TCA Interviews - The Times Of Central Asia

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TCA Interviews

Saving The Caspian Seal: An Interview with Assel Baimukanova

The Caspian seal is the only marine mammal native to the Caspian Sea and the world’s only seal species found exclusively in an inland body of water. Once numbering close to one million, its population has declined dramatically over the past century due to commercial hunting, habitat degradation, pollution, accidental entanglement in fishing gear, and climate change. Today, the species is listed as Endangered on the IUCN Red List. Kazakh zoologist Assel Baimukanova has spent the past 13 years studying the Caspian seal alongside her father, renowned scientist Mirgaliy Baimukanov. Their work takes them to remote islands in the northern Caspian, where they spend weeks living in tents, monitoring the animals and collecting data essential to understanding the rapidly changing sea. The Times of Central Asia spoke with Baimukanova about how the Caspian seal coexists with offshore oil production, why scientists perform necropsies on dead animals, and what the future holds for the sea’s only endemic marine mammal. TCA: Assel, you have been studying the Caspian seal for 13 years. Since it is an endemic species found nowhere else in the world, are there many international researchers working on it, or is it studied mainly by Kazakh scientists? Baimukanova: The Caspian seal is indeed an endemic species, meaning it is found only in the Caspian Sea. But it is not studied only by our Institute of Hydrobiology and Ecology. Several research organizations, both in Kazakhstan and abroad, are involved in studying the species. Russian and Iranian scientists also work on the Caspian seal. In addition, we cooperate with researchers who study other seal species in Estonia, Finland, the United Kingdom, and the United States. Each of these countries has experience studying different pinniped species, so we regularly exchange expertise and research findings. Our cooperation with international colleagues was particularly active between 2005 and 2017, when we carried out a number of joint research projects. TCA: In your documentary film, you say that although the Caspian Sea is shared by several countries, Kazakhstan bears the greatest responsibility for protecting the Caspian sealbecause the species’ most important habitats are located in Kazakh waters. Baimukanova: Yes, that is true. In spring and autumn, up to 90% of the Caspian seal population may gather in Kazakhstan’s sector of the Caspian Sea. In winter, the animals breed on the ice in the northern Caspian. Depending on ice conditions, breeding colonies may be located in either the Kazakh or Russian sectors. During spring and autumn, however, most seals are found in the shallow and hard-to-reach northeastern part of Kazakhstan’s sector of the sea. That is why the condition of our part of the Caspian is critical to the conservation of the species. TCA: But the ice cover is shrinking every year because of climate change. Should we already be worried, or is there no immediate cause for concern? Baimukanova: There is every reason to be concerned. Warm winters are becoming more common, while cold and severe winters are becoming increasingly rare. Ice still forms, but it...

Plastic Recycling

From Waste to Design: How UpKel Is Rethinking Plastic Recycling in Kyrgyzstan

In Kyrgyzstan, much of the country’s plastic waste remains unsorted and ends up in landfills, while recycling infrastructure is limited. A growing number of local initiatives are treating discarded plastic as a usable material. One of them is UpKel, a circular design project that turns plastic waste into custom accessories and home decor. The Times of Central Asia spoke with UpKel founder Chinara Sultanalieva about plastic recycling in Kyrgyzstan and how design and local production can support a circular economy. She also discussed the obstacles holding back the sector. TCA: Tell us a bit about UpKel. How did the project start, and when did you realize you wanted to work in plastic recycling? Chinara: For almost 10 years, I worked in the corporate sector. I liked my job. I analyzed complex financial, management, and economic data and presented it to lenders, investors, and local communities. I also prepared sustainability reports, which let me see how the value created by a business could be distributed in the interests of employees and affected communities. Still, I always wanted to do something more meaningful. In 2019, I was selected to take part in the Community Solutions Program in the U.S. and spent four months at an environmental NGO in Seattle, Washington. I was struck by how much importance is placed there on environmental protection and public health, and by how local organizations support environmental initiatives and, importantly, keep people informed about upcoming changes in legislation. I was also impressed by the waste management system in the U.S. For example, Washington state alone had more than 80 organic waste recycling facilities. In one nearby city, compost was made from sludge produced by the wastewater treatment system, and the local zoo composted animal manure. I was especially interested in composting toilet systems, which I later introduced in Kyrgyzstan. At the same time, I understood that working directly with organic waste would be difficult and would likely face resistance from society. So I decided to start with plastic waste recycling. Plastic is visible, easier to measure, and recycling markets for it already exist, unlike for organics or mixed materials. Also, with this material, even a small-scale production operation can create a local circular economy without needing heavy industrial infrastructure. TCA: Why did you choose plastic specifically, and how did the UpKel model take shape? Chinara: Plastic waste remains a major part of environmental pollution. It is highly visible and can take hundreds of years to break down, possibly even longer than current estimates suggest. I was already familiar with the international Precious Plastic movement and had visited Rocket Plastic in Almaty, which operates on that model. So after returning to Kyrgyzstan, I founded the public foundation EcoFem to promote responsible resource use and gender equality. With support from a U.S. Embassy grant, I launched the country’s first workshop producing items from recycled plastic based on the Precious Plastic model. The workshop was set up to process four types of plastic waste. There are seven plastic categories...

TCA Interviews

Kazakhstan Seeking to Turn Transit Routes Into Investment Growth, Vice Minister Says

The development of transport and logistics has become one of the main priorities of Kazakhstan's economic policy as the country seeks to turn its position between China, Russia, the Caspian Sea, and Europe into long-term growth. Government transport data show the broader transport and warehousing sector grew in January-May 2026, although rail freight and cargo turnover remained under pressure. Large-scale rail, road, port, warehouse, and digital projects now sit at the center of that effort. The sector requires tens of billions of dollars in investment, while the reshaping of Eurasian supply chains since 2022 has raised the importance of the Middle Corridor and Caspian-linked routes. Can Kazakhstan attract the capital needed to implement large-scale infrastructure projects? How will changing investment priorities affect regional development? And how could new investment reshape the country's transport market? The Times of Central Asia discussed these questions with Maksat Kaliakparov, vice minister of transport of the Republic of Kazakhstan. TCA: How would you assess the current investment attractiveness of Kazakhstan's transport sector? How much foreign investment has the industry attracted recently? Maksat Kaliakparov: The investment attractiveness of the sector is high and continues to strengthen. In 2025 alone, gross foreign direct investment into Kazakhstan's economy reached $20.5 billion, an increase of 14.4% compared with the previous year. Investment is increasingly flowing into transport and logistics alongside manufacturing, digital infrastructure, and the financial sector. The transportation and warehousing sector was among the country's fastest-growing industries in January-May 2026, expanding by 8.4%. Investor interest is also reflected in the fact that, in 2025, Kazakhstan signed 88 commercial agreements worth more than $69.5 billion with partners from China, the UAE, the United States, and European countries. A significant share of these funds will be directed toward transport and logistics projects. More broadly, Kazakhstan's investment policy framework includes a target of increasing annual foreign direct investment inflows to $25.5 billion while raising investment in fixed capital to 25.1% of GDP. TCA: Which segments of the industry are currently attracting the greatest investor interest: railways, highways, aviation, ports, warehousing, or digital logistics? Which areas will require the largest investments in the coming years? Maksat Kaliakparov: Investor interest is spread across several major segments. Railways remain a key priority. Kazakhstan is implementing modernization and new construction projects, including the recently commissioned Dostyk-Moyynty railway section, as well as the Darbaza-Maktaaral and Moyynty-Kyzylzhar lines. By 2030, the country plans to build or modernize approximately 5,000 kilometers of railway infrastructure. Maritime and port logistics are also attracting substantial investment. Expansion is underway at the ports of Aktau and Kuryk, while a new container hub in Aktau is being built with the participation of China's Lianyungang Port Group. The project is expected to increase capacity to 240,000 TEU by the end of 2026. Road infrastructure has secured a landmark private investment through the Car Park Transformer roadside service network. Warehouse and multimodal logistics continue to develop, including through Kazakhstan's terminal at Georgia's Port of Poti. Digitalization is another important area. In particular, the pilot Smart...

Art and Culture

Kanybek Kalmatov Interview: Kyrgyz Director Takes on Chinghiz Aitmatov

At 25, Kanybek Kalmatov is taking on a subject many older directors might have avoided: Chinghiz Aitmatov, Kyrgyzstan’s most internationally recognized writer and a figure deeply embedded in the country’s cultural identity. Kalmatov, a cinematographer and graduate of VGIK, the prestigious Moscow film school, is making his directorial debut with Aitmatov, billed as Kyrgyzstan’s first full-length feature film about the writer’s life and career. The project has already drawn attention beyond Kyrgyzstan, not least because Russian actor Sergey Bezrukov has joined the cast. For Kalmatov, the film is also personal. He first encountered Aitmatov as a schoolboy through The Little Soldier, and later found that even at film school in Moscow, Kyrgyzstan was often viewed through the writer’s name. Now, after months of research and nearly a year spent developing the screenplay, he says he is ready to take on a life that one film can only partly contain. The Times of Central Asia spoke with Kalmatov about why he chose a biopic rather than an adaptation, how he approached Aitmatov’s life at such a young age, and why he hopes the film will send younger viewers back to the writer’s books. TCA: You have chosen an ambitious project for your directorial debut. How did the film come about? Kanybek Kalmatov: Since childhood, there have been two stories I always dreamed of filming. The first is about my parents, because they have an incredible love story. The second is about Aitmatov. It wasn’t only his works that fascinated me. It was the scale of his personality, how determined he was and how many different things he managed to do at the same time. I fell in love with Aitmatov when I was about 12, after reading The Little Soldier. It’s about a boy whose father died in the war. Since then, Aitmatov’s works have always stayed with me. Even at VGIK, where I studied, people often saw me through that lens: “You’re from Kyrgyzstan? The homeland of Aitmatov?” For us, he’s not just a writer; he’s part of our cultural code. So I felt that, sooner or later, this film was bound to enter my life. TCA: Were you afraid the project might not work? Kanybek Kalmatov: No. Probably because I believe strongly in intention. Any big undertaking starts with that. If your motivation is right and you understand why you’re doing it, things begin to fall into place. From the start, my intention was pure. I never saw this film as a way to gain fame or prove something to anyone. I wanted to tell the story honestly of someone who means so much to our culture. TCA: Don’t you think one has to “grow into” Aitmatov first? Kanybek Kalmatov: There are topics you need to mature into. But if you wait for the perfect moment, you may never make anything at all. Maybe if I waited another 15 years, I would approach this story differently. Or maybe I’d never dare. Personally, I respect people who aren’t afraid...

TCA Interviews

Emre Erdur Interview: Central Asia’s Visual Language

For Emre Erdur, Central Asia’s visual language begins with the vast horizons of the steppe, the horse, the yurt, felt patterns – symbols that have carried memory across generations. The Istanbul-born artist, designer, and author spoke with The Times of Central Asia about Kazakhstan, cultural codes, and why artists need to understand the meanings behind the images they use. The Language of Visual Storytelling TCA: How would you introduce yourself to readers who are encountering your work for the first time? Emre Erdur: I was born in Istanbul, and since childhood, I have had a strong interest in drawing, visual design, and storytelling. Over time, this interest evolved beyond simply creating illustrations and developed into a multidisciplinary practice that combines visual communication, illustration, concept design, and narrative development. Throughout my career, I have worked on a wide range of projects across different fields of visual design and communication. From illustration and architectural projects to product and game design, comic books, documentaries, and film productions. I have been involved in many areas where ideas require a strong visual language to be understood and communicated effectively. TCA: You are an artist, designer, and author working with visual storytelling. How would you define the main focus of your practice today? Emre Erdur: Today, I can no longer define myself simply as an illustrator or a designer. In reality, such definitions are often shaped less by the artist’s own description and more by the body of work they create and the way they work. At the center of my work is visual storytelling. Whether through comics, film development, or cultural projects, my main objective is to make ideas related to history, culture, and collective memory visible through contemporary forms of expression. For me, design is not an end in itself; it is a powerful tool for conveying stories, ideas, and emotions. In recent years, I have focused particularly on cultural memory, identity, historical narratives, and the shared cultural heritage of the Eurasian region. The challenge is not only to interpret the past. It is also about building a new language for the future by understanding the memories and experiences that come from the past. Kazakhstan as a Living Archive TCA: In our previous conversation, we discussed your work, The Legend of Ergenekon, and the influence Kazakhstan has had on your creative practice. How has your understanding of this subject evolved since then? Emre Erdur: Perhaps my core idea has not changed, but it has certainly deepened. At first, I viewed Kazakhstan’s influence primarily as a historical and visual source of inspiration. Over time, I came to realize that it represents something much deeper: a matter of cultural memory and, to some extent, a shared perspective on the future. Anatolia is an extraordinarily rich and multi-layered cultural geography. For centuries, it has been home to different civilizations, empires, and cultures, creating a landscape where many historical layers coexist. This richness also shapes the way we view the past; it can sometimes lead us to romanticize certain...

TCA Interviews

From Bishkek to Yakutsk: What Unites Eurasia’s Emerging Cinema

Stepan Burnashev is a Sakha filmmaker from Yakutia who has helped bring Yakut cinema to audiences far beyond the republic. His films have screened at international festivals, appeared on Amazon, and helped turn Yakut cinema into one of the most distinctive regional film movements in Eurasia. In Bishkek, where Burnashev served on the jury of the national KyrgyzBox section, The Times of Central Asia spoke with him about the phenomenon of Yakut cinema, international ambitions, and what connects Yakutsk, Bishkek, and other emerging cinemas of Eurasia. TCA: Stepan, this is not your first time attending the Bishkek International Film Festival. What attracts you to it? Stepan Burnashev: I love Bishkek very much. There is good cinema here, wonderful people, and Kyrgyz culture feels very close to me in many ways. I have attended three of the four festivals held so far. Still, I have never shown my own films here. The first time I came to Bishkek was at the invitation of Erke Jumakmatova, the head of the festival’s industry program. We met back in Busan, and she invited me to participate in a pitching session. Back then, I flew in with a team of Yakut filmmakers: Apollinaria Degtyareva, Alexey Egorov, and me. Apollinaria and I both participated in the pitching, and this year she entered the main competition of the Bishkek Film Festival with that project. The second time, I came on my own initiative because I had really fallen in love with the festival. It has a special warmth and atmosphere. This time I was invited as a jury member for the national KyrgyzBox program. TCA: How do you assess the KyrgyzBox program? Do you see any common ground between Kyrgyz and Yakut cinema? Stepan Burnashev: The program is interesting, though, as everywhere, there are weaker films and stronger ones. From what I understand, mainstream cinema, such as comedies, is more popular here, while in Yakutia, auteur films are also audience-driven. It is interesting, but I noticed that music is used much more actively in Kyrgyz films. In our films, music usually does not dictate anything to the viewer or tell them what to feel. Here I saw films with a different approach. It is curious. TCA: What kind of cinema interests you more today, auteur or mainstream? Stepan Burnashev: In fact, I do not divide cinema into auteur and mainstream. I divide films into good and not-so-good. I even try not to use the word “bad.” It seems unfair to the people who create films. Any director starts working on a film convinced they will make a great one. And I sincerely believe that no one sets out to make a terrible movie. Of course, there are cases where the result does not meet expectations, but behind every project there is the labor of many people. That deserves respect. TCA: What do you think about contemporary Kazakh cinema? Do you know it well? Stepan Burnashev: To say that I know Kazakh cinema very well would be an...