores the tension between tradition and the “new time” that emerged after the Russian Revolution. The story reflects a historical moment when nomadic customs and clan authority came under pressure from Soviet visions of modernization and social change. Dzhangyr-Bai symbolizes a generation struggling to understand whether change is a threat or an opportunity. One of the book’s most striking aspects is its ethnographic richness. The illustrations included in the edition are valuable visual records of Kazakh culture in the 1920s. Traditional clothing and wedding attire are carefully depicted, along with ornaments and everyday objects. These images reveal the elegance and practicality of steppe life. Headdresses and layered garments, many of them embroidered, show how identity and status were expressed visually in nomadic society. The illustrations of musical instruments are equally important. The dombra and kobyz shown in the book appear as central elements of cultural memory rather than exotic curiosities. Other traditional instruments also appear as part of the same artistic world. In Kazakh culture, music has long carried history and lineage, giving emotional form to memory. Through songs and oral storytelling, generations preserved their worldview long before widespread literacy. By including these instruments, the publication acknowledges the deep intellectual and artistic traditions of the Kazakh people. Another memorable section depicts children’s toys and household objects. These seemingly simple details offer insight into everyday life in the steppe. They remind modern readers that history is carried by ordinary habits as well as political upheaval. Such details transform the book into a historical archive as much as a literary work. Today, Dzhangyr-Bai has value far beyond its original political context. For contemporary readers in Kazakhstan and Central Asia, the book captures a transitional era when ancient nomadic civilization encountered industrial modernity. It records material life while also showing how people understood...

World Nomad Games

Tea, Tug-of-War, and Team GB at the World Nomad Games

A British tug-of-war athlete preparing for a nomadic sports festival in Kyrgyzstan sounds like the start of a strange travel documentary. It is also part of the appeal of the World Nomad Games, which return to Kyrgyzstan from August 31 to September 6, 2026, with The Times of Central Asia once again reporting from the ground. Since their launch in 2014, the Games have grown far beyond their roots, turning traditional sports into an international meeting point for athletes, spectators, and cultures that rarely share the same arena. What began as a Kyrgyz initiative has become one of the world’s more unusual sporting gatherings, mixing horseback combat, archery, wrestling, eagle hunting, strength contests, board games, food, music, and craft traditions in a format closer to a living festival than a conventional tournament. For visiting teams, the challenge is not only athletic. It is cultural, physical, and occasionally bewildering in the best possible way, as The Times of Central Asia explored in an interview with Sam Pollard from Team Great Britain. TCA: How did you first become involved with the World Nomad Games, and what drew you to competing there? Sam Pollard: I read Sovietistan: A Journey Through Turkmenistan, Kazakhstan, Tajikistan, Kyrgyzstan, and Uzbekistan by Erika Fatland in my second year at university, in 2023. I already knew I wanted to travel to Central Asia after university because it was completely unknown to me. I like going to places where no one I know has been, and I was excited to experience it for myself and see whether it was a hidden gem. It absolutely turned out to be just that. The book mentioned Kok Boru, or Kokpar, as one of Central Asia’s traditional games. I searched for it on YouTube and found a video of it being played at the World Nomad Games. I thought, what on earth are the World Nomad Games? I did more research, looked at some of the sports, and saw that the Games lined up perfectly with when I was hoping to travel to Central Asia. Initially, we planned to go as spectators, but then I saw that you could apply to participate. Because my friends and I had a tug-of-war background at university, we thought we’d apply, see what happened, and hope for the best. What drew us to competing was the chance to learn about and embrace nomadic culture, which we didn’t really know much about. We are quite open-minded people, so we were excited to learn from different cultures and see what we could take from them. Each “Stan” is completely different, which made the region even more attractive to us. Kyrgyzstan has its beautiful mountains, Uzbekistan has its amazing mosques, Kazakhstan has the great steppes - Mangistau is incredible - and Tajikistan has the Pamir Highway. There was a real draw for us in the unknown. TCA: What was it like being the flagbearer for the UK team at the Kazakhstan Nomad Games in 2024? Sam Pollard: It was undoubtedly the...

Photography

19th Century Photographs of Central Asia on Display in Turkmenistan

Turkmenistan’s Museum of Fine Arts is showcasing the work of Paul Nadar, a French photographer who documented daily life, ancient ruins and a Russian imperial railway during a three-month trip in Central Asia in the late 19th century. People in traditional dress are seen in some of the photos in the museum exhibition, offering a glimpse of local society at a time when much of Central Asia was unfamiliar to many in Western Europe. One image shows a solitary figure beside the railway in the Karakum Desert, an expanse that covers much of modern Turkmenistan. Others depict people on horseback. Simple dwellings and a railway bridge over water are shown. There are also photos of the ruins of a mosque, mausoleums, the citadel gate and other places in Merv, an oasis city on the Silk Road whose history stretches back several thousand years. Today, the remnants of Merv are in Turkmenistan and are on UNESCO’s world heritage list. Paul Nadar, son of a prominent photographer widely known by the pseudonym Nadar, traveled in the region in 1890, according to the exhibition titled “Journey Through Turkmen Lands.” “He was gathering materials for the First International Exhibition dedicated to the development of the Trans-Caspian Railway, which was scheduled to open in Tashkent,” reported Turkmenistan: Golden Age, a state media outlet. At that time, the publication said, the railway “symbolized modernization and the opening of Central Asia to Europe.” The railway primarily served Russian imperial interests. The Russian military built it in the late 19th century as it solidified control in Central Asia, roughly following old Silk Road trade routes. Today, those routes are the basis for east-west transport channels associated with the developing Middle Corridor network. Paul Nadar used Kodak and Nadar Express Détective instant cameras to take over 1,800 photographs during his trip in the Turkistan region of the Russian empire, in what are today Turkmenistan and Uzbekistan, according to the Getty philanthropic institution, which has an album of photos from the trip. It said photos from Nadar’s journey were shown not only at the Tashkent exhibition in 1890, but also at several World’s Fairs during that decade. The images were available for purchase at Nadar’s studio in Paris, Getty said. The photo exhibition in Ashgabat, which includes only a portion of Nadar’s work in Central Asia, opened last week and runs until June 23. It was organized with the help of the French embassy and cultural center in Ashgabat.

C5+1

From Culture to Critical Minerals: C5+1 Opens Busy U.S. Week in Central Asia

The United States and Central Asia moved another part of the C5+1 agenda into a working-level form on June 5, when culture officials from the five Central Asian states and Washington met in Tashkent. The meeting came just days before a separate C5+1 critical minerals session in Astana, giving the week a wider agenda: cultural heritage, public diplomacy, mining, investment, and supply chains are now moving forward in the same regional format. The Tashkent meeting brought together Uzbekistan's Minister of Culture Ozodbek Nazarbekov, Kazakhstan's Minister of Culture and Information Aida Balayeva, Kyrgyzstan's Minister of Culture, Information and Youth Policy Mirbek Mambetaliev, Tajikistan's Minister of Culture Matluba Sattoriyon, Turkmenistan's Deputy Minister of Culture Gurbanmurad Miradaliev, and Sarah Rogers, the U.S. Under Secretary of State for Public Diplomacy and Public Affairs. The agenda covered cultural and humanitarian cooperation, joint cultural projects, creative exchanges, and the protection and promotion of cultural heritage. Participants discussed a permanent C5+1 Working Group on Culture, a C5+1 Culture and Innovation Forum, closer cooperation in the creative industries, and more places for Central Asian cultural professionals in U.S. education and exchange programs. Uzbekistan also proposed joint English for Culture centers with U.S. partners at cultural education institutions. In practical terms, that could mean joint training for museum staff, touring exhibitions, film and music exchanges, English-language programs for curators and cultural managers, and U.S.-backed workshops for people working in heritage, tourism, and the creative industries. For Uzbekistan, the proposed centers would give the agenda a physical base inside cultural education institutions rather than leaving it at the level of declarations. The meeting ended with a protocol, which reaffirmed the parties' commitment to the cultural heritage agenda adopted after the Washington summit in November 2025. The International Institute for Central Asia said it covered cooperation through joint events and festivals in art, literature, theater, cinema, and music. Kazakhstan's side also tied the discussion to museum partnerships, digitization of heritage, professional exchanges, tourism routes, and digital projects. The Tashkent talks grew out of the C5+1 leaders’ meeting in Washington, where culture joined a wider list of priorities. That summit marked ten years of U.S. engagement with the region through the format, which began in 2015 and has since expanded from foreign-minister meetings to expert groups and presidential-level summits. The Times of Central Asia previously reported that the November 2025 summit shifted the format from broad diplomacy toward deliverable agreements, with critical minerals, aviation, supply chains, and business ties among the main areas of focus. Culture fits into that agenda, as Central Asian governments see heritage, tourism, film, music, museums, and the creative industries as economic sectors as well as identity markers. For the United States, public diplomacy gives Washington a way to stay active in the region outside security and energy talks. It also gives the C5+1 a soft-power layer, using language programs, museum links, heritage projects, and creative exchanges to build influence without framing the relationship only around security or resources. Heritage protection has a security side as well. Trafficking...