Cultural Heritage - The Times Of Central Asia

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Cultural Heritage

Simurgh Self-Help: Slavs and Tatars’ New Show Rethinks National Symbolism

“It’s interesting that in Western symbolism you never see a delicate female eagle,” notes Payam, one-half of the artist collective Slavs and Tatars, from his studio in Berlin. “But the central-Asian Simurgh is gender-fluid, metaphysical. It doesn’t belong to this world.” The mythological figure of the Simurgh is the focus of Slavs and Tatars’ latest show at the gallery The Third Line in Dubai called “Simurgh Self-Help”. The show speaks of the importance of reclaiming and reframing cultural memories in a fractured world, and an invitation to think beyond the artificial, top-down confines of nationalism, to find cultural unity. [caption id="attachment_28951" align="aligncenter" width="2560"] Slavs and Tatars Samovar Vacuum-formed plastic, acrylic paint; Image: Courtesy of the artist and The Third Line, Dubai[/caption] The exhibition extends a lineage of conceptual inquiry, drawing upon the mystical bird Simurgh, ever-present in Persian and Central Asia mythologies, as a counterpoint to the ubiquitous, secularized eagle of Western heraldry. A constant companion of Zeus in Greek mythology, the eagle is a recurring symbol in the Western world: “Everywhere you look in the West, you find eagles,” notes Payam. “It’s on the German flag, on American football teams, on the Albanian flag. It’s a tired, secularized symbol, heavy with the weight of imperial history.” In contrast, the Simurgh exists on a different plane, one that rejects hierarchies in favor of collective transformation. [caption id="attachment_28952" align="aligncenter" width="1874"] Slavs and Tatars Samovar Vacuum-formed plastic, acrylic paint; Image: Courtesy of the artist and The Third Line, Dubai[/caption] Today the Simurgh is going through a similar secularization to the Western eagle, with Turkish SIM cards and Azerbaijani soccer teams called Simurgh. "It's easy, in some sense, for as an artist to take something which is very high and important, let's say spiritual or religious, and make it make fun of it, bring it down in a caricatural way,” says Payam. “What's very hard as an artist is to take something which has been debased and make it high again." In the show, we see works that go in either direction, presenting an alternative mythology, one that shows that cultures are fluid and interconnected. “Simurgh Self-Help,” which had previous iterations in Warsaw, Athens, and Baden-Baden, was originally started two years ago as a conceptual echo of Marcel Broodthaers’ Musée d'Art Moderne: Département des Aigles. This was a conceptual museum/artistic project created by the Belgian artist in 1968, full of artworks referenced by Slavs and Tatars in their show. [caption id="attachment_28953" align="aligncenter" width="2500"] Slavs and Tatars, Soft Power_2023, Woolen Yarn; Image: Courtesy of the artist and The Third Line, Dubai[/caption] The Simurgh, Payam explains, traverses territories from Kazakhstan to Ukraine, yet remains absent in Poland. “It’s a question of defining a region not through imposed political structures but through the myths that bubble from the ground up,” remarks Payam. The Simurgh becomes a cipher for alternative cartographies, a challenge to the top-down imposition of nationhood. If the eagle stands for conquest and dominance, the Simurgh stands for the dissolution of categories and unity...

Cultural Appropriation

Cultural Appropriation: How the YAKA Brand Sparked Outrage in Kyrgyzstan

A scandal has erupted in Kyrgyzstan over the Russian clothing brand YAKA, founded by Anna Obydenova. The company, which produces clothing, accessories, and carpets adorned with stylized Kyrgyz ornaments, has faced backlash after claiming exclusive copyright to its designs. This move has sparked widespread outrage among Kyrgyz citizens, who accuse the brand of appropriating their cultural heritage. Social Media Backlash The controversy first gained traction on social media, where users quickly pointed out the alleged appropriation. One of the first to speak out was Uulzhan Bekturova, who posted an Instagram story highlighting that YAKA’s so-called “skirt” from its YAKA Unique collection was, in fact, a traditional Kyrgyz garment known as a beldemchi. She addressed the brand directly: “No, this is not a ‘skirt’ from your YAKA Unique collection, it is our beldemchi! Stop stealing our culture! Shame on you!” Her post quickly went viral, triggering a wave of public indignation. Further fueling the controversy was a statement on YAKA’s official website claiming that the brand was created “in honor of the 100th anniversary of Kyrgyzstan’s independence.” This historical inaccuracy (Kyrgyzstan gained independence only 34 years ago, in 1991) led to further accusations of ignorance and cultural insensitivity. Another source of outrage was YAKA’s warning that copying its designs was prohibited, which many saw as an attempt to monopolize traditional Kyrgyz patterns. TikTok Outrage and Calls for Boycott Public discontent was particularly intense on TikTok, where users criticized YAKA’s actions. One user, @rrrrrramilya, posted a viral video condemning the brand’s claim over Kyrgyz symbols: “A clothing brand has patented Kyrgyz patterns, registering them as their property. They justify it by saying ‘Made in Kyrgyzstan’ is on each product and that Kyrgyz artisans create them. So, if it’s made in Kyrgyzstan, is that OK? No! Manufacturing in a country does not give you the right to own its culture. Making something in Kyrgyzstan does not mean you get exclusive rights to traditional symbols!” Another user, @yido.kg, explained why cultural appropriation is such a sensitive issue: “The problem is that culture bearers are often discriminated against because of their own culture, while others use it as a fashion trend. But this isn’t just fashion - it’s the heritage of an entire people.” These videos gained widespread support, with many users calling for a boycott of YAKA products and demanding legal protection of Kyrgyz cultural heritage at the international level. Voices from Kyrgyzstan TCA spoke with Kyrgyz citizens to gauge their perspectives on the issue. Aisulu, 20, from Bishkek, expressed her frustration: “I am proud of our culture and traditions. It’s terrible when someone tries to profit from our heritage without our consent.” Mairam, 24, from Osh, added: “Our ornaments are not just patterns; they are part of our soul. No one should have the right to appropriate them.” Beksultan, 26, from Bishkek, emphasized the need for action: “We must unite and protect our cultural heritage. Cases like this should not go unnoticed.” YAKA’s Response and a New Controversy In response to the backlash,...

City Planning

Shopping Center May Be Built Beneath Bishkek’s Ala-Too Square

Bishkek authorities are moving forward with plans to reconstruct the Manas monument and the underground space beneath it in Ala-Too Square, the capital’s central public space. According to the Bishkek Mayor’s Office, the 1,500-square-meter area beneath the monument is currently unused. According to tender documents published on the government procurement website, the basement beneath Ala-Too Square is set to be redeveloped into retail space. The estimated cost of the reconstruction project is KGS 1.8 million ($20,600). “We want to renovate the basement area - it has been in a dilapidated state since 1983 due to lack of maintenance. As for the future, we are considering various possibilities for the space. However, it is important to clarify that the Manas monument will not be removed,” Bishkek Mayor’s Office spokeswoman Nazgul Zhamgyrchieva told reporters. Despite this reassurance, some Bishkek residents remain concerned, particularly since the Manas monument has already been removed from its pedestal as part of the reconstruction. Many fear it may not be returned to its original place. The monument to Manas, a symbol of Kyrgyzstan’s national heritage, has stood in Ala-Too Square since 2011. Alongside the White House, the National Historical Museum, and the national flag, it forms part of Bishkek’s so-called "marble center", a key landmark in the capital.

Art and Culture

Museum Showcasing Traditional Rishtan Ceramics to Be Established in Uzbekistan

A museum dedicated to the history of traditional ceramics will be established in the Uzbek town of Rishtan. The institution, organized as a non-governmental entity, aims to serve as a center for preserving and promoting the region’s unique pottery heritage. The museum’s key objectives include collecting and preserving exhibits, conducting cultural and educational programs, and training young artisans in pottery through the traditional mentoring system. Additionally, it will foster international cooperation by collaborating with foreign museums to organize exhibitions and exchange expertise. To implement the project, a working group has been formed to develop the museum’s concept and oversee its activities. The building designated for the museum is expected to be fully adapted to its needs by April 1, 2025. Notably, in September 2023, London’s King’s Foundation School of Traditional Arts hosted a master class led by Uzbek ceramist Shokhrukh Rakhimov. The event, supported by Uzbekistan’s Foundation for the Development of Culture and Arts, introduced master's and doctoral students to the traditions of Uzbek ceramics. Rakhimov inspired participants to explore new artistic forms using ancient craft techniques, highlighting the importance of cultural exchange and the preservation of national heritage within the global academic community.

Sports

Kazakhstan to Reconstruct Medeu, the World’s Largest High-Altitude Skating Rink

Kazakhstan plans to reconstruct Medeu, the world’s largest high-altitude skating rink, in 2025, expanding its capabilities and modernizing its facilities. Prime Minister Olzhas Bektenov announced the initiative in response to a request from senators. Medeu is a high-mountain sports complex located outside Almaty in the Medeu gorge, at an altitude of 1,691 meters above sea level. According to Bektenov, the planned modernization will enhance the rink’s technical specifications, bringing it in line with International Skating Union (ISU) standards for hosting speed skating and figure skating competitions. Additionally, the Almaty City Council (Akimat) aims to expand Medeu’s functionality to accommodate ball hockey (bandy) tournaments, world championships in ice speedway racing, and various ice shows and mass sporting events. Calls for Renovation In late December, Kazakh senators urged the prime minister to take action, noting that Medeu is now 52 years old. “Opened in 1972, it quickly became one of the best ice rinks in the world. In its first year alone, 249 of a possible 375 world records were set on its ice. The clean mountain air, rarefied atmosphere, and glacial meltwater used for ice resurfacing contributed to outstanding athletic performances. For two decades, Medeu led the world in speed skating. However, after the ISU introduced rules requiring competitions to be held in indoor arenas, outdoor rinks lost their prominence. Should we simply accept that a rink built for records is losing its significance? Medeu remains the world’s largest outdoor artificial ice rink, spanning 10,500 square meters and accommodating up to 8,100 spectators,” the senators wrote in their appeal. Proposed Measures To restore Medeu’s global sporting relevance, the senators proposed the following initiatives: Grant Medeu a special ISU status. Establish a high-altitude training center for athletes. Develop facilities for ball hockey (bandy) competitions. Utilize the arena for ice shows and performances by world-class figure skaters. Host stages of the world ice speedway championship. With its historical significance and unique natural conditions, Medeu remains a symbol of Kazakhstan’s sporting legacy. The upcoming renovation aims to ensure it remains a world-class venue for both competitive and recreational ice sports.

Cultural Heritage

CNN Report on Ibn Sina Sparks Central Asian Nationality Debate

A recent CNN report referring to the scholar Ibn Sina as an Uzbek scientist has ignited controversy in Central Asia, particularly in Tajikistan. Tajikistan’s Minister of Culture, Matlubakhon Sattoriyon, strongly criticized the report, calling it a “distortion of reality.” Ibn Sina, known as Avicenna in the West, was a polymath who made groundbreaking contributions to medicine, logic, physics, mathematics, and other sciences. Born in 980 in the village of Afshona near Bukhara, an area now part of Uzbekistan, he died in 1037. Over his lifetime, he authored more than 450 works, with about 240 surviving to this day. His most renowned book, The Canon of Medicine (Tib qonunlari), served as a standard medical text in Europe and the Islamic world for centuries. While the Ibn Sina segment was actually created not by CNN itself but by the Center of Islamic Civilization in Uzbekistan, Sattoriyon accused CNN of disregarding historical facts and described the report as another example of what she called the “appropriation” of Tajik's scientific and literary heritage. “This is an insult not only to the Tajik people but also to the history and culture of Persian literature worldwide,” she said. The minister urged Tajik scientists and intellectuals to counter such claims with evidence, though she also dismissed CNN’s report as “just a TV channel’s material with no historical basis,” pointing out that it does not reflect Uzbekistan’s official stance. In Uzbekistan, reactions to the controversy varied. Sherzodkhon Kudratkhuja, Rector of the University of Journalism and Mass Communications, acknowledged the shared history of Uzbekistan and Tajikistan and called for moderation. “At a time when Central Asia is strengthening its unity, we must all approach such issues carefully,” Kudratkhuja said. He emphasized that Ibn Sina is commonly described as a scholar born in Bukhara, a region now within Uzbekistan’s borders, but suggested that he should be seen as a figure representing the entire Central Asian region. Bobur Bekmurodov, Chairman of Uzbekistan’s “Yuksalish” movement, expressed disappointment with Tajikistan’s criticism. “The legacy of figures like Ibn Sina belongs to the entire region and the world,” Bekmurodov said. He urged Central Asian nations to focus on shared challenges such as climate change, economic growth, and security rather than divisive historical disputes. Azamat Ziyo, Director of the Institute of History at Uzbekistan’s Academy of Sciences, echoed calls for regional unity. “There is no written evidence about the nationality of many historical figures in Central Asia, including Ibn Sina. What matters is their contribution to science and humanity, not their nationality,” he stated. Ziyo also appealed to politicians to avoid interfering in historical scholarship. “The science of history is the business of historians. We should rely on objective, source-based research rather than political interpretations,” he said. He emphasized the importance of collaboration among historians from Uzbekistan, Tajikistan, Kazakhstan, Kyrgyzstan, and Turkmenistan to address shared historical legacies. Drawing on his 40 years of research into the history of Central Asian statehood, Ziyo explained the complexity of national identities in the region. “During the reign of the...