Cultural Heritage - The Times Of Central Asia

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Cultural Heritage

Tajikistan Nominates National Game and Stories for UNESCO Heritage List

Tajikistan is advancing efforts to preserve its cultural heritage by proposing several national traditions for inclusion on UNESCO’s Intangible Heritage of Humanity list, according to Culture Minister Matlubakhon Sattoriyon. The National Commission for UNESCO is currently reviewing these nominations. One notable nomination is the traditional game nardbozi, similar to backgammon, which has been submitted jointly with Iran. Tajikistan is also seeking recognition for the folklore tales of One Thousand and One Nights and the Toki tradition, both of which reflect the rich oral storytelling heritage of the Tajik people. Aminzoda Abdufatto, director of the Research Institute of Culture and Information at the Tajik Ministry of Culture, emphasized that these proposals are part of a broader strategy to preserve Tajikistan’s cultural traditions while promoting them on the global stage. In 2024, Tajikistan successfully inscribed several cultural elements on the UNESCO Intangible Heritage List, including the Meҳrgon festival, a celebration of harvest and gratitude, and the art of playing the rubob, a stringed instrument central to the musical traditions of Tajikistan and neighboring countries such as Afghanistan, Iran, and Uzbekistan. These recent initiatives underscore Tajikistan’s commitment to cultural diplomacy and its collaboration with neighboring countries in safeguarding shared traditions. UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity recognizes cultural practices, knowledge, skills, and expressions that communities identify as part of their heritage. This recognition helps raise awareness of cultural diversity and encourages the protection and preservation of these traditions.

History

Amre Kashaubaev and the Mystery of an Old Photograph

In Kazakhstan, the musical talent of Amre Kashaubaev is well known. Thanks to him, European audiences were introduced to the live melodies of Kazakh music when Kashaubaev performed Kazakh songs at the International Exhibition of Modern Decorative and Industrial Arts of 1925 in Paris. As previously reported by The Times of Central Asia, the first recordings of Kazakh music were made between 1903 and 1909 during the travels of the German explorer Richard Karutz in Turkestan. His book, Among the Kirghiz and Turkmens in Mangyshlak, published in 1911 in Russia, was edited by Vasily Radlov, a renowned ethnographer, archaeologist, and educator of German origin, who was also a pioneer in Turkology. However, it was only in 1925, thanks to Kashaubaev’s talent, that Europeans could hear Kazakh folk songs performed live. The fate of this man is very similar to the destinies of thousands of talented individuals in the early years of the Soviet Union, whose creative works could not fit into the "Procrustean bed" of communist ideology. [caption id="attachment_27972" align="aligncenter" width="1279"] Amre Kashaubaev and his wife Orazke, Kzyl-Orda, 1926.[/caption] Amre Kashaubaev was born in 1888 in the Abraly district of the Semipalatinsk region. His first professional attempt to become a singer was a public performance at a fair near the village of Koyandy, not far from the modern city of Petropavlovsk, at a festival of Kazakh oral art. Through his songs, Kashaubaev’s art became famous throughout Kazakhstan. Anatoly Lunacharsky, then the People’s Commissar for Education, personally invited him to participate in concerts at the International Exhibition in Paris. Kashaubaev also actively participated in the creation of the first Kazakh professional theater. In April 1927, he gave a concert in Moscow, followed by a performance in Frankfurt. He frequently performed on the radio, singing Kazakh folk songs and enchanting listeners with the beauty and depth of his voice. His theatrical performances also garnered great interest. Today, archival institutions and museums in Kazakhstan hold only a few photographs and documents depicting Kashaubaev. This is because many documents were destroyed by his colleagues and relatives due to his political persecution by the Bolsheviks. His trip to Paris proved to be fatal for the singer since it drew the attention of the Soviet state security agencies. During the Paris exhibition, the talented singer met Kazakh political dissident Mustafa Shokay, who in 1917 had been the Chairman of the Kokand Autonomy — a state entity that lasted for six months in the Turkestan region of the Russian Empire. Moreover, Shokay was an active member of the Alash Party, which the Soviets deemed bourgeois and whose members were subjected to repression. Although Kashaubaev was not imprisoned for his ties with political opponents of the Bolsheviks, he faced significant pressure from the authorities. On December 6, 1934, he was found dead on the streets of Alma-Ata. The cause of his death remains unknown. Within the archival fonds of The Central State Archive of Film, Photo Documents, and Sound Recordings of the Republic of Kazakhstan, we believe there...

Culture

Uzbekistan Encourages Civil Servants in Tashkent to Wear National Dress

Shavkat Umurzakov, the khokim of Tashkent, has signed a decree launching the National Tashkent project, an initiative aimed at promoting Uzbekistan’s cultural heritage and national traditions within the capital. The project includes a wide range of activities, from redesigning public spaces to reflect traditional Uzbek aesthetics to encouraging civil servants to adopt national attire. Public transportation, markets, parks, and other spaces across Tashkent will be adorned in a national style as part of this effort. Traditional Clothing for Civil Servants As part of the initiative, government employees in Tashkent are encouraged to wear traditional Uzbek clothing during work hours, provided it does not conflict with existing uniform requirements. To further promote this practice, Fridays have been designated as “National Dress Day” for civil servants. Employees of khokimiyats, departments, and other government agencies are being urged to embrace traditional attire on these days. A special working group, led by Shakhnoza Sultanova, deputy khokim and head of the Department for Family and Women's Affairs, has been tasked with overseeing the project. This group has developed an action plan that includes educational programs, public events, and support for local entrepreneurs who specialize in the production of ethnic clothing. Celebrating Uzbek Culture The National Tashkent project emphasizes integrating Uzbek cultural elements into mass events such as holidays, exhibitions, concerts, and sports competitions. Participants at these events will don traditional costumes, while the programs will feature folk games, dances, and songs. Contests and awards will further highlight the richness of Uzbek traditions. Additionally, the initiative envisions creating television programs, publishing articles in both traditional and social media, and launching public challenges such as “National Dress for Everyone.” A contest titled “The Best Promoter of National Traditions” will recognize individuals or organizations that effectively advocate for Uzbek culture. Educational institutions will also participate by hosting lectures on the history of national crafts and clothing. Cultural Zones for Tourists The project includes measures to enhance the cultural experience for tourists visiting Tashkent. Special zones will be created, featuring craft workshops, photo opportunities with national costumes, and curated cultural routes. Hotels and restaurants will host exhibitions and competitions to showcase traditional values, further engaging both residents and visitors. Public transportation will also reflect the project’s goals, with buses and transport cards decorated with national patterns. Similarly, the facades and interiors of shopping centers, markets, and museums will incorporate traditional Uzbek designs. Schools will see the introduction of “National Classrooms” decorated in the spirit of Uzbek culture. Strengthening National Identity The National Tashkent project is a comprehensive effort to preserve Uzbekistan’s cultural heritage, strengthen national identity, and pass down traditions to younger generations. By raising awareness of ethnic customs and promoting national pride, the initiative seeks to enrich the cultural fabric of the capital while fostering a deeper appreciation for Uzbekistan’s historical and artistic legacy.

Cultural Heritage

American Musicians Celebrate the Dutar During Tour of Turkmenistan

The Turkmen dutar, a two-stringed lute, and symbol of the nation’s musical heritage, left a lasting impression on American artists visiting Turkmenistan on a recent tour. Musicians Keith Bass, Aaron Young, and Richard Steighner praised the uniqueness of Turkmenistan’s traditional music during their performances as part of the “Broadway and Beyond” concert series. The tour began with its first concert on January 16 at the Mukam Palace in Ashgabat. The American performers shared the stage with the State Symphony Orchestra of Turkmenistan, led by conductor Rasul Klychev, and soloists from the State Choir. The concert program featured a mix of popular Broadway melodies and innovative interpretations of the works of Makhtumkuli Fraghi, the national Turkmen poet. A standout moment of the evening was the performance of “I Want to Feel the Wind,” a song based on Makhtumkuli’s poetry and composed especially for the tour. Beatboxer Richard Steighner highlighted the creative synthesis of styles that emerged during the collaboration. “Blending my beatboxing with the soft yet rich sound of the dutar was an unforgettable experience,” Steighner said. “The beauty of Turkmen music is astounding, and the dutar was a true revelation for us. We even incorporated it into an original piece, creating a unique fusion of traditional melodies and modern trends.” Keith Bass, another member of the ensemble, emphasized the value of cultural exchange. “Working with Makhtumkuli’s works gave us an opportunity to view music through a new lens. Every concert here has become a platform for creative experimentation,” Bass said. U.S. Ambassador to Turkmenistan Elizabeth Rood, who attended the Ashgabat performance, highlighted the role of cultural events in fostering international understanding. “Music and culture are bridges that unite people. We will continue to support projects that preserve cultural heritage and serve as symbols of friendship and trust,” Rood said. Following the debut in Ashgabat, the “Broadway and Beyond” series will continue with performances in Turkmenbashi, Balkanabad, and Dashoguz.

Cultural Heritage

19th-Century Historic Building Under Demolition in Turkmenistan

The demolition of a 19th-century historic building, formerly the History and Local History Museum and originally a Shiite mosque named after Haji Myalik, has begun in the city of Turkmenabat. Constructed in the 19th century, this architectural landmark was a vital part of Turkmenabat's cultural heritage for decades. The building served as a museum starting in 1967, but in 2011, after more than 40 years, its exhibitions were relocated to a new facility built specifically for that purpose. Despite the building’s historical significance, local authorities opted against restoration or handing it over to the Muftiyat (the official Islamic authority) and instead decided to demolish it. A Unique Architectural Legacy The architectural design of the former Haji Myalik Mosque was distinctive and highly regarded in the region. Tourist guides described it as one of Turkmenabat's most striking landmarks. The facade featured intricate brickwork, three semicircular arches, a prominent high portal, and two small towers capped with pointed domes in Ottoman architectural style. On the right side of the facade stood a minaret with a metal dome, once the tallest vantage point in Chardjui (the historic name of Turkmenabat). Today, this iconic structure is being dismantled piece by piece. The roof has already been removed, and the demolition process is ongoing. A Worrying Trend The demolition of historic buildings in Turkmenistan is not a new phenomenon and has raised alarm among residents and cultural heritage experts. In Ashgabat, the capital, numerous old buildings of historical and cultural importance have been destroyed over the years. Notable examples include the buildings of Karakumstroy, Hotel Turkmenistan, the Turkmenhovayollary Department, and the public garden featuring a monument to N. Aitakov. [caption id="attachment_27727" align="aligncenter" width="2560"] Ashgabat- A row of marble towers in Berzengi; image: TCA, Stephen M. Bland[/caption] A moderately young metropolis, its appellation meaning "City of Love" in Persian, Ashgabat developed around a Russian garrison during the 1880s. Leveled in the earthquake of 1948, prefab Soviet blocks soon sprung from the debris. Shaping his vision, former President Niyazov had these kommunalkas torn down and replaced by boxy, flat-topped marble towers with dazzling, reflective windows. Largely of a uniform eleven storys, their showy ostentation lacks any semblance of functionality, with endless ministry buildings standing unoccupied, overpriced residential blocks home to the affluent few. In 2021, authorities began demolishing four-story residential buildings at the intersection of Turkmenbashi and Atamurat Niyazov avenues, a move that drew criticism from citizens. Experts warn that such actions could result in the irreversible loss of the country’s unique architectural heritage. As the dismantling of the former Haji Myalik Mosque continues, concerns grow about the preservation of Turkmenistan's historic and cultural landmarks, many of which are disappearing under the pressure of modernization.

Cultural Heritage

Uzbekistan Receives Historic Manuscript Copies from Malaysia

Uzbekistan’s cultural heritage will soon be added to with facsimile copies of ancient manuscripts provided by Malaysia. This initiative is part of a collaboration between the Center for Islamic Civilization in Uzbekistan and Malaysia’s International Institute of Islamic Thought and Civilization. During a recent visit to Malaysia by an Uzbek delegation, the Center’s Director, Firdavs Abdukhalikov, received copies of two invaluable works: Abu Rayhan Beruni's At-Tafhim and Abulkasim Firdavsi's Shahnameh, both transcribed during the Timurid era. Abdukhalikov believes this initiative aligns with broader efforts to promote humanitarian values and preserve Uzbekistan’s historical heritage. “The copies of manuscripts received today will further enrich the exposition of our center,” he stated. Beruni’s At-Tafhim, originally transcribed in 1197, holds immense significance for world science. Meanwhile, the Timurid-era transcription of Firdavsi’s Shahnameh, produced in the 15th century, reflects the traditions of book printing from that period and showcases the distinctive features of Kamoliddin Behzod’s renowned school of miniature painting. These manuscripts will be displayed at the Center for Islamic Civilization, which was established eight years ago to celebrate the contributions of Uzbek scholars to global civilization and to preserve the nation’s rich cultural legacy.