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...

Uzbek Writer Hamid Ismailov Appears in Bookmakers’ Odds for 2026 Nobel Prize

British bookmaker Ladbrokes gives Uzbek writer Hamid Ismailov odds of 33/1 for the 2026 Nobel Prize in Literature. The Ladbrokes list also includes Haruki Murakami, Margaret Atwood, Salman Rushdie, Stephen King, and J.K. Rowling. Bookmakers’ odds, however, have no connection to the Nobel Prize’s official nomination process. Details of nominations are kept secret for 50 years, and the literature laureate is selected by the Swedish Academy. The 2026 laureate will be announced on October 8. This year’s Nobel Prize carries an award of 12 million Swedish kronor, or about $1.2 million. Ismailov was born in 1954 in Tokmok, in what is now Kyrgyzstan, and grew up in Uzbekistan. He was forced to flee Uzbekistan in 1992 after coming under pressure from the government of then-President Islam Karimov over his writing and political views. His works were subsequently banned in the country. He settled in the United Kingdom and went on to work for the BBC World Service for 25 years. Ismailov writes principally in Uzbek and Russian. His international profile has grown through English translations of novels including The Railway, The Dead Lake, and The Underground. His novel The Devils’ Dance, translated from Uzbek by Donald Rayfield with John Farndon and published by Tilted Axis Press, won the EBRD Literature Prize in 2019. In 2025, Ismailov’s We Computers: A Ghazal Novel, translated from Uzbek by Shelley Fairweather-Vega and published by Yale University Press, was named a finalist for the U.S. National Book Award for Translated Literature. The novel draws on Persian poetic traditions and literary history to explore artificial intelligence. Its story centers on a French poet and his Uzbek translator, who experiment with a computer program capable of analyzing and generating literary texts. The Nobel Prize in Literature, first awarded in 1901, went to Hungarian writer László Krasznahorkai in 2025.