Cultural Heritage - The Times Of Central Asia

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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...

Cultural Heritage

Samarkand’s Sher-Dor Madrasah Restoration Reaches First Milestone With U.S. Support

A major international effort to preserve one of Central Asia’s most iconic architectural monuments has reached a new milestone, with officials in Samarkand marking the completion of the first phase of restoration work on the façade of the Sher-Dor Madrasah, part of the historic Registan Square complex. According to a June 3 report from the Uzbekistan Art and Culture Development Foundation (ACDF), the ceremony was attended by Sarah Rogers, the United States under secretary of state for public diplomacy and public affairs, ACDF Chairperson Gayane Umerova, and U.S. Ambassador to Uzbekistan Jonathan Henick. The restoration project focuses on the conservation of the Sher-Dor Madrasah’s historic façade, including its mosaics, majolica decorations, ornamental elements, and Kufic inscriptions. The work forms part of a three-phase program supported by the U.S. Ambassadors Fund for Cultural Preservation (AFCP). During the event, ACDF and the U.S. Embassy in Uzbekistan also signed a five-year roadmap for cooperation aimed at expanding joint initiatives in cultural heritage preservation and cultural exchange. The project is one of the largest cultural heritage grants awarded to Uzbekistan by the U.S. government. According to the U.S. Embassy, the Cultural Heritage Agency of Uzbekistan secured a $500,000 AFCP grant after its proposal was selected through a global competition. The award was both the largest in that year’s competition and the largest AFCP grant ever received by Uzbekistan. The initiative is being implemented by the Cultural Heritage Agency with technical support from the International Institute for Central Asian Studies. Local craftsmen and restoration specialists are carrying out the work, while international experts are providing consultation and access to scientific documentation and conservation resources. During the ceremony in Samarkand, Henick and Umerova exchanged a letter of intent reaffirming their commitment to advancing the action plan and expanding bilateral cooperation in the field. Umerova, who is also head of the Department of Creative Economy and Tourism of the Administration of the President of Uzbekistan, said the project is about more than preserving a historic building. “We are grateful to the United States Embassy and the Ambassadors Fund for Cultural Preservation for their partnership and shared commitment to safeguarding cultural heritage. Together, we are preserving not only one of the world’s most remarkable architectural ensembles, but also the traditions and craftsmanship that give it meaning,” Umerova said. She noted that the Registan has served as a symbol of learning and cultural exchange for centuries and described the restoration project as an example of international cooperation built on mutual respect and a shared responsibility to protect cultural heritage. “We are thrilled to be part of the restoration efforts of the beautiful and iconic Sher-Dor Madrasah in the historic Registan Square,” Henick said. “These efforts will help preserve this important monument for many generations to come and for all humanity.” The Sher-Dor restoration forms part of a 2023 cultural property agreement between Uzbekistan and the U.S. The agreement created a framework for cooperation on protecting cultural heritage, including measures to combat the illicit trade in archaeological and ethnological material...

Cultural Heritage

From Golden Treasures to Looted Burial Mounds: How “Black Diggers” Are Destroying Eastern Kazakhstan’s History

Eastern Kazakhstan has gained international recognition for its extraordinary archaeological discoveries, but alongside that fame has come a growing threat: illegal treasure hunters, known locally as “black diggers,” are destroying historical monuments and depriving future generations of access to invaluable artifacts. Eastern Kazakhstan’s Archaeological Treasures In recent years, the Eastern Kazakhstan has become one of the most important archaeological regions in Central Asia. Researchers have uncovered ancient burial complexes belonging to the Saka, nomadic peoples of the early Iron Age whose sophisticated culture has challenged long-standing assumptions about the civilizations of the Eurasian steppe. Excavations at the Shilikty, Eleke Sazy, and Berel burial mounds have revealed thousands of gold ornaments, clothing adornments, and ceremonial decorations noted for their craftsmanship and artistic sophistication. At the Shilikty necropolis, archaeologists uncovered burials containing unique gold jewelry, including earrings, bracelets, fibulae, and miniature decorative elements used on clothing. Each object demonstrates extraordinary craftsmanship, intricate ornamentation, and meticulous attention to detail. [caption id="attachment_49642" align="aligncenter" width="1600"] @Yulia Chernyavskaya[/caption] At Eleke Sazy, archaeologists found an intact burial containing jewelry, clothing adornments, horse harness ornaments, and other decorative objects associated with a teenage archer who was no older than 18. A heavily looted grave of a girl aged 13 or 14, thought to have been his sister, was found nearby. Berel yielded particularly significant discoveries, including gold and bronze ornaments, clothing fragments, and horse trappings that reveal the high artistic culture of the ancient nomads. Artifacts from Berel were later displayed at the Fitzwilliam Museum in Cambridge, England, as part of the exhibition Gold of the Great Steppe, drawing widespread attention from scholars and visitors. The discoveries quickly gained international recognition and confirmed the sophisticated level of Saka civilization. Equally striking finds emerged from the Kurchum district, where archaeologists uncovered horse equipment, including bits, saddles, and straps, crafted from gold and preserved for millennia. These objects demonstrate that the nomadic cultures of Eastern Kazakhstan possessed metallurgical and jewelry-making skills comparable to the great centers of ancient craftsmanship. Every archaeological discovery offers another glimpse into the past, a chance to better understand the daily life, beliefs, and culture of the Saka. Yet these discoveries remain vulnerable to destruction by illegal excavators. The Rise of the Black Diggers Alongside the archaeological boom has come a darker phenomenon: the rapid growth of illegal treasure hunting. Rather than preserving history, black diggers destroy burial mounds and ancient cemeteries in search of gold and valuables, obliterating archaeological layers and artifacts that could provide scientists with invaluable information about the past. In many cases, illegal diggers arrive at excavation sites before archaeologists have even begun clearing the area. In pursuit of treasure, they use shovels and metal detectors, as well as heavy machinery such as bulldozers and excavators, which strip away entire layers of earth and destroy everything in their path. The scale of the destruction has become alarming. [caption id="attachment_49643" align="aligncenter" width="1600"] @Yulia Chernyavskaya[/caption] [caption id="attachment_49644" align="aligncenter" width="1600"] @Yulia Chernyavskaya[/caption] Last year, more than 200 burial mounds in the Zharma district of Kazakhstan’s...

TCA Interviews

Uzbekistan’s New Visual Language: How OZBE Reimagines Culture Through Streetwear

Uzbekistani fashion is increasingly moving beyond traditional interpretations of national motifs. A new generation of local brands is engaging with cultural heritage through streetwear, using the visual language of youth culture and contemporary identity to resonate in Uzbekistan and internationally. The Times of Central Asia spoke with Raupjon Eshtemirov, a representative of the Uzbekistani streetwear brand OZBE, about how Uzbek ornaments, symbols, and cultural references are being transformed into modern fashion, why young people are rediscovering their cultural roots, and whether Uzbekistan’s fashion scene can gain greater international visibility. TCA: Please tell us a little about the OZBE brand. How did it begin, and what idea did it grow from? Raupjon: OZBE emerged as a local streetwear brand based on the idea of expressing the modern perspective of a new generation through clothing. We started with small drops, and gradually a community formed around the brand. TCA: How would you describe the philosophy of OZBE? Is it more about fashion, culture, self-expression, or a new interpretation of Uzbek identity? Raupjon: For us, OZBE is a combination of all these things. We use fashion as a tool for self-expression and for a contemporary reinterpretation of local culture and identity. TCA: OZBE is often seen as a brand that speaks to young people in a modern visual language. How do you see your audience? Raupjon: Our audience consists mainly of teenagers and young people for whom self-expression through style, visual culture, and clothing is important. At the same time, our audience also includes tourists and people who want to represent modern Uzbekistan through a local brand and its aesthetic. [caption id="attachment_49659" align="aligncenter" width="1200"] @OZBE[/caption] TCA: Why did you choose streetwear as the main form for working with culture and local identity? Raupjon: Streetwear is a modern form of fashion that remains timeless and extremely popular among young people and tourists. It is one of the easiest ways to combine style, culture, and a contemporary view of Uzbekistan. TCA: Uzbekistan has a strong visual tradition, including ornaments, architecture, crafts, and patterns. How do you work with this heritage in your collections? Raupjon: We draw inspiration from local aesthetics, but we try to adapt them to a modern visual context through forms, graphics, details, and presentation. TCA: For you, it is important not simply to use national motifs, but to reinterpret them. What does that process involve? Raupjon: Traditional patterns, ornaments, and cultural elements always remain recognizable and popular. For us, it is important not just to copy them, but to adapt them to modern styles and make them relevant for a new generation and for global streetwear culture. TCA: How can Uzbek patterns, symbols, and cultural references be made to look modern and organic for younger audiences? Raupjon: Through reworked design, modern presentation, and the use of bright, memorable phrases that attract the attention of young people and bring cultural elements closer to contemporary streetwear aesthetics. TCA: Which aspects of Uzbek culture inspire you most: ornaments, language, urban life, music, history, or everyday...

Silk Road

Silver, Silk, and Forgotten Power: Central Asia’s Islamic Past Comes to London

At Sotheby’s in London, Central Asia comes into view as a world of dazzling craft and taste. The Arts of the Islamic World & India auction on April 29th gathers rare eastern Islamic works that show how the region turned faith, power, and luxury into art. The standout lot is a 12th or 13th-century silver ewer, catalogued as Persian or Central Asian. Most related vessels are brass or bronze. This one is comparable to vessels from the Harari Hoard, a group of 10th and 11th-century silver objects now largely held in the L.A. Mayer Museum for Islamic Art in Jerusalem. The ewer’s presence gives the sale its sharpest point of entry. It is rare, ambitious, and unusually personal. [caption id="attachment_47817" align="aligncenter" width="2447"] A pair of Seljuk gold bracelets, Persia, Khurasan, 12th century; image: Sotheby's[/caption] A 10th-century Nishapur calligraphic dish shifts the focus from metal to script, turning a simple object into a work shaped by the visual grace of the written word. Timurid horse trappings, Qur’an pages, Sogdian silks, golden Mongol cloths, an embroidered robe, and a Shakhrisabz suzani broaden the picture from courtly power to sacred text and textile brilliance, ending in a tradition still closely associated with Uzbekistan. The timing gives the auction added weight. Uzbekistan is building a major new stage for Islamic heritage. The Times of Central Asia reported in April 2026 that its Center of Islamic Civilization has entered the Guinness World Records as the world’s largest museum. TCA asked Frankie Keyworth, a Specialist in Islamic and Indian Art at Sotheby’s, why Central Asia’s artistic legacy is commanding fresh attention now. [caption id="attachment_47818" align="aligncenter" width="8984"] A turquoise-set silver and brass belt buckle, Bukhara, Central Asia, 19th century; image: Sotheby's[/caption] TCA: Why are the artifacts in this auction so important for understanding Central Asia as a center of artistic production, rather than just a corridor between other civilizations? Keyworth: They really reiterate the breadth of artistic production in Central Asia, which is incredibly rich in terms of medium, design and chronology. The works presented here range from the 8th to the 19th century, from textiles to ceramics, metalwork to manuscripts, and they reveal traditions that are distinct to Central Asia, and others that inform and are informed by artistic production in other regions. The impressive silver ewer is a good example of this. Its nielloed decoration on silver is typical of a distinct group of silver vessels produced in Central Asia, but its form would go on to inform examples in other materials, such as bronze or ceramics produced later in Persia. [caption id="attachment_47819" align="aligncenter" width="2560"] A Timurid or early Ottoman tinned copper goblet (mashrabe), Central Asia or Eastern Anatolia, late 15th century; image: Sotheby's[/caption] TCA: Which object best captures Central Asia’s wider historical importance, and what makes it so revealing? Keyworth: It’s hard to pinpoint such a vast artistic tradition to one object, but luxurious textile production is synonymous with the arts of Central Asia. In this sale, we can see one of the earliest...

World Nomad Games

Horses, Eagles, and Fire: The Steppe Awakens as the 2026 World Nomad Games Return to Kyrgyzstan

On the shores of Lake Issyk-Kul, where mountains drop sharply into the water, and horses and cars are found in almost equal measure, Kyrgyzstan will host the World Nomad Games 2026 from August 31 to September 6, with The Times of Central Asia reporting from the ground. Since their launch in 2014, the Games have grown well beyond their origins, drawing competitors and audiences from across the world. This year’s emblem, the snow leopard, captures that idea with unusual precision. It has been adopted as the national symbol of Kyrgyzstan in recent years and has long been central to the country’s conservation diplomacy, including its role in establishing October 23 as International Snow Leopard Day. Presented as a representation of strength, clarity, and endurance, it reflects both the terrain and the mindset that fortifies the event. [caption id="attachment_46882" align="aligncenter" width="1280"] Image: International Secretariat of the World Nomad Games[/caption] The Games have expanded beyond the region, but are now returning home again. Kyrgyzstan hosted the first three editions before they went to Turkey in 2022 and Kazakhstan in 2024. Their homecoming now carries greater international weight, reinforced by UNESCO’s support, recognizing their role in preserving intangible cultural heritage. This year’s experience is mostly set in the Issyk-Kul region, around three hours from Bishkek, where the mountainous landscape will form the backdrop to the lakeside venues. The opening and closing ceremonies are scheduled to take place in the capital’s Bishkek Arena. In Cholpon Ata, the hippodrome will host horse racing and Kok Boru, while the nearby sports complex stages wrestling competitions. The Rukh Ordo Cultural Center brings together strength events and traditional tournaments alongside parts of the cultural program. In Kyrchyn, the Ethno Village will become the core of the experience, where archery, falconry, crafts, performances, and food sit within a setting that reflects nomadic life. [caption id="attachment_46886" align="aligncenter" width="2560"] Kok Boru at the Bishkek Hippodrome, 2014; image: Stephen M. Bland[/caption] Forty-plus sports disciplines will be spread across competitive and demonstrative formats, with more than 100 medals at stake. Kok Boru is fast and unforgiving, played on horseback as riders grapple over what was traditionally a headless goat carcass (now a synthetic dummy or serke), surging and colliding before hurling it into the opponent’s goal. [caption id="attachment_46885" align="aligncenter" width="1280"] Image: International Secretariat of the World Nomad Games[/caption] Horseback archery demands precision under movement, with riders standing in the stirrups or twisting at full gallop to fire arrows at distant targets. Eagle hunting illustrates a partnership between human and bird refined over generations, as trained golden eagles launch from the arm to track and strike prey across open ground. [caption id="attachment_46887" align="aligncenter" width="1200"] Woman with a bird of prey, World Nomad Games, Astana, 2024; image: Stephen M. Bland[/caption] Wrestling styles such as Alysh and Kurash emphasize balance and control rather than brute force, with fighters gripping belts and using timing, leverage, and footwork to unbalance their opponent. The Times of Central Asia spoke with the International Secretariat of the World Nomad Games to...