Culture - The Times Of Central Asia

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Kazakh Cinema

Kazakh Director Daulet Zhumabayev on New Film Kesu and Pursuing a Career in Hollywood

Kazakh director Daulet Zhumabayev hopes to bring his new action film, Kesu, featuring South Korean actors, to South Korean theaters. The film was released in Kazakhstan on October 15. It follows a Kazakh taekwondo practitioner and a South Korean champion as they travel to Seoul in search of their missing mentor. The film is Zhumabayev’s second feature, following the sports drama Arlan: The Final Round. Zhumabayev focuses on mainstream genre films and sees international collaboration as an opportunity to reach audiences beyond Kazakhstan. His debut feature became available on Amazon Prime Video, although he does not consider a streaming release equivalent to breaking into the American market. In an interview with The Times of Central Asia, Zhumabayev discussed working with South Korean actors, the prospects for international film production, his experience studying abroad, and why Kazakhstan may find it difficult to replicate Korean cinema’s success in Hollywood. TCA: Your new film, Kesu, features both Kazakh and South Korean actors. Did you have to change your directing approach when working with an international cast? Daulet Zhumabayev: No, I worked with everyone the same way. I don’t really have a fully developed directing system yet. I have my own methods for trying to communicate to actors what I want to achieve. I’ve taken some things from Judith Weston’s book Directing Actors, others from the Stanislavski method, and still others I’ve come up with intuitively. I gave both groups of actors the same kind of direction, and everyone understood perfectly well what I wanted from them. TCA: How did you build relationships between the Kazakh and Korean members of the film crew? Zhumabayev: That’s very important. And I’m extremely grateful to our lead actor, Asylkhan Tolepov, for the way he supported his Korean co-star, Ben (Joo Woo Geon). From the very beginning, we tried to create a particular atmosphere. When the Korean actors arrived in Kazakhstan, we didn’t just put them up in a hotel and provide meals. We welcomed them as real guests. We took them to Shymbulak, treated them to beshbarmak, and introduced them to our traditions. We wanted them to experience Kazakh hospitality and never feel like outsiders here, not even for a second. That immediately set the tone for our relationship. They could see that we treated them warmly and sincerely, that we cared not only about getting good performances from them but also about making their stay in Kazakhstan comfortable. And I think that probably motivated them to give their best on set as well. TCA: Did you make any allowances for the foreign actors during filming? Zhumabayev: None whatsoever. I expected complete dedication from them. They trained in the gym, learned Kazakh, and prepared for difficult scenes. We treated them as guests, but we worked as one team, with everyone having their own responsibilities. They’re very respectful and attentive. After filming ended, they all sent me warm messages thanking me for working together. They said they’d felt comfortable working with me and had learned a lot themselves....

Tselinny Center

Tselliny HIMOYA Exhibition: Women’s Memory, Protective Amulets, and Colonial Legacies

Kazakh protective amulets incorporating family photographs are among the works on display at HIMOYA: Matrilineal Energies, Oracular Kin at the Tselinny Center of Contemporary Culture in Almaty. Elsewhere, a pregnant bird-woman stands at the boundary between life and death. Artists from Central Asia and beyond explore how inherited beliefs and women’s experiences help preserve cultural identity. The exhibition opened on October 15, 2026, and runs through April 4, 2027. It features more than 20 artists and is curated by Natasha Ginwala, who has previously worked on international projects, including the Gwangju and Sharjah biennials. [caption id="attachment_59058" align="aligncenter" width="682"] From Natasha Ginwala’s personal archive.[/caption] The title HIMOYA evokes protection across several linguistic traditions. In the participating artists’ works, that includes preserving ancestral memory. Speaking at the center, Alima Kairat, Tselinny’s artistic director, said the exhibition’s concept had developed over several years. “For Tselinny, HIMOYA is the culmination of a conversation that began in 2021. We gradually explored questions of maternal memory, rituals, protection, inherited ideas about shame, and care. These themes are deeply rooted in life in Kazakhstan and Central Asia, where ancestral knowledge continues to influence the present and helps us imagine the future in new ways,” she said. Female Figures and Ancestral Memory Ginwala’s curatorial concept centers on women’s experiences and knowledge passed down through generations. The artists draw on folk narratives and religious practices, including pre-Islamic steppe beliefs, to reconsider ideas about women’s roles and power. “During conversations with the artists as we prepared the project, different female figures emerged – nurturing and powerful figures, as well as ‘monstrous’ beings from folk tales, steppe mythology, and pre-Islamic cosmologies,” Ginwala said. In Kazakh tradition, genealogy is closely linked to the concept of zheti ata, the knowledge of seven generations of ancestors on the paternal side. The custom also served as the basis for prohibitions on marriage between close relatives. HIMOYA turns to another line of inheritance: the maternal one. The grandmother holds a particularly important place as a guardian of family memory. This theme intersects with the history of colonial and Soviet pressure on local beliefs. The artists explore how traditions once dismissed as backward or superstitious have survived through family practices and acquired new meanings in contemporary art. The Bird-Woman Between Two Worlds One of the exhibition’s central works is Gatekeeper by Rajni Perera, an artist born in Sri Lanka and based in Toronto. Her work draws on South Asian folklore and fantasy to explore migration and motherhood, including questions of reproductive rights. [caption id="attachment_59059" align="aligncenter" width="1024"] “Gatekeeper” by Rajni Perera. Image: Theo Frost.[/caption] The life-size sculpture was first presented at the 2025 Sharjah Biennial in the United Arab Emirates. It depicts a pregnant woman with features of a hornbill and a crow. Its surface is decorated with motifs inspired by azulejos, painted ceramic tiles widely associated with Portugal and shaped by Islamic decorative traditions. “When I was creating this figure, I was thinking about the umbilical cord because she is pregnant. She seems to pull life out...

TCA Interviews

Goethe-Institut Director on Kazakhstan’s Cultural Ties with Germany

What does genuine intercultural dialogue look like in an interconnected yet polarized world? The Times of Central Asia spoke with Friederike van Stephaudt, director and head of cultural programs at the Goethe-Institut in Kazakhstan, about cultural relations between Germany and Kazakhstan. She discussed literary translation and how young people’s interest in studying or working in Germany can develop into lasting cultural connections. TCA: When you came to lead the Goethe-Institut in Kazakhstan, what aspects of the country’s culture and society particularly interested you? Friederike van Stephaudt: What fascinated me from the very beginning was Kazakhstan’s unique position at the intersection of tradition and modernity. The country combines a rich nomadic heritage with rapid urban development and a strong orientation toward the future. I was also struck by the diversity of cultural influences that have shaped Kazakhstan throughout its complex and multidimensional history. Different communities, languages, memories, and traditions coexist and interact here, creating a cultural landscape that is both dynamic and deeply layered. For me, Kazakhstan is a place where questions about identity, belonging, and cultural transformation are constantly being negotiated, which makes it an incredibly interesting environment to live and work in. TCA: How would you assess the current state of cultural relations between Germany and Kazakhstan? What changes have you observed in these relations in recent years? Friederike van Stephaudt: I would describe the cultural relations between Germany and Kazakhstan as lively, productive, and based on genuine mutual interest. What I particularly appreciate is that cultural exchange today is no longer understood as a one-way transfer of knowledge or artistic practices. There is a strong desire on both sides to learn from one another. While Germany and Kazakhstan often approach cultural, social, or artistic questions from different perspectives, we also discover many similarities and shared concerns. Topics such as social transformation, memory, sustainability, inclusion, and digitalization are relevant in both countries. Over recent years, I have observed a growing openness toward collaborative formats that allow artists, cultural professionals, and institutions to work together as equal partners. TCA: The Goethe-Institut’s mission is not limited to promoting the German language; it also aims to foster dialogue between cultures. In Kazakhstan, which of these two areas are you currently prioritizing? Friederike van Stephaudt: For us, these two areas cannot really be separated. We do not prioritize one over the other because language and cultural dialogue are closely interconnected and mutually reinforcing. Learning a language always means engaging with another culture. It offers access to different perspectives, ways of thinking, and forms of expression. At the same time, meaningful cultural exchange becomes much richer when people can communicate directly with one another. This is why we see language promotion and intercultural dialogue as two sides of the same coin, and our work aims to strengthen both equally. TCA: How strong is the interest in learning German in Kazakhstan? Have the motivations and aspirations of young people who want to learn German changed in recent years? Friederike van Stephaudt: Interest in learning German...

Cultural Heritage

The Art of the Witty Reply: How Uzbek Askiya Works

Imagine two people standing before an audience. One throws out a joke. The other has only a few seconds to grasp the meaning, pick up the wordplay, and fire back – preferably with something even sharper. The first responds again. Hesitate, miss the implication, or simply fail to make the audience laugh, and the round is lost. That is how askiya works – a traditional Uzbek contest of wit in which the conversation cannot be scripted in advance. In 2014, UNESCO inscribed askiya on the Representative List of the Intangible Cultural Heritage of Humanity. But the genre lives on beyond festivals and recordings of old masters. Today, schoolchildren compete in askiya, young performers learn from their elders, and short performances circulate on social media. The Joke Is Only the Beginning Askiya usually involves two or more participants. They choose a common theme, one begins, and the others respond by seizing on words, double meanings, and unexpected associations in the previous speaker’s line. There is no time to step away and think of a better answer. A good askiyachi – an askiya performer – needs a keen sense of language, quick reactions, and the ability to instantly recognize where someone else’s thought can be taken. Almost anything can provide material: everyday situations, human habits, relationships, and events familiar to the audience. Humor also makes it possible to address subjects that are not always easy to laugh about in ordinary conversation. Askiya can poke fun at human weaknesses and comment on events around it, but it does so through verbal play rather than moralizing. UNESCO notes that the tradition is particularly closely associated with the Fergana Valley and the Tashkent region. Historically, most practitioners have been men. How Do You Teach Improvisation? The hardest part is passing the skill on to the next generation. A famous comedian’s joke can be memorized. In askiya, that is not enough. A performer has to hear the other person’s line, spot the trap hidden inside it, and find a way out before the audience loses interest. Traditionally, performers learned directly from a master. In Uzbekistan, this principle is known as ustoz-shogird – “master and apprentice.” It is used across many traditional arts, from music to crafts. The system is still at work in the Fergana Valley, one of the main centers of askiya. At a recent regional competition marking the 116th anniversary of Uzbek actor and comedian Soyib Khodjayev, the askiya club from School No. 57 in the city of Karasu took second place. The school of mastery named after Abdulkhay Makhsum Kazakov from Kurgantepa district won first place, while a team from Jalakuduk district finished third. Askiya was judged separately from other comic performances and theatrical miniatures. The distinction matters: a sketch can be rehearsed; a verbal duel cannot. Special schools of mastery also operate in districts of the Fergana region. Young performers train with experienced artists, preserving the traditional method of learning directly from a master. But a paradox remains: how do you teach...

Ballet

From Kazakhstan to International Ballet: Meirambek Nazargozhayev’s Rise

Meirambek Nazargozhayev’s journey is a remarkable story of talent, determination, and transformation. Hailing from the small village of Karaoy in Kazakhstan’s Almaty region, he grew up like many boys in the countryside, playing football and the dombra, with little connection to the world of classical ballet. Today, however, he is a principal soloist at the Royal Danish Theatre, one of Europe’s most prestigious cultural institutions. Ballet was not part of Nazargozhayev’s childhood dreams. His path changed thanks to his aunt Farida, a choreographic instructor in Almaty, who noticed his potential early on and encouraged him to pursue dance. At the age of ten, he entered professional training, marking the beginning of an unexpected but extraordinary career. Creativity had always been part of his life. He recalls being drawn to music and performance from an early age, playing instruments, exploring artistic interests, and taking part in local cultural activities. In 2006, he was admitted to a choreographic school in Almaty, where he trained intensively. Watching dancers glide and leap across the stage left a lasting impression, turning his initial curiosity into a deep passion for ballet. [caption id="attachment_48150" align="aligncenter" width="300"] From a personal photo archive[/caption] With consistent effort and discipline, Nazargozhayev soon began gaining international recognition and winning awards. His artistic path echoes the words of Rabindranath Tagore, who described art as an expression of the inner self. While many of his classmates aimed to join local theaters in Astana or Almaty, Nazargozhayev aspired to build a career abroad. He first moved to Moscow, where he spent eight months working at a major theater, performing key roles and refining his skills. Eager to broaden his horizons, he then turned to Europe, known for its rich ballet traditions and high professional standards. His European career began in Kiel, Germany, where his distinctive style and talent quickly earned him a contract. He flourished there, particularly in contemporary dance, a genre he continues to value deeply. During his time in Germany, he heard a great deal about the Royal Danish Theatre, which soon became his ultimate goal. An offer from a major theater in Madrid followed, promising strong prospects. Shortly afterward, however, he received an invitation from the Royal Danish Theatre, the very stage he had long dreamed of joining. [caption id="attachment_48151" align="aligncenter" width="300"] From a personal photo archive[/caption] “I was in disbelief,” he admits. “I had applied, but I never imagined I would actually be accepted.” After joining the company, Nazargozhayev made an immediate impact by performing a solo role in Jiří Kylián’s ballet 27’52”, an opportunity rarely given to new members. His performance captivated both audiences and colleagues, establishing him as a standout artist. Over the past eight years, he has continued to grow professionally, appearing on major stages across Europe, China, North America, and at the Kremlin Palace. In recognition of his excellence and dedication, the Royal Danish Theatre granted him a lifelong soloist contract, an honor reserved for only the most distinguished performers. He has also performed before the Danish...

Culture

British-Kazakh Cultural Festival Returns to Burabay

Burabay, a popular lake resort in northern Kazakhstan, has hosted the 10th edition of the 'Voices of Friends: Poetry & Art' festival, which ran from 29 November to 2 December. The annual gathering, arranged by the London-based Eurasian Creative Guild (ECG), has become one of Central Asia's events for cultural collaboration, bringing together writers, filmmakers, visual artists and musicians from 20 countries. This year’s programme continued the festival’s mix of literature and modern arts, with an emphasis for 2025 on emerging film talent, through the youth-focused Cinema Future festival and the Burabay International Short Film Festival (BISFF). According to filmmaker and BISFF jury member Timur Akhmedjanov, “Young filmmakers from different countries on one screen [means] the birth of a new generation of cinema.” Alongside film events, the festival featured book presentations from publishers Hertfordshire Press, discussions about art, performances by an international community choir, and creative workshops hosted at the ECG Horizons residency. Organisers emphasised that for the festival, collaboration is as important as presentation. “The festival grows like a living universe of ideas and emotions. Here everyone is a creator – and everyone feels that their voice matters,” said festival director and cultural projects author Taina Kaunis. During the event's closing ceremony, awards were presented to some figures shaping Eurasian culture, while the Eurasian Creative Guild announced a change in leadership ahead of its 2026 season. Founder Marat Akhmedjanov, originally from Uzbekistan but now residing in Scotland, highlighted the organisation’s international ethos, saying: “Creativity knows no borders. We speak dozens of languages, yet understand each other perfectly.” ECG vice-chair Saltanat Khamzeyeva called it “the beginning of a big story” for cultural development in Central Asia. The Guild underscores that the Burabay resort has become more than a picturesque location for a festival. Chair Francesca Mepham summed up its growing impact: “We see Eurasian creativity becoming a global voice – and this voice will only become stronger.”