TCA Interviews - The Times Of Central Asia

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TCA Interviews

Designer Madina Tompiyeva: Kazakhstan’s Fashion Is Becoming a Language of Identity

Kazakhstani fashion is increasingly moving beyond style alone, with designers using clothing to explore heritage and contemporary identity. Anima, an Almaty-based brand, describes itself as an ethno-urban concept made in Kazakhstan. Its collections combine urban fashion with local aesthetics and motifs drawn from nomadic culture. The Times of Central Asia spoke with Anima founder Madina Tompiyeva about clothing as a language for the soul and freedom. She also discussed how Kazakhstani culture appears in contemporary silhouettes and why younger consumers are turning to fashion with stronger local references. TCA: Please tell us a little about yourself. How did you come to create the Anima brand, and what has this project become for you today? Madina: Since childhood, I dreamed of creating clothes and having my own fashion house. But the path to this was not straightforward. I studied economics, lived in different countries, worked in international companies, and spent a long time looking for answers to questions about what truly makes a person happy. At some point, my path led me to yoga, psychology, retreats, and a deeper acquaintance with myself. That is when the idea of Anima appeared. At first, I simply wanted to create clothes for myself comfortable, free, and honest. But very quickly I realized that through clothing, one can convey not only aesthetics, but also a state of being. Today, Anima is much more than a clothing brand for me. It is a way to speak about freedom, identity, beauty, and a person’s connection with their inner nature. TCA: What idea did you want to put into Anima from the very beginning? Madina: The word Anima itself translates as “soul.” From the very beginning, I wanted to create pieces that help a person feel like themselves, rather than play a role or conform to expectations. The foundation of the brand has always been the idea of returning to one’s essence: through comfort, natural fabrics, freedom of movement, and pieces that do not shout about themselves, but allow the person to come through. TCA: How do you define the brand’s visual language? Madina: I would describe it as a combination of cultural codes from around the world, natural forms, and a contemporary urban silhouette. We are inspired by the traditions of different peoples, but we do not reproduce them literally. We are more interested in reinterpreting cultural heritage through a contemporary form. That is why in our collections, you can see minimalism, ethnic motifs, Asian silhouettes, and modern functionality at the same time. TCA: The description of Anima includes the phrase “ethno-urban concept made in Kazakhstan.” What does this mean for you in practice? Madina: For us, it means a dialogue between tradition and modernity. We live in a global world, but at the same time, every nation has its own memory, culture, and meanings. Anima explores how these cultural roots can exist in a contemporary urban environment. Our pieces should look equally organic in Almaty, Berlin, and Tokyo, while still preserving their unique identity. TCA: How important is it...

Kazakhstan-Canada Relations

Beyond Resources: Ambassador Kussainov on Kazakhstan and Canada’s Partnership in AI, Education, and Innovation

For decades, Kazakhstan and Canada built their partnership around natural resources. Today, that relationship is expanding into new territory. From artificial intelligence and innovation to education and workforce development, both countries are increasingly looking beyond traditional sectors to shape the next phase of cooperation. This trend is already reflected in economic indicators. More than 160 Canadian-linked enterprises operate in Kazakhstan, Canadian investment has exceeded U$ 6 billion since 1994, and bilateral trade reached approximately U$ 458 million in 2025. At the same time, sectors that will shape the competitiveness of both economies in the coming decades are gaining greater importance. “I believe Kazakhstan-Canada relations are entering a new and dynamic phase,” said Dauletbek Kussainov, Kazakhstan’s Ambassador to Canada, in an interview with The Times of Central Asia. According to him, changes in the global economy are creating new opportunities for cooperation between the two countries. “Canada brings world-class expertise, technology and investment, while Kazakhstan offers significant resource potential, industrial capacity, and a strategic position connecting major markets,” the ambassador said. Although mining and energy remain central to bilateral cooperation, the scope of engagement is expanding into areas linked to technology, innovation and workforce development. This shift is also visible in the practical agenda of bilateral relations. In June, Astana hosted several major events involving Canadian business representatives. The Astana Mining & Metallurgy Congress brought together representatives of around 70 companies from 15 countries, including Canada, while the seventh meeting of the Kazakhstan-Canada Business Council brought together more than 100 participants, including senior representatives of Kazakhstani government agencies, the business communities of Kazakhstan and Canada, experts and academics. “This year also marks the 30th anniversary of the Inkai joint venture, a lasting example of successful cooperation between Canadian and Kazakh partners,” Kussainov noted. Three decades after the creation of one of the most successful joint projects in the uranium sector, bilateral cooperation is gradually moving beyond the traditional resource-based partnership and expanding into new areas, from education and technology to innovation and workforce development. From Extraction to Value Creation Critical minerals remain one of the key areas of cooperation between the two countries. As Western economies seek to diversify supplies of strategic raw materials, Kazakhstan is attracting growing attention because of its mineral resources. Canada, in turn, has one of the world’s strongest areas of expertise in geological exploration, mining engineering and sustainable resource development. According to Kussainov, the greatest potential lies in three areas: geological exploration, mineral processing, and human capital development and knowledge transfer. Processing is becoming especially important. “Today, the key challenge for many resource-rich countries is not simply extracting minerals, but creating more value from them domestically,” the ambassador said. This point reflects a broader shift in Kazakhstan’s economic strategy. In recent years, the country has been placing greater emphasis on developing processing industries and localizing technological processes. In this context, Canadian expertise in engineering, metallurgy, processing technologies and industrial project management is particularly relevant. The discussion is not limited to traditional industrial competencies. “The same applies...

AIRUN CEO Chingiz Arziev on Building Kyrgyzstan’s Sovereign AI

The Times of Central Asia was delighted to interview Chingiz Arziev, CEO of AIRUN a Kyrgyzstan-based company developing AI infrastructure for the Kyrgyz language. AIRUN’s technology includes a large language model, speech recognition, text-to-speech tools, AI translation, and digital avatars designed for use in government, education, media, business, and public services. Chingiz Arziev spoke to TCA about the challenge of building AI for a low-resource language, why digital sovereignty matters for Kyrgyzstan, and how the company hopes to take its experience to other countries facing similar language and technology challenges. TCA: To begin with, can you tell us a little about yourself: where you grew up, what you studied, and how you first became interested in technology? Chingiz Arziev: I was born and raised in Bishkek, Kyrgyzstan. My interest in technology started very early. Around the age of nine, I discovered design software: Photoshop, Illustrator, and CorelDRAW. I was not only learning how to use them, but also comparing their interfaces and trying to understand what made one product more intuitive than another. At around 14, I became interested in motion design, 3D graphics, and digital sculpting. I studied Adobe After Effects, Blender, and ZBrush. Whatever software I was learning, I was always interested in the same thing: user experience. Already by the age of 16, I had started learning HTML and CSS to begin building websites and landing pages. Looking back, the common thread has always been understanding how technology works and how it can solve real problems for people. TCA: Was there a particular moment when you realized that artificial intelligence could become a serious field for you personally? Chingiz Arziev: I have always been drawn to advanced engineering and emerging technologies. In 2015, I became deeply involved in the blockchain space. The architectures, protocols, and decentralized systems being developed at the time felt completely new and inspiring. But even that did not compare to what happened during the AI boom of 2022. I still remember the day I sent my first prompt to ChatGPT. For me, that was the moment everything changed. I immediately saw the direction technology would take over the next 20 years. After that, I spoke about artificial intelligence everywhere. I talked about how AI would transform industries, reshape professions, automate routine work, and fundamentally change the labor market. Many friends and colleagues thought I was exaggerating. But I had spent years following companies such as Boston Dynamics, Tesla, Unitree, and DJI. Because of that, I saw a broader picture. Artificial intelligence would not develop in isolation. It would advance alongside robotics, autonomous systems, and automation. After sending that first prompt to ChatGPT, I knew I wanted to dedicate my career to artificial intelligence. TCA: How did the idea for AIRUN first come about, and what problem were you trying to solve? Chingiz Arziev: For countries with low-resource languages, the need for sovereign AI has existed for a long time. The challenge was never the idea itself. The challenge was execution, expertise, infrastructure, and...

TCA Interviews

Kazakhstani Filmmaker Zhanana Kurmasheva on Her Semipalatinsk Nuclear Test Site Documentary

Zhanana Kurmasheva is a Kazakhstani documentary filmmaker and graduate of the T. K. Zhurgenov Kazakh National Academy of Arts, where she studied film directing. Her debut feature documentary, We Live Here, turns to the human legacy of the Semipalatinsk nuclear test site through the lives of people still living with its consequences. The film became the first documentary from Kazakhstan selected for competition at CPH:DOX, one of the world’s leading documentary film festivals. Over the past year and a half, We Live Here has screened at international festivals and was nominated for Best Documentary Film at the 2025 Asia Pacific Screen Awards. In an interview with The Times of Central Asia, Kurmasheva discusses why the story of the Semipalatinsk test site resonates with audiences around the world, what it was like filming on contaminated land, the growing interest in tours to the area, and why her next film will focus on consumerism. TCA: Zhanana, We Live Here premiered at CPH:DOX in Copenhagen, one of the world’s leading documentary film festivals. What did that moment mean for you? Zhanana: In the world of documentary cinema, CPH:DOX is one of the most prestigious festivals. Every filmmaker wants to be there because it showcases more than 200 of the strongest documentaries from around the world each year. Our film also became the first Kazakh project ever invited to compete in the festival. There were only 12 films in our section, and getting in was extremely difficult because the competition was intense. Being included in a program of that caliber came as a huge surprise to us. TCA: Why was it such a surprise? Zhanana: Honestly, when we were making this film, we never expected this level of success or invitations to so many festivals. By documentary standards, our project was produced on a very modest budget provided by Kazakhstan’s national film fund. The film was made largely through enthusiasm and dedication, without major international resources or influential foreign co-producers. We did everything ourselves. That is why I’m grateful for the opportunity CPH:DOX gave us. Participation there immediately brought international visibility to the film. TCA: What role did producer Banu Ramazanova play in bringing the film to international audiences? Zhanana: The fact that this film happened at all is largely thanks to our producer, Banu Ramazanova. She single-handedly promoted the film using her own resources. She believed in the project so strongly that she proved documentary cinema is worth investing in and that it can achieve a very high level. It’s wonderful that we have producers like her in Kazakhstan who genuinely care about the future of our documentary industry. TCA: Why do you think the selection committees responded to the film? Zhanana: It’s difficult for me to judge because we weren’t the ones making the selections. But if I had to guess, several factors played a role. First, Central Asia is still largely absent from the global documentary landscape. People know very little about our region, so any appearance of material from here naturally...

TCA Interviews

“Don’t Try to Please the West” – Screenwriter Kazybek Orazbek on Kazakh Cinema

Kazybek Orazbek is one of the screenwriters behind a recent shift in Kazakh cinema, as locally produced horror and thriller films have begun to punch above their weight, both at the domestic box-office and internationally. His credits include Dästür, the Kazakh-language horror film that earned more than 1 billion tenge ($2.2 million) in its first week, and Auru, a 2025 drama-thriller released with a 21+ rating in Kazakhstan and screened internationally under the English title Sicko. In an interview with The Times of Central Asia, Orazbek explains why deeply local stories can resonate globally, why Kazakhstan’s film industry needs international markets, and what mistake local filmmakers most often make when trying to appeal to Western audiences. TCA: Sicko, for which you wrote the screenplay, is a genre film aimed at mass audiences, yet it ended up in the International Film Festival Rotterdam program. Was that your goal from the beginning? Orazbek: Honestly, when we made the film, we weren’t thinking about festivals at all. We never set ourselves the task of getting into an international competition. We simply made a film we ourselves would want to watch. But after Dastur (Tradition), we met the European producer Anna Katchko and showed her Sicko. She immediately said the film had strong festival potential and started promoting it. That’s how it ended up in Rotterdam. If we had thought about festivals earlier, perhaps we could have submitted it to larger festivals as well. We finished the film after most major deadlines had already passed. TCA: How did international audiences react to the film? Orazbek: It was an interesting experience. We were given a fairly large screening hall with 600–700 seats. At first, the audience consisted mainly of Kazakhs living in Rotterdam and nearby cities, so everything felt familiar. I wasn’t nervous because our whole team was there – director Aitore Zholdaskali, actor Ayan Utepbergen, and producers Kuanysh Beisek and Almas Zhali. But then more and more foreigners started arriving, Europeans in the broadest sense, people of different ages, backgrounds and appearances. And when you realize they came specifically to watch a story created in Kazakhstan for a Kazakh audience, it becomes overwhelming. TCA: Were you nervous? Orazbek: It was a strange feeling. I was both happy and extremely anxious. I sat there listening to the audience reactions. They reacted even more intensely than audiences back home. They laughed exactly where they were supposed to laugh, and they were genuinely frightened where we wanted them to be frightened. Every emotion we had built into the film, they understood perfectly. That surprised me because they are far removed from Kazakh reality, yet they still connected with the story exactly as intended. Maybe that distance made their reactions somehow “cleaner” and more direct. Whenever someone left the theater, I worried they hated the movie. In my head I kept saying, “Please come back.” Thankfully, people returned and stayed until the end. TCA: And what was the reaction during the Q&A afterward? Orazbek: The film was very...

TCA Interviews

Uzbekistan’s New Visual Language: How OZBE Reimagines Culture Through Streetwear

Uzbekistani fashion is increasingly moving beyond traditional interpretations of national motifs. A new generation of local brands is engaging with cultural heritage through streetwear, using the visual language of youth culture and contemporary identity to resonate in Uzbekistan and internationally. The Times of Central Asia spoke with Raupjon Eshtemirov, a representative of the Uzbekistani streetwear brand OZBE, about how Uzbek ornaments, symbols, and cultural references are being transformed into modern fashion, why young people are rediscovering their cultural roots, and whether Uzbekistan’s fashion scene can gain greater international visibility. TCA: Please tell us a little about the OZBE brand. How did it begin, and what idea did it grow from? Raupjon: OZBE emerged as a local streetwear brand based on the idea of expressing the modern perspective of a new generation through clothing. We started with small drops, and gradually a community formed around the brand. TCA: How would you describe the philosophy of OZBE? Is it more about fashion, culture, self-expression, or a new interpretation of Uzbek identity? Raupjon: For us, OZBE is a combination of all these things. We use fashion as a tool for self-expression and for a contemporary reinterpretation of local culture and identity. TCA: OZBE is often seen as a brand that speaks to young people in a modern visual language. How do you see your audience? Raupjon: Our audience consists mainly of teenagers and young people for whom self-expression through style, visual culture, and clothing is important. At the same time, our audience also includes tourists and people who want to represent modern Uzbekistan through a local brand and its aesthetic. [caption id="attachment_49659" align="aligncenter" width="1200"] @OZBE[/caption] TCA: Why did you choose streetwear as the main form for working with culture and local identity? Raupjon: Streetwear is a modern form of fashion that remains timeless and extremely popular among young people and tourists. It is one of the easiest ways to combine style, culture, and a contemporary view of Uzbekistan. TCA: Uzbekistan has a strong visual tradition, including ornaments, architecture, crafts, and patterns. How do you work with this heritage in your collections? Raupjon: We draw inspiration from local aesthetics, but we try to adapt them to a modern visual context through forms, graphics, details, and presentation. TCA: For you, it is important not simply to use national motifs, but to reinterpret them. What does that process involve? Raupjon: Traditional patterns, ornaments, and cultural elements always remain recognizable and popular. For us, it is important not just to copy them, but to adapt them to modern styles and make them relevant for a new generation and for global streetwear culture. TCA: How can Uzbek patterns, symbols, and cultural references be made to look modern and organic for younger audiences? Raupjon: Through reworked design, modern presentation, and the use of bright, memorable phrases that attract the attention of young people and bring cultural elements closer to contemporary streetwear aesthetics. TCA: Which aspects of Uzbek culture inspire you most: ornaments, language, urban life, music, history, or everyday...