• KZT/USD = 0.00221
  • TJS/USD = 0.10850
  • UZS/USD = 0.00008
  • TMT/USD = 0.29760
  • KZT/USD = 0.00221
  • TJS/USD = 0.10850
  • UZS/USD = 0.00008
  • TMT/USD = 0.29760
  • KZT/USD = 0.00221
  • TJS/USD = 0.10850
  • UZS/USD = 0.00008
  • TMT/USD = 0.29760
  • KZT/USD = 0.00221
  • TJS/USD = 0.10850
  • UZS/USD = 0.00008
  • TMT/USD = 0.29760
  • KZT/USD = 0.00221
  • TJS/USD = 0.10850
  • UZS/USD = 0.00008
  • TMT/USD = 0.29760
  • KZT/USD = 0.00221
  • TJS/USD = 0.10850
  • UZS/USD = 0.00008
  • TMT/USD = 0.29760
  • KZT/USD = 0.00221
  • TJS/USD = 0.10850
  • UZS/USD = 0.00008
  • TMT/USD = 0.29760
  • KZT/USD = 0.00221
  • TJS/USD = 0.10850
  • UZS/USD = 0.00008
  • TMT/USD = 0.29760
23 October 2026

Viewing results 1 - 6 of 175

Touching Fairy Tales: In Ust-Kamenogorsk, Books Are Knitted, Sewn, and Brought to Life

At the A.S. Pushkin Library in Ust-Kamenogorsk, East Kazakhstan region, reading has become a tactile adventure. Here, books aren’t just read, they’re knitted, sewn, and handcrafted. Librarians have discovered a magical way to ignite children’s interest in reading: through tactile books that can be touched, flipped through, and even assembled. “The main thing is to find an approach to each child. Even if they haven’t been encouraged to read at home, we can change that in the library,” says Dinara Mergenbayeva, head of the Center for Knowledge. The idea was born from a desire to make books more relatable. “Who says children don’t read? They do, and with great curiosity! They just need something new, lively, and emotional,” she explains. Knitted Books and Soft Stories The library’s first knitted book was a Kazakh-language version of the alphabet primer Әліппе, inspired by Kulmay Sembayeva’s Aripler aleminde (“In the World of Letters”). Each letter is paired with a poem and a small, crocheted animal or object, which children can pull from pockets and explore. “For example, the letter A, next to it are an akhu (swan) and an ayu (bear). We knitted and cut out all the figures ourselves. The materials came from our homes. Even the cover was made from my old suede boots, they’ve found a second life now,” one librarian shares. Another handcrafted creation is Pushkin’s The Tale of the Fisherman and the Fish. In this interactive version, characters can be moved around, allowing children to change the course of the story. Kids act out scenes, invent new endings, and immerse themselves more deeply in the narrative. [caption id="attachment_37026" align="aligncenter" width="355"] @Yulia Chernyavskaya[/caption] There’s even a trilingual crocheted edition of Abai’s The Seasons, in Kazakh, Russian, and English. Its pages include trees, snowflakes, flowers, and ladybugs, all detachable and fastened with buttons. Children can “switch” winter to spring, collect leaves, or “scatter” snow, transforming play into reading. “This helps develop fine motor skills, imagination, and a love of books. The key is to keep it interesting,” notes Mergenbayeva. Books You Won’t Find Anywhere Else Each tactile book is handmade, with production times ranging from three weeks to six months. The entire library staff is involved, from brainstorming to material selection and testing books with children. Special editions are created for older students, including a large-format album commemorating Abai’s 175th anniversary, with sections titled “Abai the Writer,” “Abai the Philosopher,” and “Abai the Musician.” “If a child remembers even one illustration, that’s a success. A book should leave an impression, visual, emotional, any kind,” says a librarian. Each edition includes a QR code linking to a digital version in the library’s electronic collection. When Children Bring Their Parents At Pushkin Library, reading is a family affair. Every Saturday features shared reading sessions, reinforcing the tradition of reading together. “The youngest children come with their parents, and later they’re the ones dragging them back. Kids literally pull their moms and dads to the library,” Mergenbayeva smiles. For teenagers, there’s the Literary...

Silk Road Shipwrecks: Virtual Museum Opens Maritime Section

One of Central Asia’s most engaging new cultural projects took on a new dimension last month. The Silk Road Virtual Museum, an online collection of over 20 exhibitions of pre-16th-century Eurasian life and art, has recently opened a section for the ancient trade route’s maritime history. An initiative by the Institute of Asian Studies at Leiden University in the Netherlands, the site allows visitors to move through themed rooms, just as they would wander through a physical museum. Beginning on a map of the world on the museum’s homepage, visitors click on the Silk Road locations that they wish to discover. Each pin on the map takes them to a video replicating a guided tour of art and artefacts from that place at a certain historical era. Just as in a real museum, each exhibit has an information panel explaining what the object is. Life on the Central Asian parts of the Silk Road is shown in exhibitions to Sogdian traders in Samarkand (6th-8th centuries), with camels often featuring in their ceramic art, and a room dedicated to ancient caravanserais (inns that provided lodging for travellers), including at Tash Rabat in Kyrgyzstan. Launched in 2024, the Silk Road Virtual Museum already displays over 1,300 objects in total. Their geographical reach mainly stretches from Venice to China, as the Silk Road is often imagined today – but there are collections from places as unexpected as Sweden and Indonesia.  With the launch of the maritime section on 16 September, their scope now spans seas as well as deserts. Virtual visitors can travel along the coasts of the Indian Ocean, where there are already seven shipwreck exhibitions, each with its own unique story. The project is managed by VirtualMuseum360 and supported by an international network of scholars, who aim to make the Silk Road’s many eras and strands accessible to people wherever they are in the world. The web pages have two advantages over traditional museums, in that they are free to access and open 24/7.  Leading the Silk Road Virtual Museum (SRVM) is Professor Richard Griffiths, the director of Leiden University’s ‘New Silk Roads’ programme. A distinguished economic historian who has specialised in the history of trade, during a spell teaching in the Chinese city of Chengdu, Griffiths took an interest in China’s Belt and Road Initiative. When he began to trace the policy’s history, he realised that the origins of China’s modern trade with the West can be found in the myths and realities of the ancient Silk Roads. The key to making SRVM work, he says, is collaboration. Griffiths tells The Times of Central Asia: “We’re not replacing real museums – we’re working alongside them. Everything we do depends on the knowledge of academics, archaeologists, and conservators. Together we can make heritage accessible to anyone, anywhere, without losing its depth or integrity.” “Our visitors are a real mix,” he adds. “Often people tell me they use SRVM before a trip, so that when they see objects in a real museum,...

Global Conflicts Fuel a Wave of Cancellations in Central Asia’s Cultural Scene

On September 20, performers from Kazakhstan, Uzbekistan, Tajikistan, and Kyrgyzstan took part in the international “Intervision-2025” contest in Moscow, a music competition often described as the Eurasian counterpart to Eurovision. Originally launched in the 1970s by countries of the Eastern Bloc, Intervision has been periodically revived as a stage for showcasing regional talent and cultural diversity, with recent editions aiming to strengthen cultural exchange across Eurasia. At the event, last held in Sochi, Russia, in 2008, the Kyrgyz performers, Nomad, earned second place. But even as regional talent competes on the global stage, a parallel trend is intensifying at home: artists, especially Russians, are increasingly being “canceled” across Central Asia. The root cause, observers say, is Russia's war in Ukraine. Mounting Controversies Concert cancellations, particularly in Kazakhstan, have become so frequent that international artists are growing wary. On September 17, organizers for Canadian pop star The Weeknd announced the cancellation of his planned show in Almaty. They cited a broader pattern of artist cancellations in the country. “In light of recent events and online discussions, we have decided to consider hosting the concert elsewhere,” the statement read. Sources suggest the cancellation was indirectly linked to the backlash over an upcoming concert by Russian rapper Timati, who has publicly supported the war in Ukraine. The online campaign has reportedly cast a shadow over unrelated performances, including The Weeknd’s. At the same time, anti-war artists are also being blocked. Belarusian rapper Max Korzh saw his Almaty show canceled, despite his public criticism of the war. The decision may have been influenced by riots at his August concert in Warsaw, where Ukrainian Insurgent Army (UPA) symbols were seen. In Russia, the UPA is classified as an extremist group; in Poland, it is accused of wartime atrocities against Poles. Following the event, the Polish authorities deported 57 Ukrainians and 6 Belarusians. Kazakh officials, observers say, are keen to avoid similar controversies. The War’s Cultural Fallout Ideological divides are reshaping Central Asia’s cultural landscape. Once welcome, Russian performers now frequently face petitions and protests. In August, an online campaign demanded the cancellation of pop singer Polina Gagarina’s November concert in Kazakhstan. Petitioners argued her public support for Moscow’s policies contradicted international law and risked provoking social unrest. Russian rock singer Zemfira reportedly canceled her June concert at the request of venue owners. Other Russian artists, including Grigory Leps, Vladimir Presnyakov, and the Turetsky Choir, have been barred due to perceived support for the war. The “Zhara” music festival was also scrapped following online criticism, with the Kazakh Minister of Culture citing "political propaganda and attempts to divide society" as the reasons behind the decision. Meanwhile, anti-war comedians and musicians are facing hurdles. Maksim Galkin, designated a “foreign agent” by Russia and now living in Israel, has complained of bans in Kazakhstan. Outspoken rapper Alisher Morgenstern canceled concerts in Almaty and Astana last year, while both his and Leps’ shows were prohibited in Kyrgyzstan. Officials in Bishkek cited moral concerns, accusing Morgenstern of undermining “Kyrgyz traditions...

Backstreet Boys to Perform in Almaty on September 19 for City Day

Almaty is preparing to host one of its most anticipated music events of the year: the legendary Backstreet Boys will perform at Central Stadium on September 19 in celebration of City Day. Organizers have promised a show featuring the group's greatest hits from the 1990s and 2000s, complete with elaborate stage production and the signature energy that made the band a global phenomenon. To ensure public safety, approximately 2,500 police officers will be deployed, alongside on-site ambulance teams and fire crews. The city administration has also announced that 150 volunteers will assist attendees in navigating the venue. LED screens around the stadium will display a hotline number for those needing assistance. [caption id="attachment_36340" align="alignnone" width="300"] @Almaty Akimat[/caption] The concert is expected to attract Almaty residents as well as international fans, some of whom have traveled thousands of kilometers to see the iconic group perform against the backdrop of the Zailiyskiy Alatau mountains. “I bought my ticket back in July and flew in from Minsk just for this show. The city is amazing, and the atmosphere promises to be unforgettable,” said Belarusian fan Yulia Makhovich. For 35-year-old Almaty resident Alina Agapova, the event carries personal significance: “Backstreet Boys are my childhood and youth. Their songs always carried deep meaning and are tied to important memories. For me, this is not just a concert but a return to the times when we collected posters, magazines, and dreamed of seeing them live.” [caption id="attachment_36344" align="alignnone" width="300"] @Almaty Akimat[/caption] Many fans see the band’s visit as a milestone for Kazakhstan’s cultural scene. “Before, to attend concerts like this, you had to fly to Europe or the U.S. Now global stars are coming to us. It’s a matter of pride for our city,” said Aigerim, a university student who purchased her ticket in the first days of sales. Almaty is emerging as a regional hub for international music. After hosting stars like Jennifer Lopez and Marilyn Manson, the Backstreet Boys’ concert highlights the city’s drive to become Central Asia’s leading destination for major cultural events, with strong attention to safety and accessibility.

Urban Night Almaty: Creative Communities and the Future of Central Asia

Ecology, entrepreneurship, and innovation in urban life were the central themes of Urban Night Almaty, a one-day festival held last Saturday in Kazakhstan’s largest city. The event sought to answer a key question: Can small-scale initiatives and grassroots communities meaningfully improve life in a metropolis? Organizers and attendees alike believe they can. The festival drew together a wide array of participants, recycling advocates, artists, artisans, confectioners, cosmetics producers, startup founders, writers, journalists, students, sociologists, urbanists, architects, and entrepreneurs, each contributing to a shared vision of sustainable, inclusive urban development. [caption id="attachment_36181" align="aligncenter" width="350"] @Eduard Galeev[/caption] “Each of us lives in our own information bubble, and events like this push us to step outside of it. We’re all different, but we can achieve something together,” said ecologist Pakizat Sailaubekova. “Looking at the people who came to the festival and how moved they are, it’s inspiring.” Discussion and Decision-Making Urban Night Almaty was organized around several thematic zones. One area was dedicated to public discussions on technology, education, and ecology. Bekežan Kaigaliev, founder of Food Recycling and Aquajem, presented on the use of fly larvae to process organic waste in large cities. Alexey Kupriakov, founder of the Green Workout movement, shared ideas on integrating eco-friendly practices into urban planning. Zhuldyz Saulbekova, CEO of the Almaty Air Initiative, spoke about technological solutions for combatting air pollution and chronic smog. [caption id="attachment_36180" align="aligncenter" width="350"] @Eduard Galeev[/caption] Other panels focused on educational innovation. Journalist and PR expert Anuarbek Zhalel, alongside Nursultan Amirkhan, product manager at Daryn.online, discussed promoting startups and integrating new tools in learning environments. A separate session brought together alumni of U.S. internship programs. Among them were athlete and IT specialist Aina Dosmakhambet, lawyer Zhibek Karamanova, and Yerzhan Nauruzbayev, a Forbes 30 Under 30 honoree with professional experience across three continents. Practice and Inspiration Beyond the panels, attendees participated in workshops and creative performances. Highlights included a sports-themed cleanup organized by Kupriakov and an urban exploration of Almaty led by the GoroZhanym project. An eco-themed market showcased small-scale producers offering food, toys, jewelry, souvenirs, and hygiene products. Many entrepreneurs shared stories of how their ventures, though modest in scale, contribute to making Almaty cleaner and more future-oriented. [caption id="attachment_36183" align="aligncenter" width="233"] @Eduard Galeev[/caption] “We often speak in terms of global problems, but it’s essential to respect action at the micro level,” said political analyst Dosym Satpaev. “Thanks to social media, even the smallest project can gain traction. The more of these we have, the stronger our creative economy becomes. These are the foundations for national stability, development, and retaining talent.” Satpaev also hosted a futurology session addressing the challenges and prospects artificial intelligence presents for Central Asia. The festival concluded with a tұsaуkeser ceremony, a Kazakh tradition that involves cutting a symbolic cord representing a newborn's first steps. The cords, handcrafted by members of the Niti Dobra movement (which supports premature infants), symbolized renewal and the strengthening of ties between citizens and their city. [caption id="attachment_36179" align="aligncenter" width="350"] @Eduard Galeev[/caption] Regional Reach “Our...

“Recipes for Broken Hearts”: Bukhara Launches First Art Biennale

This autumn, the ancient Silk Road city of Bukhara is poised to reemerge as a global cultural destination, hosting its first-ever international art biennale, Recipes for Broken Hearts. Running from September 5 to November 20, the ten-week festival will transform Bukhara, a UNESCO Creative City, into a vibrant arena for contemporary art, community rituals, and culinary experiences. The initiative is spearheaded by Gayane Umerova, chair of the Uzbekistan Arts and Culture Development Foundation (ACDF), with renowned curator Diana Campbell at the helm. More than 70 new works, created in Uzbekistan, will be displayed in historic madrasas and caravanserais, reimagined as immersive exhibition spaces. The event promises to be among the region’s largest cultural gatherings, aiming to reclaim Bukhara’s place on the global cultural map. Not Just an Exhibition, A Sensory Ritual Recipes for Broken Hearts is not a traditional exhibition. Designed as a “ritual for the senses,” it invites audiences to engage with art not just visually but through touch, scent, sound, and taste. Sculptures, textiles, music, and food converge into an experimental space for “emotional healing.” Visitors become participants rather than spectators. At the opening ceremony, instead of a red carpet, guests will be welcomed by the scent of fermentation. Korean Buddhist nun and chef Jeon Kwan will prepare kimchi, place it in a clay pot, and bury it. Ten weeks later, the fermented dish will be unearthed and shared with the public, symbolizing transformation and healing through time. A Dialogue Between Cultures The biennale’s installations span a wide geographic and cultural range. Egyptian-American artist Laila Gohar will craft navata, a crystal made from grape juice and saffron. Colombian artist Delcy Morelos will construct a dome of clay, sand, and spices to symbolize human connection to the earth. Uzbek artist Oizhon Khairullaeva and ceramist Abdurauf Tahirov will create “organs of the city,” including a beating ceramic heart and a “stomach” integrated into historic architecture. Indian sculptor Subodh Gupta will build a giant dome from enamel teapots and bowls, shaped like a yurt, where guests will be served fusion cuisine. Central to the project is the in situ approach: every piece is created in Bukhara with the support of local artisans, potters, weavers, and carpet makers, infusing contemporary works with traditional skills. “This isn’t an art fair,” explained the curators. “Each piece speaks from this land, even if the whole world sees it.” [caption id="attachment_21936" align="aligncenter" width="2560"] The Kalon Mosque, Bukhara; image: TCA, Stephen M. Bland[/caption] Bukhara as a Living Gallery Festival venues are dispersed throughout Bukhara’s historic core, effectively turning the city into an open-air gallery. Four restored caravanserais symbolize the emotional journey from grief to hope. The 16th-century Gavkushon madrasa, repurposed as the “House of Softness,” will host workshops, public readings, and a symposium titled The Craft of Mending. There, artists and scholars will explore the “culture of repair”, from object restoration to the preservation of historical memory. “Erasing history is also a form of pain. Restoration is resistance to oblivion,” notes Harvard-based art historian Aziza Izamova. Concurrently,...