Cultural Heritage - The Times Of Central Asia

Viewing results 1 - 6 of 111

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...

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...