OCA Magazine: Tell us, please, about yourself and your creative activity / work
Aknur Nurtaza: I was born and live in Kazakhstan. Kazakh people have many traditions and customs, but since childhood I have been interested in other countries, languages and peoples. Also, as you know, we were part of the USSR and some cultures from the Slavic countries still remain in our country. Therefore, I can say that many Kazakhs, like me, have a contrast. And I always wanted to complement the contrast with traveling, learning languages and meeting different people. And at the age of 25, I found the perfect job for me, a job that combines different cultures, languages, creativity and unique people. A year ago, when I first learned about the Eurasian Creative Guild and Hertfordshire Press, I really wanted to be a part of it all. And now I am manager of the Hertfordshire Press book project, and I am wildly satisfied with my work, glad that I help creative people achieve their dreams.
OCA: How did you choose your path and who is your role model in the creative space or life?
AN: To be honest, there is not a single person who has greatly influenced me, or rather, this is not one person. All the people that I have come across in one way or another have brought me something, I get some knowledge and experience from each person. Well, of course, first of all, these are my parents, who showed me the world, who did not limit me in anything and gave me complete freedom to explore the world myself. Thanks to this freedom, I was able to understand what I really like.
OCA: What is your main achievement in 2021-2022?
AN: Well, the most important achievement is my work. These are ECG, Hertfordshire Press, creative festivals where I helped. Thanks to this work, I realized that if a person really wants something, then he will definitely succeed.
OCA: What is the main feature that makes you and your art/work unique?
AN: Probably diligence … And not a small important thing, I learned not to give up, but to try again and again, this applies not only to work …
OCA: Tell us, please, about the events of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work?
AN: During the year I participated in two festivals. My first festival was Voices of Friends, which took place in the fall of 2021 in Kazakhstan, in Borovoe. I remember how we prepared for this event for several months, there were even sleepless nights)) But when the festival days came, I realized that it was all worth it. I had such different, in a good way, impressions that I will remember these days forever, because it was all new to me.
But the second festival in which I participated – this is the 10th OEBF Literary Festival – was held in Tashkent. It was my first trip to work in another country. The first thing I remember was the weather, since it was the month of December, there was snow and snowstorms in Kazakhstan, and when we arrived in Tashkent, the warm weather just hugged us. I remember this festival with its warmth. Tashkent, the inhabitants of this city and the guests of the festival, all became so dear to me during the festival. I am glad that I was part of such events, I will always remember …
OCA: What is your motivation and the main aim of your creativity?
AN: Since I am currently working on book projects and at the Hertfordshire Press, I would really like and even say my goal for the future is to show our books to the whole world. After all, we have such unusual books, such different authors, and I can confidently say that there is no such publishing house as ours in the world. And I wish everyone knew about it…
OCA: What would you wish for the members of the Guild and other creative people, just starting their career?
AN: Don’t be afraid… If you have something to say to the whole world, if you want to share your creativity, then don’t be afraid, we are all unique. There are a lot of different people in the world, if everyone was afraid or doubted themselves, then there would be no such outstanding people, so do not be afraid, who knows, maybe you are the next outstanding person who will remain in history
OCA Magazine: Tell us, please, about yourself and your creative activity / work
Dilorom Nishanova: My name is Dilorom, I live and work in Washington DC. I write about real life of people and drama. The genre of my books composes of true and fictional characters through the stories that play out.
OCA: How did you choose your path and who is your role model in the creative space or life?
DN: I believe my path chose me, with the events that happened to me personally and the events that I have seen unfold in front of me. My inspiration for my creative work is my family especially my grandfather who always taught me to stand firm in what I believe and always be with an open heart and mind. Welcome new people and ideas into my life that will later take me on a whirlwind journey. Along with my parents and my children who both inspire me continually. They fuel my creative enthusiasm and make me reach for more when I write with their stories and ideas.
OCA: What is your main achievement in 2021-2022?
DN: I had the pleasure of attending an event “BOOK FORUM FESTIVAL “in Brussels in November 2019. I would say mainly EGC influences my creativity through the need of sharing with people my story. I believe people are always interested in a good read especially if it pertains actual life events it brings you closer to the audience and the writer at hand. Real life events and challenges connect me with my audience on a personal level making it an intimate read between the reader and writer.
OCA: What is your motivation and the main aim of your creativity?
DN: My motivation is my family. Family is important regarding teaching and showing aspects of your life that you did not know existed or were there. By Unfolding the layers to their life and having a closer and meaningful look at mine. Makes it a unique situation of how far I can take my reader and my thoughts. My mission for my writing is for my voice to be heard and for the reader to relate his or her own life and or story. I believe people have similar patterns and go through life facing the same challenges and to reflect on circumstances and being able to write them out is magic on its own.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career?
DN:My advice for someone who is starting to write is to write from the heart and connect to your audience by tapping into the readers emotions and feelings then you will surely succeed. “People will forget what you said but people will never forget how you made them feel.”
OCA Magazine: Tell us, please, about yourself and your creative activity / work
Nurlan Munbaev: I was born in the city of Guryev in 1971, on June 17. I graduated from school with a silver medal from the 67th school in Almaty in 1989 and in the same year won the republican Olympiad in political economy. In 1990 I received recognition at George Washington University and was admitted to this university without exams, but was not released from the USSR, as I belonged to dissidence. In 2013 I became the winner of the G-Global section among 10,000 mathematicians of the world for the work of the gravitational model in economics. In 2011 I received a $ 200,000 prize from the Founder of Facebook-Mark Zuckerberg-for the discovery of econometrics. In 1995 I was sent to Harvard University for an internship to build a bridge of scientific cooperation between the Academician of Sciences of Kazakhstan and the Leadership of Harvard University. In 1997 I received a recommendation from the Ufa Institute of Mathematics of the Russian Academy of Sciences for doctoral studies at the University of Cambridge, was recommended by Professor Natalia Kutluzhanovich Bakirov, a leading cryptography specialist of the Russian Academy of Sciences.
Currently I am an expert of the Astana Economic Forum on the World Economy and the Astana Club Nobel laureates», I work in the structure of the Ministry of Education of the Republic of Kazakhstan and the BRAND AMBASSADOR of the Open World Foundation. Since 2016 I have been elected as a member of the New York Academy of Sciences-Professor of Econometrics.
OCA:How did you choose your path and who is your role model in the creative space or life?
NM: The goal of any scientist to make discoveries is to bring innovations to our world that improve the life of every inhabitant of the planet, national technological progress is the engine of evolutionary development.
OCA: What is your main achievement in 2021-2022?
NM: To be an expert of the Astana Economic Forum – and become a brand ambassador of the Open World Foundation, which is engaged in research and solutions to the world economy and politics, another achievement for myself to become a brand ambassador of the international school of autism “Otishium” in the city of Nur-Sultan
OCA: Please tell us about your work experience in the International School of
Autism “Otisium”.
NM: It is a great honour for me to become a brand ambassador of the international school of autism “Otishium”. Centre Otisium Qazaqstan this two complementary destinations for children with features in development, located in Nur-Sultan city: Otisium sports program and Qadam academic program. Otisium is unique,patented.Turkish Sports and Life Education Program for people with autism spectrum disorder.In Kazakhstan, it was presented for the first time in the city of Nur-Sultan of the year under the guidance and personal supervision of the Erdal program developer Atesha.Erdal Ates- Head of Autism Council of Turkey- Representative of the third region of the World.ANCA World Autism Festival Ambassador. Teacher physical education and sports, professional football player.Founder of the OTISIUM program (training life and sport).Founder of the sports club Otisium autism life. Qadam is an academic program for children from 6 years, aimed at preparing them for inclusive education, working out and generalisation of school material under Abuova Ayman Kanatovny- psychologist, master of psychology and pedagogy inclusive education, which has a unique practical experience of working with children with ASD.
OCA: You have often mentioned and admired the achievements of the genius boy from the Othisium School. Could you please tell more about him?
NM: The boy of the genius of the 2th Dimash Kudaibergen School is called Kalauov Mukhanbetali Molbaevich. He is from Aktobe, a city on a white hill in western Kazakhstan. His interest in art manifested itself from childhood. When his mother brought him the Kazakh national instrument, the Dombra as a child, since then Mukhanbetali developed an interest in the Dombra, and from the second grade the boy genius went to the Dombra classes. At school he sang, read poetry, danced , and during the years of transition from the sixth to the seventh grade, the voice of Mukhanbetali became similar to the voice of the world famous genius – Dimash Kudaibergenov. In the same year, he became famous opera singer. On many Instagram channels where his videos were broadcast, he was delighted with the recognition of the people and graduated from the Dombra class in the same year. Until this year he was engaged in singing. Participated in competitions and won prizes. Our little genius is from a poor family, he has no father, for this reason, as the 9th guardian of the Eurasian Creative Guild, he considered it important to hold the young genius. So, Mukhanbetali became a member of the Eurasian Guild. Mukhanbetali, became a member of this guild at the age of 15. I believe that this one of the great achievements for a genius from Aktobe ‘-Kazakhstan-and I wish Mukhanbetali great victories, as he said “The great Lev Tolstoy – Talents must be helped, but mediocrity will break through”
OCA: What is your motivation and the main aim of your work?
NM: I consider the main motivation to make discoveries and implement them in life, so that know-how makes our life a little better. My goal is for scientific discoveries in econometrics, mathematical economics, political economy to receive worldwide recognition – this is important like any scientist.
OCA Magazine: Tell us, please, about yourself and your creative activity / work
Karina Muliar: I was born and raised in Chisinau. Graduated from a music school, then from the Academy of Arts. In 1991 my family moved to live in Israel. Here I graduated from the Batzalel Art Academy, I teach fine arts at a secondary school and started writing in 2010.
The death of my father had influenced the fact that I began to study literature seriously, oddly enough. He was an example for me in everything.
I write and publish short stories.
OCA: How did you choose your path and who is your role model in the creative space or life?
KM: I started writing by chance. I consider my father to be my teacher in everything. Story ideas come naturally.
Almost nothing is connected either with me or with my life. Only apparently a rich imagination and a desire to tell something, to save from something, to feel sad or think about different things.
OCA: What is the main feature that makes you and your art/work unique?
KM: Since I am a professional musician and artist, I try to write in such a way that readers hear the music of the word, feel the form of the work and its colours. I’m also a member of the Writers Guild.
OCA: Tell us, please, about the events of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work?
KM: Unfortunately, I haven’t participated yet in any event personally due to the pandemic. I hope that the world will return to normal existence and this will become possible.
I have attended only a few online conferences.
I hope to personally visit various events and competitions in the future.
OCA: What is your motivation and the main aim of your creativity?
KM: Motivation for me is my ideas that appear in my head in the form of sentences, phrases or some kind of pictures. The purpose of my creativity is that as many people as possible stop and think about such eternal things as friendship, love, relationships between people.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career?
KM: I want to wish all members of the Guild health, peace and more creative achievements. I would like to wish people who are starting their career to read more classics.To think about what they write about and how.
Do not chase the one-day fashion for any reading matter, but bring your own individual to the masses.
But the most important thing today is health and peace. I want to tell everyone, perhaps a banal phrase: People! I love all of you.
OCA Magazine: Tell us, please, about yourself and your creative activity / work
Maria Muchinskaya: I live in Minsk, Belarus. I was born in 1953 in the Dubina village, Belarus. Have two higher educations: mathematics-programmer and economics.
Currently a pensioner, I study at the school-studio of icon painting “Zavet”. I love loneliness and silence.Many years of living in a hostel taught me not to hear external noise during my philosophizing about the world, people, and the future.
I started writing poetry in September 2019.Member of the literary and artistic association “Run”, International Union of Russian-speaking writers, International Union of Writers of North America, Member of the Eurasian Creative Guild. Poems were published in the “Anthology of Russian Poetry 2020” and “Anthology of Russian Poetry 2021”, collections of the MSRP, in the collections of the publishing house “Four”, St. Petersburg.
Three collections of poems and essays “Vytoki”, “Captured by Life” and “towards fate” were published, co-author and compiler of the book about the small homeland “There is such a Dubina”. Together with our like-minded fellow countrymen, we try to preserve the original culture of our ancestors, to pass on their traditions.We are collecting materials of each clan inhabiting our native village and by the anniversary of the village we plan to publish a handmade book about all the inhabitants of my small homeland, to restore the bell tower, which was located in the local cemetery.
OCA: How did you choose your path and who is your role model in the creative space or life?
MM: If I believed in chance, I would say that I came into creativity by chance.
Having finished the eight-year school, I left my native places, visited them only on holidays and weekends. And during one of my visits life brought me to a wonderful person, Tamara Vladimirovna, with whom we eventually became friends.
The warmth of her feelings for the village, its inhabitants, among whom she spent her youth, she decided to capture in the book. It was a great pleasure for me to support her. Of course, at that moment I didn’t even have thoughts that I would write a poem in verse about the masters of the early 20th century.
I consider Yanka Kupala and Maxim Bogdanovich as an example in creativity, close in spirit to my heart.
OCA: What is your main achievement in 2021-2022?
MM: The most important thing is that the Eurasian Creative Guild highly appreciated our book about fellow countrymen.
During the X OEBF Festival in Samarkand in the nomination “Poems” I was awarded the first prize. I am proud of this book, because it gave happiness to so many people, moreover, it describes some facts from the life of heroes that relatives did not even know about.
I am also grateful to be a co-author and one of the compilers of this book, which opened a new milestone in my life. At the fifth international literary contest “Constellation of Spirituality” – 2021, I was awarded with a diploma named after Tatyana Ainova for the best poetic lyrics in the nomination “Books of the Future” 3D, the e-book “Lesu nasustrach” was noted as the best 3D book among authors from the Near Abroad.
OCA: What is the main feature that makes you and your art/work unique?
MM: I think that my sincere attitude to what is happening and the reflection of my feelings in poems and essays. With my works, I do not try to impose my point of view, but I strive to cause a desire to think, to ask myself the question: who are you? What is your role on earth? Feel responsible for what is happening, overcome indifference in yourself.
OCA: Tell us, please, about the events of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work?
MM: I have only been a member of the Guild since the middle of 2021. I took part in the “Voices of Friends-2021″ and “Voices of Friends-2022”. Participated in X OEBF Festival in Uzbekistan. My visit to the X Open Eurasia Festival, as well as meetings with representatives of the Guild, their creative potential gave me confidence, inspired, spiritually supported. There is confidence that my works are not in vain, they are read and interested in them.
OCA: What is your motivation and the main aim of your creativity?
MM: With my work, I dream of making the world at least a little kinder, brighter, more honest. If at least one person, after reading my poems, thinks, overestimates their values, becomes at least a little kinder, this will be the best gift for me. It is a great joy when my friends say that they need to think after reading my poem. I understand that dark shades in life cannot be completely replaced with light ones, but I do not lose hope that it is possible to make them lighter and smaller in volume.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career?
MM: Most importantly, be honest in your work to yourself and your conscience. Remember that the word heals and hurts. Creativity should heal, sow light, help to distinguish bad from good. And never be shy to learn, to accept criticism with gratitude. Criticism is a very important teacher of any creative person. Never stop and believe that the best is yet to come.
OCA Magazine: Tell us, please, about yourself and your creative activity / work
Tatyana Mendybayeva: Born in the USSR in the last century. Most of my life I lived in the ex-union republic of the ex-USSR, which since 1991 has been an independent state – the Republic of Kazakhstan.
My main activity is work in the country’s healthcare system, because many years ago I chose medicine as my profession.
OCA: How did you choose your path and who is your role model in the creative space or life?
TM: I have always painted. I started writing poetry about 20 years ago. At the beginning, these were epigrams and poetic congratulations on various occasions. After that, the rhymes began to become more complicated … What surprises me is that, in order to formulate even a simple thought in poetic form, you need to search not only for rhyme, but also for the maximum conciseness of this thought, and at the same time, amazing discoveries are obtained.
OCA: What is your main achievement in 2021-2022?
TM: I wrote two fairy tales: “The Tale of the Sevenfold Widower Vasya Sinebrodov” – a variation on the theme of the fairy tale about Bluebeard, “The Tale of the Transmigration of Souls or Reincarnation in Slavonic”, a cycle of poems about animals for the youngest children. I have lyrical, civil poems. I paint oil paintings and illustrations for my texts.
There comes a time when, quite consciously, you seek to define the bar of your abilities. And in this case, the Eurasian Creativity Guild is not only a community of like-minded people, but also a measure that sets the bar for your creativity here and now, the upper limit, which, fortunately, is not limited to.
OCA: Tell us, please, about the events of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work?
TM: It’s great when a creative person has teachers, but if you belong to the community of artists and poets, then it is the rivalry in creativity that is both a stick and a carrot that spurs you on to self-improvement.
In 2021, I participated in the annual competition held by the Guild in the category “Poetry” and became a finalist in the competition, which was attended by more than 200 poets from 12 countries of the world … What is this if not an incentive?
This year I took part in the “Voices of Friends” competition already in 3 nominations: “Poetry” with a fairy tale about Bluebeard, “Illustration” – illustrations for a book about animals (for the youngest children) and the nomination “Painting” – with a young man portrait in the technique of oil painting.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career?
TM: What can I wish for people of the Homo faber type (lat. A person who creates), who write poetry and prose, paintings, articles and music for themselves, or rather “on the table”? Let professionals evaluate your work and you will have a chance to express yourself to the world. Dare!
OCA Magazine: Tell us, please, about yourself and your creative activity / work
Natalia Loskutova: I started to write poems 4 years ago. It was a real necessity for expression my feelings on paper. My literary works found a broad response among readers. My compositions are published in the Russian Collections of the modern literature in 2020-2022.
My first book named “Christening” was written in Jordan in 2003.
I am an author of the Russian-English poems “Fate has a tough hand” and “Sieze the day” (2020).
I received recognition and became a member of the Russian Union of Writers. I am nominated as the Poet of the Year Award (2021). Besides, I was awarded by a Yesenin’s medal, Bunin’s medal, Dostoevsky’s medal and Medal of St. George.
It is a great pleasure and honour for me to be a part of the world of letters.
OCA: How did you choose your path and who is your role model in the creative
space or life?
NL: I don’t choose my path, but it chooses me. It is like a fortune. I can’t change it and it happens naturally. Sometimes I feel that poems are given me from on high and I just write down it.
My role in the creative space is to speak about love, friendship and the beauty of world to brighten up the life.
OCA: What is your main achievement in 2021-2022?
NL: The main achievement is the publication of my work in “The big book of prize winners” of the writing competition of the Union of Writers of Russia in 2021.
OCA: What is the main feature that makes you and your art/work unique?
NL: My poems are filled with real feelings, experiences and reflections on life. I create my works through the prism of a psychologist and an ordinary person. Everyone will find something of value in my pieces of writing. I believe that it deserves reader’s attention.
OCA: Tell us, please, about the events of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work?
NL: First of all, I’d like to say that the projects of the Eurasian Creative Guild are brilliant and unique as it combines all people and nations around the world. Its atmosphere is very kind and friendly. It goes without saying that ECG influenced my success as a writer. The Guild gave birth to a great number of new projects and ideas. I’d like to take an advantage of the opportunity and express profound gratitude to Marat Akhmedjanov, Vice-Chairman of the Eurasian Creative Guild for his support in all projects of the ECG.
I have been a member of the Eurasian Creative Guild since 2019. My creativity works were published in the 2021 Almanac “Voices of Friends” (British Library) and in the Eurasian literary collection “Нить 3” in 2019. I am an active participant of all new events of the Guild.
OCA: What is your motivation and the main aim of your creativity?
NL: I’d like to present my literary works widely around the world. I use social networking on the web (especially – youtube.com) to share my creativity with readers. I download video in which I read my poems with the classical music or picturesque views. I enjoy this process. However, the main aim of my creativity is to become a professional writer.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career?
NL: I wish for the members of the Guild to be honest and sincere with readers and they feel it for sure. The main thing is to develop yourself, to make progress, to realise new interesting projects and last but not least – to believe in their own specialness. Fortune favours brave and hard-working people.
OCA Magazine: Tell us, please, about yourself and your creative activity / work
Dinara Kushbaeva: Like many others, I had an ordinary, but full of bright colours life with its ups and downs. In the routine of affairs, I did not betray much importance to the inner creative spirit. I thought to myself and wrote for myself: meaningfully, quietly, laconicly. Up to a certain point..
OCA: How did you choose your path and who is your role model in the creative space or life?
DK: Quite by accident I read about the dream of a special boy to create a comic book “Elish” and could not pass by: all that remained was to breathe life into this creation that the WORLD would see. I made my small contribution to the implementation of the plan and supported the project. The feedback was great! Initially, the panic of writing something out loud developed into a request to Armani’s friend: “Hide me from them, please!” But it was only initially)) Therefore, special thanks to Akhmedjanov Marat Ismailovich for his personal compassion and patience! His support is like delicious food with “Why not” sauce. This is how my path of step-by-step exit from the shadows into the light was gradually illuminated…
ECG (London) is unique in its importance and scale. They were an example, a reliable support, a compass and a link of evidence that creative people should dream not only to themselves, but also out loud! It is important and necessary to share the goodness and beauty of the inner world.
OCA: What is your main achievement in 2021-2022?
DK: Inspiration. This is the main achievement that has borne fruit and inspires to this day: step by step, hastily and slowly, sometimes boldly, sometimes furtively, original, light, but internally – with a confident step!
OCA: Tell us, please, about the events of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work?
DK: In recent years, at a time of territorial difficulties and events in the world, it was not so easy for me personally to cover the entire cycle of ongoing events of the ECG (London). Despite all the global events, the opportunity was sought to hold a series of meetings among friends, like-minded people, participants, members of the Guild, in different cities and countries. The plans include Kazakhstan, Great Britain and so on in the list.
ECG (London) opens up horizons and sometimes influences the fate of people, their versatility, forcing them to leave the zone of imaginary comfort. How powerful it is when a team works together as a whole, builds and connects bridges, interacts as one organism.
OCA: What is your motivation and the main aim of your creativity?
DK: For me, motivation is to see the horizon in everything, wherever you go. The path to the horizon is amazing, and this is motivation in action. My main aim is to see the end, not to see obstacles, to walk and not stumble! Then more than one goal is visible.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career?
DK: On my own behalf, I wish you good luck and suggest not to stand aside, looking at how ECG (London) launches new international projects, but to use the opportunities provided. No need to shuffle your soles on your way just by rearranging your legs.
P.S. Everyone has a chance to “come on board” so as not to wave a wet handkerchief after the departing ship. Catch your tailwind immediately or you might not get a chance later.))
OCA Magazine: Tell us, please, about yourself and your creative activity / work
Mikhail Kunitsky: I am a children’s writer, living and creating in Belarus. I am the finalist of the competition “Poet of the Year 2016, 2017, 2019, 2020” in the nomination “Children’s Literature” in Moscow. I am the Winner of the contest “Poet of the Year 2019”, The Winner in 2017 of the international youth literary competition named after the Schnittke brothers. These were my first steps to success in literature.
I also work as a programmer and my friends and I have our own business. I have a technical education and do this for a living. Speaking about my creative nature and another achievements I cooperate with the publishing house “Azbukvarik” in Belarus and write lyrics for songs, creating books, toys and also have the title of “The Silver Pen of Russia”, which I received taking part in the competition “ The Golden Pen of Russia” in the children’s nomination, in 2017.
After having this great experience I kept improving myself and took second place in the Open Eurasia 2019 contest and the next one was the Win in the Open Eurasia 2021 contest.
I am a member of the TO DAR union and the Eurasian Creative Guild. Now I published three books: two in Moscow “Where do dreams come from”, “The world is so unique” and one in London “Journey on four feet”.
OCA:How did you choose your path and who is your role model in the creative space or life?
MK: Since my childhood, I have been keen on classic literature. I could read books all day long. At school, I had a very strict literature teacher. But I liked her because she always did the right thing. She cultivated a love for literature in me. Then I wrote my first story. It was a creative task for the class where everyone had to write a fairy tale. I handled it perfectly and that was the beginning of my ascent.
In spite of the great success in this matter, I had to abandon it for a long time. And I returned to creativity only at the University. From time to time I wrote poems on various topics. Having acquired some experience in versification, I discovered the world of children’s literature. I realized that children’s literature is the world of a small caterpillar, which should soon turn into a beautiful butterfly. This microscopic world has its own laws, where one has to be open and sincere. Children’s literature is inseparable from adult literature. Now I can combine creativity and work.
Also my father is an example for me. He has the ability to always achieve his goal. You know, he went in for sports in his youth and always professed the principle, no matter how hard it was – always go forward and no matter how fast you go, the main thing is not to retreat.
OCA: What is your main achievement in 2021-2022?
MK: For now I published two books, “The World is So Unique” and “Traveling on Four Feet”. One in Moscow, having won the Poet of the Year competition, the other in the publishing house of the Eurasian Creative Guild.
OCA: What is the main feature that makes you and your art/work unique?
MK: Ability to experiment.
OCA: Tell us, please, about the events of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work?
MK: I have participated in many activities. In 2018, I took part in the Open Eurasia contest, which was held in Brussels. Over there I took second place and got a grant to publish my book. In 2021, I participated in the “Voices of Friends” contest, which is held annually in Kazakhstan in the resort of Borovoye. In the same year, I tried my luck at the tenth anniversary contest “Open Eurasia”, which was held in Uzbekistan. In general, I like to be involved in such projects. Firstly, it is an opportunity to meet amazing creative people and exchange experiences. Secondly, this is a good way to express yourself to the whole world. It makes me more open-minded and bolder.
OCA: What is your motivation and the main aim of your creativity?
MK: My motivation is that the world around me is full of possibilities and surprises. Having won one competition and published a book, I understood that you could rise even higher and become even more experienced, besides, children’s literature is a mystery. Every time I discover something new. I enjoy the process.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career?
MK: Never stop. Every person is important and needed. Why did we come to this world? If we live, it means that we still can do something for the Universe. It is very important to do everything with love in your heart, and the universe will surely say “thank you!”.
OCA Magazine: Tell us, please, about yourself and your creative activity / work.
Pavel Kossovich: Over the years, I used to work as a scientist. I am a biologist-geneticist. Nowadays I am engaged in research work at the nexus of history, geography and cultural studies of Central Asia and Kazakhstan.
OCA: How did you choose your path and who is your role model in the creative space or life?
PK: When I came to Kazakhstan twenty-five years ago, I was eager to discover the language, traditions and the history of the country. Within fifteen years, I covered nearly 1 million kilometers by car and collected a vast amount of material on various scientific fields. Soon afterwards, this was reflected in my popular science editions. Primarily, the scientists who gave their talent, their life to advance in knowledge have been serving as role models for me.
OCA: What is your main achievement in 2021-2022?
PK: My book “The Desert Olympus” came out in 2021. It tells about the scientists of the Academy of Sciences of the USSR who evacuated to Kazakhstan during Great Patriotic War. They were at health resort “Borovoye” from 1941 to 1944.
I had been working on this book for fifteen years and I have every reason to be satisfied with the result.
The book “The Art of Burabay” was published in 2022. This book is about the artists who lived in our region and created their works beginning with the 1920s.
OCA: What is the main feature that makes you and your art/work unique?
PK: I have travelled a lot, and been to different places and talked to all kinds of people in my day. Therefore, my considerable life experience linked with higher-level academic qualification have developed in me a special analytical approach to problem solving and an ability to succeed.
ОOCA: Tell us, please, about the events of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work?
PK: Last year I was present at the Festival “Voices of Friends” in Burabay. I also regularly take part in the meetings with the members of the Guild in creative residence in Burabay. It is thanks to working with the Guild I have got acquainted with many creative personalities (artists, poets, writers) with whom I talk time and again.
OCA: What is your motivation and the main aim of your creativity?
PK: My motivation is anxiety for knowledge and my aim is to share the knowledge obtained with other people book ways, in journals and films.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career?
PK:I wish the members of the Guild and beginning creative people not to lock within the bounds of their professional interests, but expand them looking into other genres of Art. After all – the most interesting and extraordinary things occur at the nexus of various fields, whether it be science, technology or art.
OCA Magazine: Tell us, please, about yourself and your creative activity / work
Alissa Klima: I believe that all people are Creators. We try to be creative in the way we communicate and work, build relationships and families, raise children or perform social duties. I was born in a Soviet society with different limitations. From childhood I found it immensely interesting to build up reality that was lacking around. We played role-games with my friends where we imagined adventures and places that were not accessible to us in reality. I think back then I first felt that the arts are a place for people like me.
OCA:How did you choose your path and who is your role model in the creative space or life?
AK: I have always been in love with reading. If the food we eat determines what we are in material terms, what we read establishes our mental and spiritual foundations. My beautiful mother was teaching Russian literature for 40 years. She loved bringing her colleagues to our house and I was introduced early to complex concepts and debates around them. I think she was the first who invested in me the appreciation of a deep dialogue. Further, while working at the British Council in Uzbekistan I met a prominent person that I consider a great teacher Mr Anthony Read. He loved reading and introduced me to a fantastic world of English non-fiction. He used to say ‘choosing between talking with a dull person and reading a good book, I always choose a good book’.
OCA: What is your main achievement in 2021-2022?
AK: The last few years were stuffed with challenges that the world has been facing. Dramatic disaster caused by COVID 19 affected almost every family in each country directly or subtly. My mother died in July 2021 in the intensive therapy ward in the hospital which I successfully left a week before both were diagnosed with pneumonia. It was a great loss in our family. That was the point when I realised that people must live their lives despite any mischief. I introduced yoga in my daily living and finished the book ‘Children of the Red Horde: The Late Sketch’ that I was working on for many years.
OCA: What is the main feature that makes you and your art/work unique?
AK: Every piece of art is unique. When my third boy makes Minecraft objects out of paper boxes that are lately flooding our flats as a result of growing delivery business pushed by COVID-19 and numerous lock downs I always praise him for creating something fabulous. That’s how our mind is set up. I think that my writing has finally been established by a combination of the rational part and my artful part. All of my works are always based on real history and real events but the story is a fiction. my language is quite recognisable. It seems logic dressed in a great deal of emotions.
OCA: Tell us, please, about the events of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work?
AK: I have been taking part in a few meetings that took place in Moscow where I lived and worked after moving from my home country of Uzbekistan. But in recent years we all were isolated and I tried to minimise offline contacts until the situation with the pandemic is settled. Hopefully in 2022 I can reestablish participation in such meetings. It is an amazing chance for interested people to come together!
OCA: What is your motivation and the main aim of your creativity?
AK:Many great writers believed that creation is most prosperous at turbulent times. In this case it seems that we are heading to the peak of creativity bearing in mind that the world and our countries in particular are heading towards yet another historical twist it seems. It is unthinkable for me to write for the sake of writing. Any writer has a passionate desire to express his or her experience, view or idea. That’s the main driver for creativity. This is called the idea in our terms. But if an author doesn’t bear a Super Idea a story is lacking the core. Our experience or thoughts alone cannot motivate either ourselves or readers. What truly motivates people is both a belief and hope that tomorrow will be better than today. It doesn’t mean that we should lie or write about goodies. It means that in all things we are discussing we should invest love in what we talk about: be it concepts, nature or people. Without love anything is void.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career?
AK: With respect to what has been said before, I wish that people involved in creative writing or any other form of arts keep coming to the thought of how I can make this world a better place. Does my story evolve a question in another person of how to create as oppose to destroy? We are facing yet another turn of quite dramatic time in the history of human beings. It would be great to stay on the grounds, that we definitely keep the status of humanity in what we say or do. We should always remember that without love anything becomes redundant.
OCA Magazine: Tell us, please, about yourself and your creative activity / work
Alexander Kazarnovsky: I was born in Moscow in 1951. Graduated from the Moscow Teachers’ College in 1973. In 1993 immigrated to Israel. Since my childhood I have been writing verses. Living in Russia I translated British, American, and German poetry. I translated poems by James Joyce, Henry Longfellow, Robert Frost, Thomas Blackburn and Modern British poets. I also translated the verses by German Romantic poets. Having arrived in Israel I started writing essay, and later long and short stories and novels. That is what I keep on doing now.
OCA:How did you choose your path and who is your role model in the creative space or life?
AK: Аs for my path, the greatest event in my life which influenced me and defined my future was my returning to God in 1987. I have never had any role model either in the creative space or in life. There are some people whose altitude is unattainable. To some extent one of the persons who are closest to my soul is Vladimir Zhabotinski. As far as poetry is concerned my favorite authors are Pasternak and Mandelstam, in prose Alexander Solzhenitsyn and Michail Bulgakov but I do not know whether I can call any of them my mentor or my role model.
OCA: What is your main achievement in 2021-2022?
AK: I suppose my main achievements in 2021 were finishing and publishing my long stories ” I Have Posted Watchmen Upon Thy Walls” and“WAR WILL TELL THE FURTHER PLAN”. And of course joining the Eurasian Creative Guild.
OCA: What is the main feature that makes you and your art/work unique?
AK: A combination of Russian cultural background with Jewish and Israeli themes.
OCA: Tell us, please, about the events of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work?
AK: X Open Eurasian Literary Festival and Book Forum. It was great. I felt as if the whole world had been opened for me!
OCA: What is your motivation and the main aim of your creativity?
AK: The dream for Geula – Redemption of the world and a hope for my contribution to its sooner coming.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career?
AK: Always remain yourselves! Each human being is a world. Open it to other worlds.
Gumer Karimov: This is everything for me: the philosophy of life, its meaning, my whole worldview. I am from Ufa, the capital of Bashkortostan. My nationality is Tatar.
Fifty years ago, at twenty-two years I left my homeland to continue my education at the Faculty of Philosophy at Leningrad University. I thought at the end of my studies I would return back home, but somehow I stayed for half a century in St. Petersburg, the country’s most European city, the “Cultural Capital”.
All my development as a person took place under the direct influence of two great world cultures of the East and West. Our planet Earth is one for all and for God we all are only temporary guests here.
OCA: Tell us about yourself and your creative activity
GK: I am 72 years old, after graduating from graduate school I went to live in the Leningrad region and work in the house of culture. At first, I worked at a poultry farm then at a fur farm, and then at a state farm. And everywhere it was interesting, I got an amazing experience, which later came in very handy for me in writing. During the perestroika, I was into the farming business. Then at the fur farm I worked as the director of the House of Culture, I was elected director of the farm. I also was engaged in politics, I started to write at the end of the last century. My 6 books of poetry were published, and I wrote several prose books in various genres – from novel to science fiction.
In 2000, I organised a non-profit partnership “Union of Writers of the Leningrad Region and St. Petersburg.” In 2006, I headed the literary association in St. Petersburg founded by Tatyana Gnedich. In our association, we publish the magazine “Tsarskoye Selo” and the literary supplement “Northern Herald”. I must say that my wife Antonina Karimova, a poetess, writer and essayist, helps me a lot.
OCA: What are your favorite artists?
GK: Ernest Hemingway, Ilya Shemler, Valery Popova, Vyacheslav Leikin.
OCA: Have you taken part in the events of the Eurasian Creative Guild (London)? What projects have you participated in and what are you planning to take part in?
GK: My wife and I took part in the Brussels Festival and then at the end of the year we became members of the community. By the way, thanks to the guild, we made many friends. Even living in the Soviet Union, I never had so many friends among Kazakhs, Kyrgyz, Tajiks, Uzbeks and representatives of other nations …
At the request of the vice president of the Guild, Marat Akhmetzhanov, we are creating the St. Petersburg group ECG. We are trying to attract as many new members as possible.
Speaking about participation, I will try to take part in all creative categories, I hope that our experience and creative opportunities will help the guild especially working in the Expert Council. We have a lot of ideas, for example, a wonderful thing – internships that the guild conducts. The creation of a youth section is a great idea. I communicate with some of the young members of the guild, read their works.
OCA: What does the Eurasian Creative Guild mean to you, and how has it influenced your creativity?
GK: When I was introduced to the Guild, I had a feeling that I have known everyone here for many years! Later, when Marat Akhmedjanov and Angelina Krasnogir visited us in St. Petersburg I realised: this is my place to be! Every day I talk with my friends from the Guild, text and call them. Since I joined the guild the lifestyle has changed, new horizons opened up in front of me. Even the rhythm of life has changed. Who would have thought in my 72 years! I am very happy! But happiness is hard work and great responsibility.
OCA: What would you advise the members of the Guild who just started their career?
GK: I am convinced that if a person ceases to be surprised, then someone loses interest in him/her. I worked in culture for many years, therefore, I have been dealing with youth all my life. Who knows, maybe that’s why I don’t feel my age.
I only rejoice for young writers and really want them to have a happy literary fate! I wish them good books, new ideas, fresh thoughts. And, of course, good luck. Nothing will work without her. Good luck, dear friends!
OCA Magazine: Tell us, please, about yourself and your creative activity / work.
Nargisa Karasartova: My full name is Karasartova Nargisa Omurbekovna. I was born in Bishkek, Kyrgyzstan on August 29, in 1978.
My literary debut took place in 2007, when my poems were published in the newspaper “At the end of the week”, in the same year I was lucky to get to the masterclass on the poetry of the International Foundation of Ch. Aitmatov, which was called “Debut-2007”.
In 2009, I became a member of the National Union of Writers of the Kyrgyz Republic. I have two degrees, the first is economics and the second is additional pedagogical education, an English teacher. I am an English teacher in one of the gymnasiums in Bishkek. I also worked for some time as a TV journalist on the ELTR channel.
At present I translate poetry and prose of Kyrgyz authors into Russian and English. This requires some effort and perseverance, so there is practically no time left to write my poems. Fortunately, I am a member of the USAID “Okuu Keremet” project, where, as an author, I create books for children of primary school age.
OCA: How did you choose your path and who is your role model in the creative space or life?
NK: I was born in a family where books were of great importance, there was an extensive library in the house. I must say that my father is a linguist, polyglot and book lover. All relatives and friends called him a “walking encyclopaedia” and my older sisters Leyla Karasartova and Lilia Karasartova, now poetesses, constantly walked around the house and recited poems. I think this “home atmosphere” influenced me.
I consider Chingiz Aitmatov my example in literature and life. In 2008, shortly before his death, I interviewed him on the ELTR channel and saw with my own eyes how great this person is. An incredible aura of intelligence, enlightenment, culture, and goodwill emanated from him.
I can also name Sergei Filatov, the president of the Foundation for socio-economic and intellectual programs and my teacher. Thanks to his Foundation, I twice visited the CIS Writers’ Forum and the International Book Fair in Moscow. He is the spiritual guide of many modern writers.
And in my pedagogical activity, I think that Anatoly Prokushkin, deputy director of the school-gymnasium N 33 is my teacher because he shows by his example how teachers should work.
OCA: What is your main achievement in 2021-2022?
NK: I consider the biggest achievement in 2021 is the contest ‘Open Eurasia-2020’. I became one of the ‘Golden Ten’ in the nomination ‘Children’s Literature’, took 2nd place in the category ‘Literary Criticism’ and 1st place in the category ‘Publicistics’.
I also became a laureate of international competitions of the Writers’ Union of North America, became an academician of MARL (International Academy for the Development of Literature and Art) and was awarded the medal of the International Mentor Foundation. Democratic Party of Women of Kyrgyzstan “Person of the Year 2021”, and also became the owner of the diploma “Poet and Writer of the Year 2021”.
I am glad that I was the first translator of Timur Akhmedjanov’s comic book “Elish and the Wicker Tale”, published in the UK and Russia. I am also looking forward to the publication of the book “Leah and Aya the Sewing Doll” in English by “Hertfordshire Press” in London.
OCA: What is the main feature that makes you and your art/work unique?
NK: I do not write “under the stick” or duress, I do not run for “fashion trends” in literature, I do not try to write a “super-novel” just to get a fee. I write only what interests me and excites me and want to tell “my story”, write “my vision” of this or that event, and describe my feelings.
OCA: Tell us, please, about the events of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work?
NK: In 2019, I was shortlisted for the Open Eurasia-2019 contest in the “Small Prose” category and became a participant in the Literary Festival, which was held in Brussels. The event was intense and fruitful. It was very pleasant that the Ambassador Extraordinary and Plenipotentiary of the Kyrgyz Republic to the Kingdom of Belgium Mukhtar Dzhumaliev arranged a Gala-dinner for writers who arrived at this ECG Festival from around the world. Thus, he showed Kyrgyz hospitality and it should be noted that it was interesting for authors of different nationalities to visit the house where Chingiz Aitmatov lived and worked while on a diplomatic mission.
OCA: What is your motivation and the main aim of your creativity?
NK: My motivation is my inner feelings and emotions, my worldview. I want to be heard and understood. A powerful motivator is also my family, my children, they give me joy and inspiration. And how not to mention my Kyrgyzstan, my homeland, which can be tough and affectionate at the same time, here you must be strong and adamant.
As for the goal in literary creativity, it is to write new interesting stories and fairy tales, new poems and acquire a large readership around the world.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career?
NK: First of all, believe in yourself! As the song says: “Need to learn how to wait, need to be calm and stubborn…”. I submitted my works to the international contest “Open Eurasia” probably six or seven times, and only on the seventh or eighth attempts, I was expected to win. For the new members of the ECG, I want to say – all of your victories are ahead.
OCA Magazine: Tell us, please, about yourself and your creative activity / work.
Nikolaj Ivleev: I was ashamed of our miserable existence in the USSR, the richest country in the world, unable to feed itself, which had 2/3 of the planet’s black soil and two streams of fish of several million tons, spawning in our seas and rivers. I am struck by the stupidity and cruelty of the Communist Party, which Gorky called a “company of adventurers”, unable to establish a normal life in the country. About how we, for this party, destroying our fellow citizens, won power and built socialism, having learned how in the 19th century to write in long complex sentences, including the Onegin stanza, I began to describe in my works. I was able to start publishing only in 2008 on the STIHI.RU website. Then I took a break and in 2018 the poem “From Our Biography” was published in the Union of Writers magazine. Since then, having joined the ISP and ECG(London), I have been published in many magazines and published three books of poetry.
OCA: How did you choose your path and who is your role model in the creative space or life?
NI: Our people in their lives are accustomed to focusing on the “life” of Ivan the Fool, who moved on a self-propelled stove, ate from the tablecloth of self-assembly and worked “at the command of a pike, in my opinion”. And Lenin corrected this oversight by promising us golden toilet bowls. The people got off the stove, followed him, and despite the fact that Lenin said: “Let 90% of Russians die, if only 10% live to see the world revolution,” together with Lenin, having ruined his own country, won power for him. Few of us died in the Civil War, but Lenin tried to correct this oversight and in 1922 starved to death 5-7 million people, trying to make us meek and loving him like a god.
Stalin followed the same path: in 1933, during collectivization, he also starved to death 6 million people and destroyed the peasantry, dooming the country to a starvation existence. In 1937, Stalin destroyed the leadership of the army, and in 1941 put the army under the blow of the German army, which cost the USSR 27 million human lives. We also included Stalin in the pantheon of great leaders.
When Gorbachev became General Secretary, he knew that agriculture had not been working in our country since 1917 and that it needed to be reformed, which he did. But the leadership of the party, not wanting to change anything, ruined the country. Gorbachev was blamed for the collapse of the Union and we still curse, despite the fact that Russia began to feed not only itself, but also sell agricultural products abroad.
OCA: What is your main achievement in 2021-2022?
NI: The main achievement in 2021 – 2022 was the youth of the main character written in detail in Onegin stanzas for the poem “Youth of Sergei” and the review requested for it. After receiving a negative response, I compared this passage with the beginning of “Eugene Onegin”, where I showed that, in comparison with Pushkin, I did not turn out so badly. In Russia they are accustomed to bad poetry and cannot distinguish between the classics and “Polozkovism” and encourage the kind of poetry for which more positive reviews have been received from cooperating mediocrities.
OCA: What is the main feature that makes you and your art/work unique?
NI: When comparing my poem “Youth of Sergei” with the beginning of the novel “Eugene Onegin”, I calculated that the average number of verbal rhymes in a stanza in Pushkin is 2.5, I have 3, the average number of stanzas in a work written in one sentence is 1.5 times more than Pushkin. None of the Russian-speaking poets after Pushkin wrote like that. I specially wrote the poem “From Our Biography” with the same stanza as Pushkin’s “My Genealogy”, so that I could alternate my and Pushkin’s stanzas for comparison.
OCA: Tell us, please, about the events of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work?
NI: Due to my age and poor health, I cannot travel and participate in Guild events, but I take part in contests, (so far unsuccessfully), published in the Voices of Friends magazine, trying to show that I can write a Onegin stanza in one sentence, besides being a sonnet.
OCA: What is your motivation and the main aim of your creativity?
NI: To follow the wrong path is the road to the abyss, and I would like the truth to triumph on the planet. I have a glimmer of hope that someday our people will understand that in order to live well, you need to work hard and work well, and, anticipating the happy future of our people, I would like to begin the rehabilitation of people who called us not into the abyss of ruin and poverty, but to the future.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career?
NI: I would wish the members of the Guild and other creative people to be honest people, improve their skills and not stray into packs for the collective defence of imaginary achievements.
OCA Magazine: Tell us about yourself and your creative activity
Laura Hamilton: As director of the prestigious Collins Gallery at the University of Strathclyde, Glasgow, from 1988 until its closure in 2013, I originated exhibitions and events related to contemporary Fine and Applied Art by artists from throughout the world. Now freelance and employing skills gained in the writing and publication of numerous catalogues and monographs, my focus has turned to editing English translations of Central Asian literature, in tandem with memoirs by UK authors.
OCA: What is “Eurasianism” for you?
LH: I would define ‘Eurasianism’ as a term which unifies a vast and divergent collective of peoples, their heritage and culture, both past and present. As a westerner, from whom that world has long been hidden, it is a new and exciting concept imbued with intrigue and romance.
OCA: Who are your favorite artists?
LH: I found the deeply- rooted and significant role of cultural heritage in Central Asian life, hauntingly and beautifully encapsulated in ‘Farewell Gul’sary’ by Chinghiz Aitmatov and ‘Howl’ by Kazat Akmatov; and have enormous admiration for acclaimed Uzbek author Hamid Ismailov, to whose books I return again and again. However, straddling the two spheres of visual and literary creativity, it is impossible for me to name the many, many other artists and writers whose work has left an indelible mark. There are also, too many authors to mention, whose work I have edited and who deserve global recognition.
OCA: Have you taken part in the events of the Eurasian Creative Guild (London)?
LH: Following Marat Akhmedjanov’s generous review of my exhibition ‘From Quilts to Couture in Kyrgyzstan’ in 2011, for the OCA magazine, I began editing for Hertfordshire Press, and in due course, joined the Eurasian Creative Guild. I have attended Open Eurasian Literary Festivals in London, Almaty and Stockholm, as well as events in London, Glasgow, Edinburgh and Bishkek. I participated in judging the annual Open Asia Competition and after serving as Chair of ECG from 2017-19, now sit on the Guardian Council.
The Guild is a unique and ever-evolving organization that provides a warm welcome, support and stimulating opportunities to creative people working in all genres and at different stages of their careers. It is a uniting force, an extended family of sorts, which nurtures the development of close collaboration and firm friendships.
OCA: Do you have any personal project that you would like to talk about?
LH: I have edited some fifty works in translation, the most recent of which is ‘Er Toshtuk’; one of an ongoing series of classical Kyrgyz epics. Much as I enjoy these historically rich and wonderful legends, I look forward to revisiting contemporary literature. It appears that Guild members have many new exciting projects in store, which will hopefully, be translated into English!
OCA: What would you advise for people who’re just starting their journey of creativity?
LH: Based on experience, my advice to anyone embarking on a creative career is twofold: Don’t be in a hurry to succeed; take time out to think, and invest time to revise and if necessary, rework what you’ve done until you’re truly satisfied.
Astonishingly, there are artists who don’t visit galleries, writers who don’t read, and translators who don’t access texts written by native speakers! There’s an unlimited wealth of information waiting to be discovered, guide and inspire you; so, use it to your advantage…
“KNOW THE CULTURE OF THE SOCIETY THAT YOU LIVING AND WORKING WITH”
INTERVIEW: BRUCE GASTON
OCA Magazine: Tell us, please, about yourself and your creative activity / work
Bruce Gaston: I am primarily a businessman and not as involved in the arts as I used to be. However, I still write articles for publication every year and enjoy going to art shows and cultural events. I particularly like finding local Eurasian and Central Asia historical stories of interest and culture that have never made it into the main published histories.
I remember meeting an old archaeologist who ran a two big yurt and one small yurt museum near Issyk. He said he had been sponsored by an Italian Prince to pursue local archaeology and set up his yurt museum to the history of the Issyk area. We spent the best part of the day visiting various sites, including the site of an ancient equestrian palace, several large stone circles, and a huge circle based on the features of the landscape, such as are found in Rennes la Chateau in France or near Glastonbury in England. I still have plans to visit the stone henge in the Tien Shan steppe hills above Issyk that the old archaeologist described.
OCA: How did you choose your path and who is your role model in the creative space or life?
BG: My path was chosen partly by fate and partly by choice. I ended up being introduced to Eurasia and Kazakhstan by my German brother-in-law, who’s wife is a sister to my own wife, Lidia. I fell in love with the people, culture, and history of the region. One of my favourite hobbies is ancient history. It is often said that Central Asia has little history, but the truth is quite the opposite if you look carefully. I bought a number of turn of the century history books on Central Asia from the collection of the representative to the Dalai Lama of the Budhist region of Buratia in Russia. These books are fascinating.
Artistically, my role mother has always been my mother, who is an artist. She has always been working on artistic pieces, whether sketches, oil paintings, multi-material pieces, sculptures (mostly metal), installations, and more recently stained glass. After she kept asking me to set up a show, the gallery Tengri Umi in Almaty took an interest and combined a show of my mother’s work and the annual master class festival. I believe this was the first show of a British artist in Kazakhstan sponsored by the British Arts Council.
I have spent over 20 years now in Eurasia, particularly Kazakhstan, and very much enjoy cultural events. My favourite time of year is Nauryz, when everyone emerges from Winter to enjoy spring. Historically, I was an active sportsman and since spending time in Central Asia I have started following some of the local cultural sports and Nomad games.
I have most recently been involved in a number of eagle hunting events and it has become a hobby. Though eagle hunting is a sport, it is also very much a Kazakh cultural activity. It is great to get out into the steppe, hiking for kilometres, while working with eagles.
OCA: What is your main achievement in 2021-2022?
BG: Artistically, my main achievement so far in 2021/22 is to write an article, published by OCA magazine, on Japanese chocolate and the start of St. Valentines day, based on the history of the Morozoff family. I am working on another article and I am beginning to put work into publishing a book.
OCA: What is the main feature that makes you and your art/work unique?
BG: I guess my work is unique partly because my experience in life is unique. I have had the pleasure of living in the UK as a child and banker in London, Canada as a teenager, Japan and Hong Kong as a banker, and Russia, Ukraine, and Kazakhstan as a corporate finance and business development advisor. I wasn’t just ‘working’ while working in these various locations, but also enjoying each culture and the many connections between them. The article that I wrote regarding Japanese culture was inspired by a meeting between my wife and the original inspiration for St Valentines day and chocolates in Japan, Valentine Morozoff. This meeting resulted in my researching the Morozoff family history and their contribution to what is now a key aspect of Japanese culture.
OCA: Tell us, please, about the events of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work?
BG: I find that the Eurasian Creative Guild has inspired me to develop my artistic interests in a way that might otherwise not have happened. It is very easy for me to get buried in my work and I need all the help I can get to pursue more artistic and cultural interests.
OCA: What is your motivation and the main aim of your creativity?
BG: I have never worked just for money. I think I get this from my parents. For me, it is extremely important to get to know the culture and arts of the society that I am living and working with. I have always been creative, whether that is through my work or as a member of society.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career?
BG: Luck, good fortune, and an enthusiasm for life!
OCA Magazine: Tell us, please, about yourself and your creative activity / work
Yulia Ganetskaya: My name is Yulia Ganetskaya, I was born in Uzbekistan, and now living in Japan. My husband and I own a small cultured pearl farm. I have been writing since childhood. At first these were small stories for myself and my friends. There were publications in magazines and newspapers, school magazines. My first full novel was conceived four years ago. In my opinion, it took an unforgivably long time to write.The result exceeds all my expectations and the novel “The War United Us” received deserved recognition among readers.
OCA: How did you choose your path and who is your role model in the creative space or life?
YG: I adore Dostoevsky with his ability to subtly emphasise the nuances of the human soul in his works and read Pikul’s novels. It was the works of Valentin Pikul that prompted me to write my novel. Of course, I am far from the great writers of Russia but they became the example for me and they are my teachers.
OCA: What is your main achievement in 2021-2022?
YG: In the summer of 2021, my novel was published by the Ridero publishing house. After the publication I remembered the Open Eurasia contest in which I decided to take part. I am very glad that my work was appreciated and I got second place in the Prose category and third place in the category “Best Female Author“.
OCA: What is the main feature that makes you and your art/work unique?
YG: The plot of the novel “The War United Us” was based on the story of my family. My great-grandmother became a victim of the revolution. Hiding from Soviet power, she had to leave her home, witnessing the death of her parents and brothers .I think this is what distinguishes my novel from other works.
OCA: Tell us, please, about the events of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work?
YG: Winning in the Open Eurasia contest convinced me that I was on the right track. It was a happiness for me to know that my work is appreciated and this inspires me for new works.
OCA: What is your motivation and the main aim of your creativity?
YG: The motivation for me is the victory in the contest and warm feedback from readers. I’m full of ideas and inspiration and I really hope that in the next contest I will get first place.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career?
YG: I am very grateful to the members of the guild for the opportunity to express themselves and declare their creative to the whole world. I wish the members of the guild health, success in their work and inspiration.
First of all, I advise aspiring authors and poets not to be afraid to express themselves. Do not give up after failure and create in the name of art.
“MY BOOKS HELP CHILDREN SEE THE BEAUTY OF THE WORLD WE LIVE IN”
INTERVIEW: GRIGORE GACIKEVICI
OCA Magazine: Tell us, please, about yourself and your creative activity / work
Grigore Gacikevici: I am 49 years old, I write poetry for children in Russian, English and Romanian. I began my public literary activity a year ago, in March 2021. A few months after that became a member of the Eurasian Creative Guild (London).
Born in Moldova. In my youth I was professionally involved in athletics, a master of sports of the USSR in high jump, multiple winner and prize-winner of the junior championships of the Soviet Union.
In 1994 I graduated from the Moldovan Academy of Economics. I have been working in the financial sector for over 25 years. For my work I was awarded state awards of the Republic of Moldova: the Order of Glory to Labor and the Medal of Civil Merit.
At the moment I am the author of eight poetry books for children in Russian, including: “Merry Alphabet!”, “What colour is a zebra?”, “I swim in the blue sky!”, “For pancakes!”, “Simple joy” and others, as well as four poetry colouring books.
Also completed the illustration for three more books: a collection of children’s poems in Russian about the sea and marine life called “The surf is calling us!”, The Romanian version of my book “Merry Alphabet!”, and also its English version – “The Funny Alphabet! I hope that all three books will be published in the first half of this year.
My works are regularly published by such Russian publications as the literary almanac “Hyperborea”, the Moscow magazines “Light of the Capital”, “New stained-glass windows”, etc. My poems for children can also be found in numerous international poetry collections.
Also, I am currently studying by correspondence at the Higher Literary Courses (specialty “Poetry”) at the Literary Institute. A.M. Gorky (Moscow).
OCA:How did you choose your path and who is your role model in the creative space or life?
GG: Since the birth of our daughter Polina, my wife Olga and I’ve tried to spoil her love for good fairy tales and poems. My daughter is already sixteen, but we still have a large library of wonderful and well-illustrated children’s books at home. Therefore, I began writing my first poems for children about ten years ago for my daughter. And in March last year, I discovered that there were enough such works in paper form to start publishing them on various social networks.
That’s how I came to children’s poetry, which I do not regret at all and write with pleasure every day. I want to emphasize that among the many worthy and respected authors for children, for me since childhood, the unique Soviet poet Korney Ivanovich Chukovsky has been and remains number one. And my main source of inspiration, as before, is the love for my wife and daughter.
OCA: What is your main achievement in 2021-2022?
GG: My main achievement is the publication of eight of my books. I am also very happy with my victories last year at 12 international literary competitions.
OCA: What is the main feature that makes you and your art/work unique?
GG: My books can help children become kinder and more responsible, help them see the beauty of the world we live in. At the same time, I try to ensure that children, when reading my poems, always have the opportunity to choose: between god and evil, between bad and good, between honesty and lies. Nobody likes edification, so many of my poems have a question mark at the end. But at the same time, with the help of the storyline and poetic images, I try to make the child himself inclined towards those kind and bright values on which our world is based. I try to convey in my works the belief that the world around us is beautiful, and there is a lot in it that is worthy of our love. In addition, I try to have humour and a good mood in all my poems, because a smile, as you know, is the best cure for all illnesses and hardships.
OCA: Tell us, please, about the events of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work?
GG: Last year, I became one of the winners of the Open Eurasia-2021 Contest in the “The best children’s work” category. This year I submitted my application for participation in the “Voices of Friends” contest, in which I really want to win. Undoubtedly, membership in the ECG has made my creative life more intense and interesting. I am very glad that the Guild holds a large number of competitions, and I try to take part in them as often as possible.
I also hope to publish my book “The Funny Alphabet!” with the help of the Guild. and hope for help in promoting this book in the UK.
OCA: What is your motivation and the main aim of your creativity?
GG: Motivation and my goal is the constant development of my versification. I really like to study online at the Moscow Literary Institute. We are taught by wonderful teachers in the theory of literature, stylistics of the language, etc. But the most useful classes for me are seminars on poetic mastery. I really hope that as a result of my studies, my poems will become more perfect.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career? GG: Believe in yourself and understand that you need to engage in creativity regularly and constantly strive to improve your skill level.
OCA Magazine: Tell us, please, about yourself and your creative activity / work
Joanna Dobson:I am a writer and translator based on the North Norfolk coast, UK. I started working with translated texts many years ago as a proof reader for the Journal of Archaeology and Anthropology of Eurasia (Russian Academy of Sciences) while living in Akademgorodok, Siberia. This work gave me a window onto Scythian Art, which 20 years later is still a topic that nourishes my own creative work. Now I translate fiction, and non-fiction often in the genre of popular philosophy e.g. the Transurfing Reality series by Vadim Zeland. After receiving an MA from Cambridge in Modern & Medieval Languages (Russian & German literature and language) I moved to live in the Altai Republic. I carried out interpreting work for Altai Nature Parks and the United Nations in the field of bio-cultural diversity conservation as well as for the sacred land film project Altai Republic, Standing on Sacred Ground. I translated written texts for Altai cultural figures, too, and remember very fondly my first book translation project, Altai Bilik: Spiritual Wisdom of the Altai Mountains.
As for my own creativity, I am currently writing a book about my memories of living in Altai, the people, places, cultural and ancestral monuments that make this corner of the world so extraordinary and am using as illustrations my field diary watercolour sketches.
OCA: How did you choose your path and who is your role model in the creative space or life?
JD: In my late twenties, I began to experience a deep sense of calling which led me to Altai. It was there that the contours of my creative work crystallized into their present form. My deepest inspiration comes from those artists, whose work goes unsigned – the craftsmen of the Iron Age, who left their traces in ritual monuments throughout the Eurasian steppe. Whenever I feel blocked I return to this heritage and am resuscitated. Among recent works, I have the greatest respect for lesser known poet Aiaru Tokhtonova, who has just published her first anthology Bistin Ulus (2022). I have huge admiration for other writers who capture the spiritual force of homeland by venturing into the darkness. E.g. Recent works by Hamid Ismailov Manaschi, and Nastassja Martin’s In the Eye of the Wild.
OCA: What is your main achievement in 2021-2022?
JD: My participation as translator for the catalogue produced for the Gold of the Great Steppe exhibition held by the Fitzwilliam Museum in Cambridge. This project inspired me to paint. In 2021 I produced a set of hand painted gift cards – interpretations of original Saka artefacts in watercolour and gold leaf, some with quotations by great poet ‘Abai’ woven into the design. These cards were included among the official merchandise of the Fitzwilliam Museum shop. For a long time I had been looking for a way of combining my illustrations with written narratives, exploring digital approaches. Each gift card has a QR code on the reverse which links to an audio file on my website (altaipilgrim.com) in which I share my thoughts about each image. Since then I have created an Etsy shop (altaipilgrim.etsy.com) to share my work more widely.
OCA: What is the main feature that makes you and your art/work unique?
JD: I have not met many others among my compatriots, who find their inspiration first and foremost in Altai, and in the ancient cultures of Eurasia and the cultures of the Turkic peoples. Perhaps my work seems unusual to many, not by virtue of any great talent, but simply because in the UK we seem to know relatively little about these rich cultures.
OCA: Tell us, please, about the events of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work?
JD: I am a new member to the Eurasian Creative Guild. So far I have attended just two events, both remotely: a Novruz celebration, as well as the 2021 film festival, which opened my eyes to the wealth of Kazakh cinematography. I look forward very much to discovering more about the creativity of other members of the guild.
OCA: What is your motivation and the main aim of your creativity?
JD: My aim is simple: I feel compelled to share with others the most precious moments of my cultural explorations beyond Europe: the first time I heard blessings sung by a throat singer beside an evening fire; stumbling across a petroglyphic composition in a remote river valley that was as delicate and fine as a Persian miniature… In moments like these, the heart takes an ecstatic leap and time is suspended. I want to call out to others: ‘Look! Just look at the brilliance of these people from lands beyond our own!”
OCA: What would you wish for the members of the Guild and other creative people, just starting their career?
JD: To stubbornly trust your heart to navigate a creative life and develop the ‘long will’ required to turn inspiration into tangible results. Where possible, never compromise on quality. Find a mentor. Engaging a writing coach is most helpful thing I have ever done. And I wish the advice that my mother wished for me when I was a child: “before you begin any creative project, always ask yourself, ‘how can I approach this in a way that is true and unique, unlike anyone else.”
OCA Magazine: Tell us, please, about yourself and your creative activity / work
Inna Chayka: All my creativity was awakened when I turned 50, moved to Florence, sent my son off to university and was left by my partner for another woman. I guess these things gave me a sense of freedom and new beginnings.
I started singing, theatre-acting, studying fashion design, teaching kundalini yoga and dancing the tango – things I never did, or even imagined doing.
And I started writing. I would like to think that I’ve experienced a lot in my life: 23 years ago, I left Ukraine and moved to London, where my son was born, where I built my accounting business and where I learned many tough life lessons. In the midst of everything, I worked in post-war Iraq, travelled, fell in love, met many interesting people and realised that people like to hear my stories, both the tragic and the comedic.
OCA: How did you choose your path and who is your role model in the creative space or life?
IC: I am a writer by accident, in that I did not choose this path deliberately. My favourite writers – the ones who inspired me the most – would be Françoise Sagan and Victoria Tokareva. Every story of theirs resembles the experiences I had, emotions I felt, and conclusions I made.
OCA: What is your main achievement in 2021-2022?
IC: My main achievement of the last year was of course winning first prize in the literary competition. It was something I neither expected, nor even dreamt about.
In addition, I recorded a song and realised that I had been missing something in my life – music. I am currently taking singing lessons and it has enriched my life tremendously.
I am mastering the art of Argentine tango, another new and unexpected passion of mine.
This year, I also got my sailing and free-diving licences. For someone who was scared of going underwater, I felt a huge sense of achievement.
The last 12 months of my life have been a radical transformation for me, and I truly am a new person.
OCA: What is the main feature that makes you and your art/work unique?
IC: I am not very imaginative, so I can only write, sing, and dance what I feel. I write about love and what has happened in my life: stories that other women in particular can relate to. I changed my life completely at 50, and lots of my friends, and friends of friends, found it very inspiring. I hope that my example can help other women fulfil their dreams.
OCA: Tell us, please, about the events of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work?
IC: I joined ECD in 2021 and have not had the opportunity to experience many events. The ECD literary festival in Uzbekistan was the beginning of a completely new and unknown path for me. The people I met, the ideas we shared, and the stories I heard, were a real inspiration to me.
OCA: What is your motivation and the main aim of your creativity?
IC: I hid my creativity for such a long time, that when everything started coming out, I just could not stop. I did not have a specific goal in mind when I wrote my first story; rather, it helped me live through the pain of a broken heart. If my stories help other women, then I can say that my mission is complete.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career?
IC: My main advice is to be brave, open your heart to opportunities that present themselves, believe in yourself, and follow your dreams.
MY PASSION IS TO MAKE A DIFFERENCE IN SOCIETY WITH MY CREATIVITY
INTERVIEW: NATALIE BAYS
OCA Magazine: Tell us, please, about yourself and your creative activity / work
Natalie Bays: I am a cultural project manager and i run an organisation called The NO Collective. I organise creative festivals, events and programmes to help people be more involved in the arts and to be more creative. I also co-host a weekly radio show on Phoenix 98 FM where i discuss art and culture with a range of artists, musicians and theatre makers from across the UK. As a visual artist I create artworks from a collection of archive photography which explore time, culture and my connection to people and place.
OCA: How did you choose your path and who is your role model in the creative space or life?
NB: As a child I was always drawing, making and performing. I loved to sing and make art. My mum was my biggest creative influence growing up and I was inspired by the work that she made in college. She has always taught me to love what i do and I love being creative in everything I do. Artists I love include UK artists Bob & Roberta Smith for his humour, Jeremy Deller for his humanism and Azerbaijani artist Faig Ahmed for his playfulness.
OCA: What is your main achievement in 2021-2022?
NB: In 2021 I created a co-designed public light festival in Romford, the town where I work and grew up; called ‘Illusionarium’. It was the first of its kind and was on a much larger scale than anything Ihad created before. There were 15 artworks designed and built by local people and artists. They were displayed all over the town for a month alongside an arts education trail. The artworks included a greenwall artwork opposite the station entrance and a giant neon sheep in a shopping centre, which have both been kept up.
OCA: What is the main feature that makes you and your art/work unique?
NB: I make work and cultural projects that link places and people that are hyper-local [very close to me] with art work and experiences that are worlds away. I feel that I have a responsibility to share the unique experiences that I have been lucky enough to have over my years and I translate this through my art work and programming.
OCA: Tell us, please, about the events of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work?
NB: I am involved with the ECG Eurasian Film Festival, helping it to be a success alongside the Romford Film festival in London every year. I have been to many art exhibitions and fashion shows as part of the guild too. I have been an advocate for the guild since I joined almost 5 years ago. I have been on the advisory board now for 2 years also which allows me to explore different art practises, and network with lots of different creatives from across the world. This helps me to expand my knowledge in what creativity can be and learn about cultures that I knew little about before.
OCA: What is your motivation and the main aim of your creativity?
NB: My passion is to make a difference in society with my creativity. Whether that be through creating a project where people can get involved and get to be creative, or supporting other artists inspire with their work. I am motivated by the encouragement of the people around me, wanting to be part of a creative collective making change together. I am inspired by the results of democratic art practise and artwork that is make as a collaboration.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career?
NB: I would like other members of the guild to continue to love being creative. Even if you have times where your art practise is not working the way you would like it to, you should just be unapologetically creative in everything else you do until you get your spark back! I think it is also important to never stop educating yourself in different things. Culture, heritage, geography, everything and anything.
OCA Magazine: Tell us, please, about yourself and your creative activity / work
Vladislava Baimaganbetova: I am a married feminist, have a daughter, and waiting for a second child. At the moment, my main job is business coaching in the HoReCa industry. I love the restaurant business, the Kazakh history of hospitality and actively promote it. At the same time, I am studying social psychology at the St. Petersburg Humanitarian University of Trade Unions.
I consider Robert Heinlein’s phrase as motto in life: “Any person should be able to change diapers, plan invasions, butcher pigs, design buildings, manage ships, write sonnets, keep accounts, build walls, set bones, ease death, follow orders, give orders, cooperate, act independently, solve equations, analyse new problems, fertilise, program computers, cook deliciously, fight well, die with dignity.”
I consider the ability to be both here and everywhere to be unique at the same time: in various projects, in various trainings, working as a business coach, developing the restaurant business in Kazakhstan, raising children, sewing and embroidering, decorating children’s holidays, taking an active social part in the life of our beloved city of Almaty and much more.
OCA:How did you choose your path and who is your role model in the creative space or life?
VB: My creativity originates from a young age. In whatever city I was, I always actively participated in the design of wall newspapers, thematic events, attended plein airs with ShIITD them. A. Kasteeva. The annual trips around the country happened thanks to my military parents. My mum is a mother of four children who always wanted to keep us busy. For example, my middle sister Dana played the piano, and my brother Alnur choreographed and played the saxophone. Now, however, Dana is studying on a grant with a specialisation in automation and control, but this does not prevent her from expressing herself in such an art form as digital painting. Genetics play an important role, I guess. My grandfather Anatoly Zhigalov – Honoured Artist of Kazakhstan, awarded the medal “For Valiant Labor ”, artist, Laureate of the 1st degree competition for veteran teachers in Moscow. Together with his wife Galina Kononenko, he worked at the Palace of Creativity for Children and Youth (Russia) as a teacher and accompanist of additional education in a music and choir centre.
Of course, life is not complete without teachers, and today I had the opportunity to boast of those who in every possible way develop and accompany my work to this day.
Elena Vlasova is a dressmaker with tremendous experience. Acquaintance with her was not limited to my individual orders. Today Aunt Lena, as I call her, is my sewing teacher and I am very lucky to know her. We are neighbours and this facilitates our learning processes, given my busy schedule. Her most valuable advice and professionalism allowed me to prove myself in the international design competition.
Natalya Vanina is no less a professional dressmaker, and also my favourite mother-in-law. The only negative is the remoteness of her place of residence, but even this is not a problem for us. We call each other via video, discuss new items in the world of textiles, patterns, critical moments with customers, and so on.
OCA: What is your main achievement in 2021-2022?
VB: I find achievements in my various endeavours. I started working on the design of the author’s methodological manual for the restaurant business; developing a monopoly game for waiters; began to embroider a panel dedicated to the 30th anniversary of the Independence of the Republic of Kazakhstan; sewed a lot of sweatshirts with various prints; the session is progressing well in parallel; my feminist content is gaining popularity on Instagram and even already has followers, and the opportunity to participate in OCA People.
OCA: Tell us, please, about the events of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work?
VB: I became acquainted with the Guild in 2014 as part of the Third International Literary Festival “Open Central Asia Book Forum & Literature Festival”. Then my young dream came true and I met my favourite writer Janusz Leon Wisniewski, and also received an autograph. Oh, how I was “treated” by his novels in adolescence. Years later, I myself joined the ranks of the Guild Members and took part in my first contest “The Heartbeat of Eurasia”.
OCA: What is your motivation and the main aim of your creativity?
VB: First of all, I work for the sake of interest in the case. After all, any creativity is therapy, a way to understand yourself, to conduct an internal dialogue.
Moreover, it is pleasant to realise – “I can do it”, and if it is also significant for others, it resonates in the heart, then in general it has an optimistic effect on the structure of the world around.
Now I have planned the purchase of industrial equipment, the expansion of the workshop and the training of some sewing techniques. My sister also draws sketches for a future collection of shoppers and sweatshirts. There is even a queue for them.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career?
VB: The first is to believe in your abilities. Everyone has them, but not everyone, unfortunately, is able to identify and develop them. I wish each of us to look closely at others and try to be as open as possible.
Our task is to promote the Republic of Kazakhstan on various international platforms, involve local candidates and develop competitiveness.
With love and gratitude to my husbands Russian, family and teachers who support me in all endeavours.
OCA Magazine: Tell us, please, about yourself and your creative activity / work
Sergey Babyakov: I am Sergey Babyakov, an inclusive artist. Was born in 1978 in Taldykorga city. I have been painting for over 20 years. I began to comprehend the basics of art at the age of 11 by enrolling in a children’s art school. Due to illness, the educational process had to be interrupted for two years. But I felt a real craving for art already as an adult, at the age of 20, and continued to independently comprehend the art of painting. I bought various art magazines studying and focusing on such famous artists as Rembrandt, Vangogh, Caravaggio, Leonardo Da Vinci. I tried myself in different directions in search of my style. Painted graphics, watercolor, pastel, also painted in oils in the directions of cubism, realism, impasta. There were also works on biblical themes, but later inspired by the works of Shishkin, I realized that I like to paint landscapes much more.
And in 2020 there was a new round in my work. I switched to a new direction for me – “Abstractionism” and drip painting, almost completely devoting myself to a new direction. Also, in parallel with this, I tried techniques that were interesting to me, such as watercolor, sauce and pastel.
OCA: What is your main achievement in 2021-2022?
SB: Perhaps the main achievement in the period from 2021 to 2022 is joining the Guild and the fact that I finally found and defined my own style for myself.
OCA: What is the main feature that makes you and your art/work unique?
SB: This question is not easy to answer, because I believe that each artist is unique in his own way, and the paintings are valuable in themselves as a layer or segment of a certain time in history during which they were painted. Likewise, my paintings bear a certain imprint of this time. Perhaps there is some similarity with the works of other authors, but at the same time they are not similar and individual in themselves, since abstractionism for me is a double freedom.There are no boundaries in this direction, there are no rules, and I can express on canvas my emotions, feelings, everything that was hidden deep in my soul and now tear it free. I write my works not with a brush, but with my heart, with my inner eye with its own special philosophical meaning.
OCA: Tell us, please, about the events of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work?
SB: In December 2020, on the instructions of Marlan Nysanbayev, I joined the Eurasian Creative Guild(London) as the “Ambassador”. There I met other artists and very interesting creative people. And already on February 20, 2021, in the new gallery “ZvagWard” I took part in the exhibition “The World of Colours of Eurasia”.
On March 5, 2021, I exhibited my works at the Central State Museum of Kazakhstan, Almaty at the exhibition “Call of Eternity”.
In August 2021, I became one of the top ten finalists of the “Voices of Friends: poetry & Art” contest, held in Shuchinsk, Borovoe.
In September 2021, was published in the glossy magazine “Bohemia” as one of the best artists of Kazakhstan.
In the fall of 2021, the painting “Fruit of Angels” was included in the first issue of the cultural and tourist guide to the Burabay National Park, published in London “Burabay 4Seasons”. And it all happened thanks to the Guild. Before that, for more than 20 years, I seemed to have sat in a dark hole. And now I participate in exhibitions and competitions.
OCA: What is your motivation and the main aim of your creativity?
SB: For the past two years, my main motivation (and part-time muse) has been my wife, who supports me in every possible way, does not let me give up. She gives me faith in myself and that everything I do is not in vain. I would also like to see a gallery of contemporary art finally appear in my hometown, where creative people could gather, create and exhibit their works. Thus, to help young artists advance and raise the level of culture of the people of the city who will come to the exhibitions.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career?
SB: I would like to wish the members of the Guild and creative people who are just starting their journey not to be afraid to try, not to give up and not to stop halfway. After all, what success is in creativity is when you fall over and over again, but even after falling for the tenth time, you still get up and move on. Believe in yourself and then all must succeed!
I’VE ALWAYS BEEN INSPIRED TO MAKE MY OWN COMIC BOOK
INTERVIEW: TIMUR AKHMEDJANOV
OCA Magazine: Since we met, it means you are a member of the guild. Why did you decide to join the Guild?
Timur Akhmedjanov: To share and express my creativity and to work with other creative people in both Eurasia and the world as a whole .
OCA: I know that you are from Uzbekistan, what are you doing in London?
TA: Currently I am studying at the ‘London Film Academy’ to pursue a career in creative media and film writing in particular.
OCA: Where did you learn to draw in Uzbekistan, who were your drawing teachers?
TA: During my time in Uzbekistan I drew primarily out of fun and to express the ideas in my head in a visual manner, my family is made up of a number of creative people who have helped me improve my art and motivation to create that art.
OCA: How did you get the idea to write a book for children?
TA: Since discovering various comic book authors I’ve always been inspired to make my own comic book and after translating Kamran Salayev’s ‘Elish and Wicker Tales’ in 2018, I was captivated by the wondrous story and colourful characters and it became a world that I thought would work really well in comic book form.
OCA: To whom did you address your book? What is the focus age of a children group?
TA: Whilst I wasn’t aware of it at the time of me starting to make the comic, ‘Elish and Wicker Tales’ was a book made to help and support children that are having difficulty living with autism. This made my drive to create the comic even greater because I knew that what I was doing was going to help a lot of struggling children around the world as well as generally being an enjoyable read for all kinds of children.
OCA: What is your book about? I know that it’s comics, why did you choose such a manner of telling the story?
TA: The book is about a shy boy going outside of his comfort zone to save the world despite him having nothing to do with the situation, this is the kind of powerful storytelling that I thought was important to tell to the children of today. I personally really enjoy reading comics as well as graphic novel adaptations of various books because it allows the story to be conveyed through a different creative lens and for people to enjoy it in a more expressive and powerful way.
OCA: Who helped you to publish your book and in what languages will it be released?
TA: The project began on a crowdfunding website called ‘Indiegogo’ and with the support of over 200 kind-hearted people we were able to make the project into a reality. Hertfordshire Press, the publishing house, has done a tremendous job of promoting the event online as well as helping me work on the comic from behind the scenes. At launch, the book will be published in English, but very soon we are also planning to release the books in: Russian, Kyrgyz, as well many other languages.
OCA: Will it be released in the state language of Uzbekistan?
TA: Right now we are looking for translators to help us spread the story as much as we can and if the opportunity arises to translate the book into Uzbek, we will certainly take it!
OCA: Will you continue to write books for children with special needs – autistics?
TA: The ‘Elish and the Wicker Tale’ comic book is one part of a long, probably 10 part/issue series, depending on how things go with this book as well as the time I must dedicate to write the book, I’m hoping I can carry on writing the series until it’s eventual conclusion.
OCA: Tell us please about your future plans
TA: My field of aspiration is film but I am interested in lots of aspects of creative media which is very flexible and unpredictable. Right now I’m studying and generally just trying to figure things out until I’m comfortable enough to find a specific passion which I hope to follow in my adult life.
OCA Magazine: Tell us about yourself and your creative work.
Mikhail Ananov: I’m a poet, a poetry translator, prose writer, playwright, literary critic, journalist, publicist, theorist, sonetologist and I am also engaged in mathematical modeling in the field of poetic art.
I’m a member of several creative unions, including international ones: Union of Writers of Georgia, Pushkin Society of Russian-Language Writers “Arion”, the Vernatun Union of Armenian Writers of Georgia, international club of science fiction of Crimea “Fandango”. I’m also a member of the Advisory Board of the Eurasian Creative Guild. I’m one of the founders and a manager of a literary theatre “Arion”.
I’m a author of poetry collections “Above the Abyss of the Worlds”, “The Ghosts of Eldorado”, “Selenastra” and two scientific works in the field of literature theory: “The Cryptography of the Poetic Form” and “The Atomic Model of the Sound Order”. I am also a translator of collections of Armenian poets Mikael Akhtyan, Stanislav Melkonyan, Anaida Bostanjan and Okro Okroyan.
My poems were translated into Armenian and English.
I am Diploma-recipient of the V International Forum “Golden Knight”, in 2014, a winner of the VIII International Festival in Brussels held by the Eurasian Creative Guild in Brussels in 2019.
I won the Order of St. Elijah Chavchavadze in 2017, the Grand Prix of the Lermontov competition in honor of his 200th anniversary in 2013, the poetry competition of science fiction writers in Feodosia in 2016.
OCA: What does “Eurasianism” mean to you?
MA: In my own understanding, it is a convergence of the two cultures of Europe and Asia which blurs the border between us, as representatives of two different peoples in our views and in spirit. In the past this border was obvious, but things are changing over time and our relationships are becoming much better and making it worth presenting ourselves in the new world. And I should say that the Guild plays an important role in it.
OCA: Name your favourite artists
MA: Among classic writers it is of course Alexander Pushkin who I treat as my ‘teacher’. He’s a great personality and I’m striving to reach him like striving to reach the sun. Another my ‘teacher’ – Edgar Poe, a master of the psychology genre. I recommend all artists to read his book called ‘Philosophy of Art’ in which he step by step and in detail describes the process of creating a masterpiece.
Indeed, I also admire artists from other spheres: painting, music, theatre, film. My favourite artists are also Rubens, Mozart, Shakespeare, Coppola
OCA: Have you ever taken part in the events organised by the Eurasian Creative Guild (London)?
MA: Yes. I took a part-time participation in the VIII International Festival of Eurasian Creative Guild held in Brussels where I presented my speech to the participants. I also participated in a contest of small prose and even became a diploma winner in the nomination “Generals of the world for peace” for the story “A very interesting guy”, dedicated to Vladimir Vysotsky.
I write tales and plays for children of different ages. In the 30th anniversary issue of our “On the Hills of Georgia” almanac my play was published in “The New Little Humpbacked Horse” poems. There is a story behind it: the director of the theatre named after Griboedov – Nikolai Sventitski, whose dream was to bring together all the characters of Russian tales, asked me in person to write it.
OCA: What does Eurasian Creative Guild mean to you?
MA: It means a lot to me. Over the past few years, not only the number of members in the Guild has risen, but also the number of countries that represent it, the number of projects, events and so on. In addition, it allows an absentee participation in festivals which is some kind of bridge between us that strengthens our relationship and facilitates creative approaches to solve problems. We live in worrying times and I have no doubts that our meetings help to bring more kindness and warmth to our world.
OCA: Is there any personal project that you would like to tell us about?
MA: I have quite a big project: I want to found a rock band which would not only perform its own songs but also translations of famous English songs. First steps are already made. Besides, I’m translating rock poetry including songs of Deep Purple and Animals. I told Marat Akhmejanov about my plans and he promised to introduce me to the producers of Deep Purple. I also talked about this with John Farndon who got really interested in it.
OCA: Tell us about creative societies in Tbilisi.
MA: The first society represents Russian-speaking writers led by Nika Dzhindzharadze who gathers creative people in the House of the Caucasus and organizes musical poetic evening events. The guests are people from many countries.
I want to talk about ‘Arion’ briefly. Apart from theatrical productions, there are also various literary contests, quizzes, events and celebrations. At one of such events, I met Marat Akhmejanov and this motivated me to join the Guild.
The second society is Tbilisi Armenians which has quite a wide audience. Their cultural centres are Hayartun and the House of Hovhannes Tumanyan where they organise all kinds of events.
The third society is Georgian writers and cultural workers. They have many cultural centres, including the Writers Union, and I often join their events as a poet and a translator of Georgian poetry. My daughter Anna joins me in the events, performances, theatrical productions, melodeclamations, musical, poetic and creative evenings.
OCA Magazine: Tell us, please, about yourself and your creative activity / work
Ravil Abdulov: My path of constant search for myself is a deep study of the world experience of art, which I pass through the prism of my consciousness, analyze, modify, transform my vision. In 1991 I was elected to the Union of Artists of the USSR, which was a big success for that time. In 2011, at the republican art project “The Art of Independence”, I took first place in the southern region.
Recently, a unique platform has opened on Binance NFT. My paintings are sold on the Binance NFT World_Art platform.
OCA:How did you choose your path and who is your role model in the creative space or life?
RA: Actually there are loads of examples of the artists of the era of the titans of the Renaissance and Paul Cezanne, and Picasso. I was brought up by the classics, but this changes over time and the philosophical approach to painting begins to prevail.
OCA: What is your main achievement in 2021-2022?
RA: My exhibition in the center of Europe. An exhibition was curated by the Eurasian Creative Guild (London) in Belgium in Brussels.
OCA: What is the main feature that makes you and your art/work unique?
RA: This is the philosophy hidden in my paintings, it is both in the search for composition and in connection with unity with nature.
OCA: Tell us, please, about the events of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work?
RA: Thanks to the Eurasian Creative Guild (London), I feel a deep connection with world culture, where the value of the artist’s personality is a priority in life. I feel an inextricable connection with world culture.
OCA: What is your motivation and the main aim of your creativity?
RA: The Art of painting does not need words, it is the language of feelings, it is transmitted through color, composition, line, spot, you have to be open to the Universe and it will answer the same.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career?
RA: Creativity should not be closed in itself. My desire is to actively participate in the activities of the Guild, and it will answer you in the same way, creativity will enrich you all.
The festival is organized by the British non-profit organization Eurasian Creative Guild (London) with the support of the Rixos Borovoe Hotel, Akim of the Akmola region, Akim of the Burabay district, Akim of the village of Burabay and the Higher Pedagogical College in the city of Schuchinsk.
The long-awaited event brought together more than 300 poets, prose writers, artists, musicians and filmmakers from 18 countries this year: Kyrgyzstan, Great Britain, Ireland, Lithuania, Israel, Kazakhstan, Russia, Canada, Finland, Uzbekistan, USA, Georgia, Bulgaria, Azerbaijan, Armenia , Qatar, Ukraine and Belarus.
An informal start to the festival was already given on May 4 in Nur-Sultan. For everyone, a meeting was held with Guild Chairman Gareth Stamp and Vice Chairman Mark (Marat) Akhmedjanov. A warm meeting of like-minded people took place in the hospitable space of the ARNAU Art and Education Center. It became a bright starting point for wonderful events, where not only the participants of the festival, but also members of the Guild from Nur-Sultan got the opportunity to personally introduce themselves to Gareth, tell about themselves and get to know him better.
The Festival continued on May 5 in the city of Shchuchinsk, where the creative residence “ECG HORIZONS BURABAY” is located. There was an Plein air, which was attended by a delegation of students from the creative studio “Granat” from Kokshetau, as well as its creator and leader Anar Sattybayeva. Students, together with Gareth Stump and the Guild volunteers, went to sketch the SHCHIPT microdistrict, covering not only the beautiful landscape, but also the amazing landmark Horse Yard. The opportunity to draw horses, donkeys and even a camel from life caused great delight among young artists.
The festival itself officially opened on May 6 at the Rixos Borovoe hotel. The program started with Elena Bezrukova and Marina Alyasova, representing the executive committee of the ECG Expert Council (London) on Business Coaching. They held a master class “Formation of the emotional climate outside and inside”. This master class allowed the participants to quickly recharge their batteries and tune in the right way.
The next event that captured the attention of festival participants and guests from different parts of the Akmola region, as well as guests of the five-star Rixos Borovoe hotel, was an exhibition of visual arts, turning the hotel lobby into an international art gallery. Members of the Guild – artists from the USA and Kazakhstan – Yulia Ward, Daria Zalesskaya, Elena Bezrukova, Yusuf Krykbesov, Milana Yusufova, Maria Luzina, Elena Tsygvintseva, Elena Serebryakova and Nelli Filippova presented their works at the exhibition of visual arts. It is gratifying to note that during the festival three works by Akmola artists were purchased for private collections and sent to Bulgaria, Ireland and Wales.
The pearl of the program of the first day was the Opening Ceremony. The festival was opened with welcome words from the British Ambassador to Kazakhstan, Kathy Leach, to the guests
and organizers of the festival. The Ambassador emphasized the importance of this event for building international cultural relations. With a welcoming speech performed Akim of the region Marzhikpayev Ermek Boronbayevich, Deputy Head of the State Institution “Department of Entrepreneurship and Tourism of the Akmola Region” Andrey Ivanovich Podgursky and the regional Akimat was represented by the Deputy Akim of the Burabay District, Kuzembaeva Anara Tleuzhanovna. Also, Torgyn Abdykaimova, Member of the Council of Guardians of the ECG (London), addressed the participants of the festival. During the ceremony, each of the festival participants shared their wishes, filling the atmosphere with a festive mood. The solemn part of the evening continued with the screening of the films as part of the pre-launch of the Burabay International Short Film Festival. The audience saw the films “Ander” (dir. – Alina Mustafina, Kazakhstan/Qatar) and “The last one” (dir. – Fariz Akhmadov, Azerbaijan) for the first time.
Later the festival participants from the Rixos Borovoe hotel moved to the creative residence of ECG HORIZONS BURABAY, where the ceremony of raising the flags of the countries and cities of the festival participants took place. The flags of the states participating in the festival were solemnly presented at the ceremony. The main idea of the ceremony was to show that creativity has no geographical and political boundaries, and the Guild unites cultural figures from all over the world. A worthy end to the first day was the opening of the Wall of Memory in the residence – a memorial in which the first two commemorative plaques took their place. The first one was installed by Yulia Ward in honor of Andrew Wesley Ward (USA), a collector, traveler and entrepreneur, who greatly influenced Yulia’s development as a creative person. The second plaque was installed in memory of Maria Shevel (Ukraine), whose name was given to the award in the framework of the Open Eurasia contest for the best work for children. The memorial is designed to preserve the memory of the Guild members who have gone to a better world, as well as people significant to them and the Guild.
During the celebration, Nargiza Karasartova and Bubuira Bektenova awarded the vice-chairman of the guild, Marat Akhmedjanov, with a medal from the Democratic Committee of Women of Kyrgyzstan public association. The participants noted his invaluable contribution to supporting the creativity of the beautiful half of humanity.
The second day of the festival began with bright colors and precise lines of an artistic master class from Yusuf Krykbesov, Ambassador of ECG (London) in Shchuchinsk. Together with his students, Yusuf Zhagiparovich helped the festival participants, even those who were far from fine art, to reveal their creative nature with the help of an intuitive gesture. The result was a collective work, which the craftsmen donated to the ECG Horizons Burabay residence. Both the creators themselves and all the participants of the festival left their autographs on the canvas.
At the invitation of the Akimat of the Akmola region, the festival participants went to the city of Kokshetau, where a series of events took place at the site of the Museum of Local Tradition and History, each of which deserves special attention.
The program was opened by the welcoming speech of the department of culture of the Akmola region Sabitova Aigul Baubekovna. It reinforced the hope for the development of such cultural and event projects as festivals. Also, the deputy director of the museum Dyusenbaeva Anar Amantaevna greeted the guests.
The presentation of the phenomena associated with their work has become a sensory platform not only for telling about themselves, but also for discovering the intercultural ties of the Eurasian space from China to Ireland. For example, Aliya Akhetova, the first participant in the history of the festival from Kokshetau, a member of the Union of Journalists of the Republic of Kazakhstan, presented a book dedicated to creative people born in Akmola land, highlighting Bulat Mekebaev, an artist well known to the Guild, originally from Kokshetau, the events took place in many European countries. Yulia Ward and Andrey Grodzinsky (winner of the Open Eurasia – 2021 contest in the “Prose” category) presented a view of their master class on the work of an illustrator with an order for the cover of the author’s book – some difficulties had to be faced, what questions needed it was necessary to set it to another friend so that the cover turned out to be bright and emotional, etc. Dilara Lindsay, Marina Vernalis, Dana Zhateeva, Daria Zalesskaya, Bubuira Bektenova, Nargiza Karasartova, Maria Muchinskaya (winner of the Open Eurasia – 2021 contest in the Poetry category), Elena Bezrukova, Marina Alyasova and Galina Primorskaya shared their creativity and ideas about modern culture . Of particular interest was the presentation by Bruce Gaston, a member of the Guild from Ireland. Bruce spoke about his suspicion of the development of the Celtic culture. The highlight of the presentation part was the joint musical performance of Bruce and Gareth.
The film screening also caused a storm of emotions and discussion. The films “Honorable Lviv Lady” (dir. – Natalia Pasenitska, Ukraine) and “On the Silk Road” (dir. – Sherzod Nazarov, Uzbekistan) were presented to the audience. These films, dedicated to the issues of happiness, family values and love, have become a great topic for discussion.
The third festival day – May 8 – was opened by a series of video messages from remote participants of the festival. Remarkable poets, writers and artists Polina Lakhtina, Alexander Binshtein, Raisa Melnikova, Darien Roitman, Victoria Levin, Marlan Nysanbaev, Alexander Kazarnovsky, Marlan Nysanbaev and Mikhail Ananov, Elena Bosler-Guseva, as well as chairmen of the Guild of different years David Parry and John Farndon shared with their creativity, good mood and wishes for a wonderful festival. Online performances and live presentations, as always, have become an integral part of the evaluation of the participants in the “Voices of Friends – 2022” poetry and art contest. It was thanks to the performances that the rating table of the contest acquired its final form.
On the same day, the Blue Diamonds of Eurasia Assembly was held: who creates the future classics today?” with online and offline members of the OCA People 2020-2022 special editions. At the Assembly, a presentation of the numbers of the new issue of 2022 was held, the main character of which was the Irish poet and publicist Bruce Gaston and 39 other prominent members of the guild from different countries.
Also on this day, a discussion film screening took place. The audience enjoyed such films as “Catherine II. The Fall of the Great” (dir. – Andrey Archkov, Russia), “Coincidence” (dir. – Egor Lymarev, Kazakhstan), “Tomorrow” (dir. – Nikita Makarenko, Uzbekistan), “Steps” (dir. – Zhanaiym Ashimova, Kyrgyzstan ) and the animated film “Lullaby” (dir. – Dilshat Rakhmatullin, Kazakhstan).
The culmination of the evening was a musical Gala Concert in the recreation center “Okzhetpes” which was a real treat. Akim of Burabay village – Dzhalmukanov Sabyr Alimzhanovich expressed his warm wishes to the guests, and Karsybayeva Dina Sadvakasovna, Head of the State Institution “Department of Culture and Development of Languages of Burabay District” presented the Guild with a memorable gift. Also, the head of the Palace of Culture Nurumova Zhumabike Daulenovna addressed the guests with words of gratitude. The teams of the LEVEL UP Center for Creativity, the Chechen-Ingush Ensemble Vainakh, the Folk Ensemble Rauan and the reader Maria Tkachenko, took the stage, and the Okzhetpes Palace of Culture presented the Dombrist Ensemble Ozhetpes Sazy, Omirzak Kurbanov, an instrumental quintet of folklore ensemble ” Kokshe auenderi”, an exemplary dance group “Viva dance”, Evelina Krasyuk and the dance group “Fidgets”. The official participants of the festival – Helen Coro, Marina Vernalis, Tatyana Mendybayeva, Gareth Stamp, Bruce Gaston, Maria Muchinskaya, Andrey Grodzinsky – also presented wonderful poetic and musical performances.
On May 9, writers and poets enjoyed the beauties of the Burabay region, starting with participation in the open air and continuing with excursions to the iconic places of the region.
But the real fireworks of emotions and colors was the Awarding Ceremony of the “Voices of Friends: Poetry & Art” contest and the closing of the festival.
The golden ten in the Poetry category included:
Apollonia Delos (Russia)
Alexander Binstein (Israel)
Alexander Kazarnovsky (Israel)
Victoria Levin (Israel)
Dilara Lindsay (Great Britain)
Marina Alyassova (Kazakhstan)
Marina Vernalis (Russia)
Maria Muchinskaya (Belarus)
Mikhail Ananov (Georgia)
Poetry category winners:
1st place – Marina Vernalis (Russia)
2nd place – Apollonia Delom (Russia) and Marina Alyassova (Kazakhstan)
3rd place – Alexander Kazarnovsky (Israel)
Painting category winners:
1st place – Marina Vernalis (Russia)
2nd place – Marilu Lis (Kazakhstan)
3rd place – Sergey Babyakov (Kazakhstan)
Illustration category winners:
1st place – Daria Zalesskaya – RATSEL ART (Kazakhstan)
2nd place – Tatyana Mendybayeva (Kazakhstan)
3rd place – Elena Shilova (Crimea)
Winners in the photography category:
1st place – Maria Priznyakova (Russia)
2nd place – Helen Coro (Russia)
3rd place – Irina Smirnova (Kazakhstan)
Also, Bakhyt Rustemov, the famous writer and head of the International Union of People’s Diplomacy, awarded Gareth Stamp, chairman of the Guild, with an honorary medal.
For all the participants of the festival was a presentation of the new issue of the magazine “Bogema” by a member of the Guild in Shchuchinsk, Pavel Kosovich – he was able to prepare an issue dedicated to the festival for the closing ceremony! This issue has become an excellent souvenir for all those present.
The final day of the festival, May 10, was held at the Higher Pedagogical College (Shchuchinsk). The main event of this day was the acquaintance of two wonderful creative communities – representatives of culture and art of the Burabay region and international participants of the festival. Thus, two associations – “Art-Burabay” and “Lira” – were represented by the “owners” of the region, and the guests shared their creativity. Yuliya Vard also made a presentation on professional development opportunities in the creative industries, and Taina Kaunis, Executive Director of the Guild, shared the history of the creation of the ECG Horizons Burabay residence and plans for its development.
A special place in the program of the final day was the screening of the film “Nunik” (dir. – Elena Arshakyan, Armenia). He deeply touched the hearts of those present. It is worth noting that all films within the framework of the festival were shown as a pre-premiere of the Eurasian Film Festival ECG Film Festival, which has been held annually in London since 2019.
At the end, there was a sincere farewell party of the guild members at the ECG Horizons Burabay residence, where along with the venerable participants of the festival, volunteers of the festival shared their creativity: Alena Vnuchkova, Kirill Komaristy, Nina Fedorova, Louise Nagoeva, Alina Shaymuratova, Sanjar Dyusenov, Adil Kabidenov, Daria Chalenko.
An extensive online program was organized for festival participants who could not attend the festival in person.
With the support of the ECG Expert Council on Poetry, a Zoom-conference was held on the topic “Nature. Painting. Poetry”. Under the moderation of Council Chairman Mikhail Ananov, the participants discussed such an important issue as a source of inspiration hidden in nature and helping artists and writers to create their immortal masterpieces for thousands of years. “The World of Children’s Literature” – Zoom-conference organized by the Expert Council for Translations represented by Chairperson Elena Bosler-Guseva (Kyrgyzstan) and Vice-Chairman Alina Moseykina (Cyprus) – raised a whole range of complex tasks associated with the creation of a quality children’s book, especially if this is a translated edition. After all, it is children’s literature that is by far the most complex and most demanded product today.The traditional poetic marathon “Voices of Eurasia” was also held in an online format, designed to become a platform for the performances of those members of the Guild who, for various reasons, were no able to visit the festival in person! The main online event was a conference dedicated to the special issue of OCA magazine – OCA PEOPLE, on the theme “Blue Diamonds of Eurasia. Who creates modern classics today?”, combined with the in-person part of the program.
Eurasian Creative Guild (London) — The Eurasian Creative Guild unites hundreds of cultural figures from all over the world: writers, musicians, dancers, illustrators, graphic designers, sculptors, poets, as well as anyone who considers himself a creative person.
OCA Magazine —quarterly and independent magazine published in London since 2009 by Silk Road Media Group with the support of the Eurasian Creative Guild (London). It is aimed at the English-speaking audience and those who are interested in or live in the countries of the former USSR and the Eurasian region. The magazine covers the events and prominent personalities of the Eurasian region (past and present), as well as successful projects of international cooperation in Eurasia.
Open Central Asia Magazine was deeply saddened to hear of the sudden demise of one of our friends and close supporters, Dr Shahid Qureshi, on 10th February 2022 at the age of 56.
Dr Shahid Qureshi was a senior analyst with BBC and chief editor of The London Post. He wrote on security, terrorism and foreign policy. During his journalism career, he appeared as an analyst on Al-Jazeera, Press TV, MBC, Kazak TV (Kazakhstan), LBC Radio London. He was also international election observer for Azerbaijan 2020, April 2018, Kazakhstan 2015, 2016, 2019 and Pakistan 2002.
He wrote a famous book “War on Terror and Siege of Pakistan” published in 2009. At Government College Lahore he wrote his MA thesis on ‘Political Thought of Imam Khomeini’ and visited Tehran University. He was PhD in ‘Political Psychology’ and studied Law at a British University. He also spoke at Cambridge University and was a visiting Professor at Hebe University in China. He devoted his life not only to international journalism, but also to justice and human rights.
Our most sincere sympathies and condolences go to his family and friends who have lost a remarkable and tremendous personality.
Success at the Tenth Open Eurasia Literary Festival & Book Forum
From 15 – 19 December 2021, the international Open Eurasian Literary Festival & Book Forum (OEBF) was held in Uzbekistan for the first time, bringing together participants from 15 countries at venues of Tashkent and Samarkand.
The Open Eurasian Literature Festival & Book Forum (OEBF), organised by the Eurasian Creative Guild (London) in cooperation with the British publishing house, Hertfordshire Press, has become a meeting place for writers, poets, artists and other representatives of various fields of art for the tenth time. This year marks 10 years since the founding of the Open Eurasian Literary Festival & Book Forum, and for the same period it serves as a platform for building an intercultural dialogue between East and West, where creative people, cultural, educational and charitable organisations can exchange experiences. The festival has already been held in Kyrgyzstan, Kazakhstan, Thailand, Sweden, Belgium and the UK, and for the first time in its history, this year it was held in Uzbekistan. More than 130 participants (online and face-to-face) from 15 countries of the world held 25 events together in sunny Tashkent and Samarkand over 5 days.
This annual event has become a symbol of the victory of art and the desire to create over the fear and confusion of the pandemic. The festival began with a special closed meeting of festival participants. Guests from countries including Kazakhstan, Belarus, Kyrgyzstan, Great Britain and Poland met in the picturesque gallery Human House – the official partner of the festival in Tashkent – to get acquainted with the festival program in more detail.
The highlight of the evening was the Christmas market, which participants visited at the Tashkent International School (TIS), a partner of the festival. The concert prepared by the schoolchildren, the fair and the Christmas atmosphere were an excellent preface for an informal get together among friends, old and new. There were warm and sincere conversations with hot tea and traditional Uzbek food. Each guest was given the opportunity to explain a little bit about themselves and present their work.
The working program of the second day, December 16, was held at the site of the festival partner Lotte City Hotel Tashkent Palace. An important event on the second day of the festival, and an excellent start to the program, was the traditional annual presentation of new books published by Hertfordshire Press in 2021 and works by the winners of the “Open Eurasia” contest from 2020. During the presentation, participants and guests were greeted by the Ambassador Extraordinary and Plenipotentiary of the Kyrgyz Republic to Uzbekistan, Ibragim Yunusov. The Ambassador attended this event to support the OEBF-2014 laureate Bubaysha Arstanbekova (Kyrgyzstan) and to emphasise the importance of publishing her book “Queen Kurmanjan of the mountains” about the legendary woman leader of the Kokand Khanate, Kurmanjan-datka. OEBF-2019 laureate Mikhail Kunitsky (Belarus) also presented his new book, published in London. His children’s book “Traveling on Four Feet” received very warm reviews from the participants and guests of the festival.
A young director and a student of the London Film Academy (LFA), Timur Akhmedjanov (Great Britain), presented the Russian-language edition of his comic book “Elish and the Wicker Tale“, based on the book by Azerbaijani writer Kamran Salayev, winner of the 2018 OEBF Maria Shevel Prize. This charity project, created to help children with autism, continues to be in demand and is spreading in other languages of the world.
Hertfordshire Press manager Aknur Nurtaza also presented a range of literary novelties.
The Annual Literary Almanac of the Eurasian Creative Guild “Thread 5“
A highlight of the second day was the creative performance of a special guest – a famous writer and “mascot” of the festival from the very first year – Janusz Leon Wisniewski (Poland). The author of a dozen bestsellers with a total circulation of more than 2,000,000 copies (and this is only in Russia) shared his invaluable experience and personal story of how a mature university professor got on the pages of Playboy and became one of the most widely read authors in Eastern Europe.
An incredible master class titled, “How to allow yourself to create and help people see the results of their creativity?” was given Elena Bezrukova, the Ambassador of ECG (London) in Kazakhstan, and Chairperson of the ECG Expert Council (London) for Business Coaching. All participants were placed in unusual conditions, from where everyone had to find a way out. The participants of the master class noted the incredible benefits and great pleasure derived from this process.
At the end of the working program of the 2nd day of the festival, a discussion was held on the topic “How to make the world a better place?” Executive Director of ECG (London) Tayna Kaunis and British publisher Marat (Mark) Akhmedjanov shared their successful experience in conducting crowdfunding campaigns related to creative and social projects. A separate topic was the presentation of development programs for the creative residence ECG HORIZONS Burabay, which began its work on the shore of Lake Shortankul (Shchuchye) of the Burabay (Borovoe) National Park in Northern Kazakhstan.
Despite such a rich program, all the guests were looking forward to the official Opening Ceremony of the festival, which took place on the evening of the same day, December 16, at the Tashkent International School. The floor for the opening ceremony was given to the Vice-Chairman of ECG (London) Marat Akhmedjanov, who recounted the history of the creation and development of the festival, and also emphasised the importance of such events for building cultural bridges between countries. Denise Woddingham, Director of the British Council for Culture in Uzbekistan, also welcomed participants. Then the guests were greeted by TIS Director Bill Kralovets and the festival’s guest of honour Janusz Leon Wisniewski. Of note was the support of the ceremony by the partners of the festival – the Sharaf Rashidov Foundation represented by chairman of the board Yakubov Iskander Sandzharovich and the chief consultant Muminov Kamal Musaevich. Within the framework of the opening ceremony, all official participants also spoke with a welcoming speech, presenting themselves and their projects. The other guests of honour were representatives of the Embassies of Great Britain, Poland and Kyrgyzstan, Webster University, Sulzhina Irina Vladimirovna, co-ordinator of educational programs of the Rossotrudnichestvo office in the Republic of Uzbekistan, head of the Polish cultural centre “Swietlica Polska” Oleg Skuridin, and others.
A festive concert was also held, which was opened by a young student of TIS, and laureate of international competitions, Sophie Singh Gill. Other wonderful performers and creative groups of Tashkent also took part in the concert: the State Conservatory of Uzbekistan (Rakhmonov Asatilla, Toshpulatov Sanobar, Makhmudjonova Maftuna, Kamolova Khulkaroi, Khabibullaeva Sevara), the Institute of Uzbek National Musical Art named after Yunus Rajabiibo Sabirova Iroda, Sodirboeva Nilufar, Azamova Dilnavoz, Turgunova Gulsanam), Polish Cultural Center “Swietlica Polska” (Denis Sotnikov).
Festival partner, the Courtyard by Marriott hotel (Tashkent), became the key venue for the third festival day on December 17. The working program was opened by the presentation of film projects by the Scientific Medical Society (NMO Kazakhstan), during which colleagues spoke about their unique experience of art therapy and creative projects designed to help children with oncology and their loved ones. It was also explained why the research medical organisation find it so important to be a corporate member of ECG (London) and what opportunities this opens up for children and employees.
The highlight of the Tashkent program was a discussion and the press-conference on the topic “Cultural bridges”, where the main speakers were Marat Akhmedjanov, Elena Bosler-Guseva, Elena Bezrukova, Janush Wisniewski and Taina Kaunis. Important issues such as the reform of the Uzbek language and a decrease in the level of reading in different countries among readers under 35 years old were raised.
The Tashkent Film School for Youth, “Focus School”, invited Timur Akhmedjanov, originally a native of the city of Chirchik (Uzbekistan), from Great Britain, to share his experience of entering and studying at the prestigious London Film Academy.
At the end of the working program of the third day a creative lecture on the fine arts and a presentation of paintings by Yulia Ward and Elena Bezrukova was held. This creative event took place in the Human House gallery and gave the participants and guests of the festival an immersion in the creative process of the artist.
Majestic Samarkand received festival delegates between 18-19 December with an almost summer warmth and incredible architecture. The luxurious Bek Samarkand hotel, a partner of the festival, became the place where the most sacred part of the festival took place. The “Voices of Eurasia” marathon, traditionally held within the OEBF every year, brought together festival participants and allowed them to read their works and explain a little about themselves.
The annual reporting meeting of the executive committee of the Eurasian Creative Guild (London) was the traditional summing up of the year, as well as the announcement of the results of elections to the main bodies of the Guild for 2022.
According to the results of electronic voting, Gareth Stamp, UK, was elected as the Chairman of ECG (London) for 2022.
Based on the results of electronic voting and the decision of the ECG (London) Executive Committee, the following composition of the Advisory Board was elected:
The evening ended with an enchanting Awards Ceremony of the winners of the Open Eurasia international literary contest. In 2021, more than 1000 applications were submitted for the contest by participants from 53 countries of the world. As is tradition, the ceremony was chaired by Vice-Chairman of ECG (London), Marat Akhmedjanov.
The winners of the Open Eurasia 2021 contest in the “Prose” category:
1st place: Andrey Grodzinsky (Uzbekistan) – $ 7000 grant from Hertfordshire Press
The Kazat Akmatov Prize was solemnly presented by his son Azim Akmatov. He shared the history of the establishment of the award, as well as the important role that Kazat Akmatov played in the life of the Guild. The diploma for the second place was presented by Elena Bezrukova.
Winners of the Open Eurasia-2021 contest in the ”Poetry” category:
The award was established by the Guild Executive Committee in honor of the young and talented poet Artyom Dudnikov, Guild Ambassador in Moscow, a native of Uzbekistan, who died from COVID-19 in the spring of 2021. The prize was presented by Marat Akhmedjanov.
The winners of the Open Eurasia-2021 competition in the “Translation” category:
3rd place: Linda Small (Germany) and Julia Ganetskaya (Japan)
The award was presented by the executive director of the Guild Tayna Kaunis.
Laureate, a new prize: Khoja Nasreddin for the best work in the field of satire ($ 500) was the representative of Tajikistan – Gulsifat Shakhidi.
The Generals Prize from the International Association “Generals of Peace for Peace“, the highest award of the Association – the “Dove of Peace” medal for the best work dedicated to the theme of strengthening, peace, friendship and mutual understanding between peoples was received by the Bashkir satirist Masel Salimov (Russia).
The following laureates were awarded with certificates from the International Association “Generals of Peace for Peace”:
On December 19, an informal meeting with a special guest of the festival, Polish writer Janusz Leon Wiśniewski, took place in Tashkent at the Polish Cultural Centre of Uzbekistan. Representatives of the Polish community were able to ask all their questions regarding creativity, migration, socialisation and the creative path of the author.
In the evening, an unusual bar-library opened at the Courtyard by Marriott hotel. Marat Akhmedzhanov, Yanush Leon Vishnevsky, Aliaskar Fatkhullin, Tayna Kaunis and Timur Akhmedzhanov expressed their warm wishes to the hotel and its general manager Alexander Bakanov on behalf of the literary festival.
In the online format, the festival program included the following events:
On 16 December, the winner of the Open Eurasian Literary Festival & Book Forum 2020 in the category “Children’s literature” Nelly Kopeikina held a presentation of her book “Contemporary Russian Fairy Tales”
On 17 December, an online marathon “Voices of Eurasia” was held for all participants who could not join the festival in person.
On December 19, the winner of the Open Eurasian Literary Festival & Book Forum 2020 in the category “Best Female Work” Adolina Gordon held a presentation of the book “The Saga of a Strange Woman”.
ECG (London) expresses special gratitude to the partners of the festival: Human House Gallery, Sharaf Rashidov Foundation, Courtyard by Marriott, Lotte City Hotel, Orient Star and Bek Samarkand, Tashkent International School, Swietlica Polska Polish Cultural Centre, State Conservatory, Institute of Uzbek National Musical Art named after Yunus Rajabi and Shams Turon Trans Auto.
OEBF is the only literary festival in the world that, since 2012, has been promoting the literature of the Eurasian region at an international level. The festival provides an opportunity for authors to promote their work, exchange experiences and find like-minded people from around the world to implement joint projects.
At the moment, submission period is open for the 11th literary competition “Open Eurasia-2022“.
Eurasian Creative Guild (London) is a public organisation that promotes filmmakers, artists, poets, writers and designers. The main mission of the Eurasian Creative Guild (London) is to instil a love of creativity, to give people the opportunity to touch the beauty, and reveal new facets of their creative nature.
Book Review: History of the Caucasus: Volume 1: At the Crossroads of Empires by Christoph Baumer
Christoph Baumer is a distinguished historian and chronicler of events, full stop. The more of Baumer’s extensive and expansive works you read, the more you realise that very few rival him, not just for the breadth of subjects that he covers but the detail and clarity with which he espouses the narrative of these often hidden parts of the world.
In 2012, this publication reviewed the first of Baumer’s four-volume set on the History of Central Asia. This inaugural series was ambitious in itself, however as Baumer is now able to masterfully tackle huge swathes of historical time and geographical boundaries, it is no surprise that he has decided to take on the Caucasus. So, when this magazine got the chance to review his latest book, it was clear that another treat was in store.
The new series, The History of the Caucasus, covers 2 million years of human inhabitation in the Caucasus region, right up to today. Baumer tackles the swathe of empires that have risen and fallen in the Caucasus region. The first volume starts with the emergence of the first populations outside Africa until Seljuk conquests of 1050 AD. Eight beautifully written chapters take us on a quest covering not just the people but also the geology of the region. The origin of the Caucasus mountains and development of the Black and Caspian seas which shape the region today, is particularly interesting and new. Baumer covers pre-historic cultures from the Neolithic to the Iron Ages that simply have had so little air time in popular history and whose stories deserve to be told – both from a northern and southern Caucasus perspective. Baumer covers the usual Silk Road culprits such as the Scythians, the Romans, the Sassanids and the Seljuks but also liberates new folk such as the Kingdom of Kartali (Iberia) and how local Armenian Christianity and Armenian Kingdowms developed. With such eclectic history it is no wonder that it is claimed over 50 languages can be understood within the region’s borders today.
What sets Baumer apart from other history books on the region is the shear magnificence of the publication – just holding it you know this is a serious work that will enlighten you. Once you delve into its 386 pages, the beautiful illustrations and vivid photography captures your imagination even before you have begun to read. Of particular use are the detailed maps showing movements and positions of various empires throughout the course of the region’s history. This remains, however, more of an academic or reference book given its size and complexity. The difficulty with such books is that they don’t lend themselves to being read easily from an armchair or out and about and hence it is a feat in itself to read through cover to cover. That’s not to put the book down in any way, just to make readers aware that this is for the serious adventurer or scholar, much like Baumer himself!
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Christoph Baumer is a leading explorer and historian of Central Asia. He is President of the Society for the Exploration of EurAsia and is a member of the Explorers’ Club, New York, and of the Royal Asiatic Society, the Royal Geographical Society and the Royal Society for Asian Affairs, London.
At the end of the nineteenth century, the economic development of Burabay and the increase of its population inevitably led to unlimited exploitation of its natural resources. Excessive deforestation led to the formation of wastelands, which were used by pastoralists for grazing. These cattle were then supplied to the local cannery, which was very beneficial for both nomadic suppliers and butchers.
At this time, Borovoe was already well known as a resort area. Both sick and healthy people began to flock here, the presence of which did not have the best effect on the nature around. All this prompted the administration of the region to deal with the issues of limiting the use of the natural resources of the region. In this regard, it became necessary to put the forest areas back in order and improve communication towards visitors. The first step towards this was the formation of the state forestry in Borovoye in 1898. Putting the local forests in order greatly contributed to the establishment of the Forest School. The first forest inventory was carried out by the teachers and students of this school, and the norms and methods of forest management were established.
From that moment, attention to Borovoe increased from the side of the authorities and advocates of nature conservation. With the approval of the scientist V.V. Baryshevtsev a completely new stage in the social and scientific life of the region began. It was V.V. Baryshevtsev who came up with the idea of creating a nature reserve in Borovoe. But it became a reality only in 1935. The reserve “Borovoe” was created in the sanitorium resort area with significant settlements that already existed. This feature was reflected in its organization: the territory of the reserve was divided into a buffer zone, where settlements were concentrated, and into a zone of “reserve”, completely excluded from economic use.
Since the establishment of the reserve, its employees, in addition to protecting natural resources, began to conduct scientific research on the subsoil, soil, water, flora and fauna. The study of this complex, which constitutes the nature of Borovoye, began at the time of the settlement of the steppes of Northern Kazakhstan by Russian settlers. Then the baton was taken over by scientists of the twentieth century, both pre-revolutionary and Soviet.
Throughout the past century, the ecological state of the region depended has on human economic activity. However it had a negative impact on the water regime of the lakes and rivers of the resort area. So, over the past 35 years, the level of lakes in the region has fallen by 1.5-2 metres. Islands appeared on the lakes of Shchuchinskoye and Bolshoye Chebachye. The water receded hundreds of metres from the shore in places. The decrease in the depths of lakes, especially Karasu and Bolshoye Chebache due to their silting, the formation of copropel and irreversible volumes of water, caused changes in the temperature regime and general mineralisation of the water in them. This led to a disturbance in the water balance of the resort area and pollution of ground and surface waters.
In the 1930s, the Borovoe resort became an All-Union resort. People from all over the country came here to be treated and improve their health. Today, Burabay has ceased to be a resort in the broadest sense of the word. Of the remnants of the once developed system of medical institutions, only a few sanatoriums remain (Shchuchinsky, Okzhetpes, Almaz, Zeleny Bor), and some departmental health resorts (the Seifullin sanatorium).
Today the resort area is visited as a large entertainment complex. Companies and families from the cities come here mixed with romantics and students with their unpretentious plans to spend the weekend “in nature”. In addition, in the last decade, Burabay has become a fashionable venue for various kinds of conferences, summits, sports competitions and events (festivals of art song lovers and biker gatherings included).
All these factors have a negative impact on the state of the resort area. The impacts are widespread: 1) A colossal technogenic load on nature. In the vicinity of Burabay there are more than a hundred objects of tourism and recreation (boarding houses, sanatoriums, hotels, cafes, etc.). Each facility is supplied with a water supply, heating, sewage, and lighting systems. These communications are carried out in the soil, not only soil covers and layers are disturbed, but also aquifers feeding of lakes and streams; 2) Anthropogenic impact. The territory of Burabay is visited by about a million people each year (in both summer and winter seasons). Such a large number of vacationers provides good income. But tourism here is not organised well enough. After the visitors have departed, there are piles of garbage, broken trees, broken glass in the lakes, painted stones and rocks, and fires occasionally happen. Not to mention the huge number of vehicles. Employees of the Burabay National Natural Park simply cannot physically control such an influx of people; 3) The state of the lakes. Everyone knows that Burabay lakes are getting shallower. This was reported as early as the beginning of the 20th century. Scientists insist on the need to clean the bottom of the lakes, on which silt is deposited and clogs the sources that feed these lakes. It is not known whether this is the case or the lowering of the lake level is just a natural phenomenon that occurs over a period of several hundred years, as in the case of the Caspian. Or maybe this is the result of human activity (for example, the exorbitant consumption of water in the 1960s for the industrial enterprises of the city of Shchuchinsk), but some kind of decision needs to be made. Otherwise, Borovoy is threatened by the picture that Professor S.S. Golubinsky painted back in 1940: “… the processes of drying up of the lakes will go forward rapidly, the bare mountains will lose their attractiveness with all the negative consequences. At the same time, the meaning of being a resort, sanatoriums and rest houses will be lost, and the existence of the Borovoe Reserve will already be aimless.
In September 2021 Marat Akhmedjanov invited myself and two film related companions to represent the UK at the Tashkent Film Festival in Uzbekistan, a festival returning after a 24 year absence. Like a moth to a flame I was drawn to the event, as were my fellow travellers Oliver Guy Watkins and Peter Blunden. I think its fair to say there was a level of “imposter syndrome” with our attendance to the festival, while attendees had been promised, there had been little clarification of whom would be attending, so to very quickly find ourselves in the company of Steven Seagal, Luc Besson, Rob Minkoff, Franco Nero, Gerard Depardieu to name but a few was slightly overwhelming, the repeating question “why am I here?” playing over and over in our heads.
Tashkent Film Festival clearly wanted to make an impression, no sooner had we arrived at Uzbek Film, there was a feeling of extravagance. To the left of the main building was a media hub, where 100 or so frantic looking people dashed around from one area to another, checking over profiles, doing social media posts and feeding data to other parts of the building, in some area’s interviews were being conducted. After we had a number of short interviews, I glanced over to a monitor where my Internet Movie Database file was being examined, one thing was for certain, they wanted to be up to date with everyone’s background.
Having attended the media hub, we moved to a vast hall where Franco Nero, Rob Minkoff, Steven Seagal and many other film industry representatives addressed the regional press launching the festival. This opulent main hall told the story of Uzbek cinema through images of movies that had so much importance to the people of the country. The afternoon events went so swiftly, that we were soon encouraged to return to our hotel to prepare for the evening events, having travelled across the time zones for ten hours over two flights, this was a welcome opportunity for some downtime.
Our first night at the Tashkent Film Festival was like a strange dream, hours of confusion, culture changes and jet lag made us feel as if we had been teleported onto the red carpet with little understanding of how we got to be there. Once there we were interviewed by one, two, three different reporters in close succession, before having our first encounter with the wonderful Ali Hamroyev, who spent much time talking to us about film, England and the wonder of life. Hamroyev a filmmaker of some sixty plus years had the wisdom of age, but the spritely inquisitive nature of a teenager, his contribution to Uzbek and Russian cinema the thing of legend, as important a soul as the likes of Scorsese, Kubrick or Friedkin. Like ourselves he could not grasp why we were there, not because of status, just because people from the United Kingdom in Uzbekistan are without a doubt a rare jewel. Hamroyev, was followed up by another fascinating encounter with the documentary filmmaker Aliaskar Fathullin, the Uzbekistan equivalent of Michael Apted, a man who’s filmmaking truly charts the story of a nation of change.
The night was a bizarre experience for a westerner, an opening ceremony so grand it makes the likes of the Eurovision Song Contest look like a low budget talent show. After the initial opening ceremony, accompanied by the Tashkent Film Festival anthem, succession upon succession of performers appeared on stage, representing culture, dance and song. Intermingled with Uzbek culture was important cultural classics from world cinema, including operatic numbers from the Fifth Element and the empowering ballad of The Umbrellas of Cherbourg. The night led us into even more understanding that we were in a different culture as we settled down for a midnight dinner at the Hyatt Hotel with Minkoff, Nero, Seagal and a few hundred others.
Tashkent Film Festival had a unique viewpoint for a festival. While it acknowledges legends of cinema both at home and away, its focus was on empowering the young and new filmmakers. Having invited film students from around the world, all expenses paid, they were tasked to create a film in 5 days, then show that film to not just an audience, but a judging panel that included some of the greatest film makers on the planet a judging panel chaired by Timur Bekmambetov director of Night Watch, Wanted and Abraham Lincoln: Vampire Hunter.
Having attended some of the largest festivals in the world, Tashkent Film Festival immediately catapulted itself into one of the worlds biggest challenger film festivals, an event so grandiose that your glass will never run dry, your plate never be empty and your heart anything less than amazed. Every venue, every “opening” of a new and exciting building dedicated to the moving image, grander and more co-ordinated than the last, each day leading to a more out of body experience than the last, which ultimately culminated in the crescendo that was our final night.
After 7 exciting days of film, nothing truly prepared us for our final night at the Festival, rather than arriving to a door, our car took us down a red carpet where we exited the vehicle straight into the world’s press. When we arrived, we addressed the nation live on Z’or TV. This truly discombobulating experience, put each of us on the back foot, giving us a a feeling of euphoria and elation that literally kept us alert for the entire night and well into the following day.
Much more than the festival of course is a capital and a country, a country where alien speaking Englishmen were made to feel like kings. It did not matter that we never knew Uzbek or even Russian, everywhere we went we were greeted by open warm hearts of the countries youth, thrilled to be talking in English to real English men, to talk of the country they love, a country that is evolving at such a rapid pace that each and every day gives them a real feeling of passion for their country, a thrill to be alive in this time. Uzbekistan is a country that is open to the world and Tashkent’s Film Festival is a festival that with much care, attention and cultivation has the ability to become one of the world’s leading film festivals, and where better to enjoy the medium of a film, than in a country so incredible it feels like a living movie.
I watch a lone eagle, o’er the peaks calmly soaring
Drift near as he motionless circles the skies.
Here rivers are born that tear mountain asunder
And landslides begin with a crash as of thunder.
Here float solemn storm-clouds; and through them cascade
Swift torrents of water; they plunge o’er the edges
Of great, naked cliffs and spill down to the ledges
That patches of moss and dry brushwood invade.
Beneath spread green groves, lush with herbs and sweet-scented
Where birds dwell in peace and where deer browse, content.
Lower still in the hills, nestle men; flocks of sheep
The pasturelands roam; to the gay, flowery meadow
Where courses Arafva, her banks clothed in shadow,
A shepherd descends. In a narrow and deep
Ravine a poor horseman lurks, tense and unsleeping,
And wild, laugh-crazed Terek goes tumbling and leaping.
He lashes about like a beast in a cage
With food out of reach, full of hunger and craving,
And licks at the boulders, and, howling and raving,
Strikes out at the shore in a frenzy and rage.
Alas! He is thwarted: the mountains surround him;
Mute, threatening giants, they press darkly round him.
Alexander Pushkin
The Caucasus
These words of Alexander Pushkin still characterise North Ossetia – Alania. Among the constellations of the North Caucasian republics, Ossetia shines unusually brightly and this is the only region where the language, beliefs and customs of the mysterious Alanian tribes are almost completely preserved.
The unity of man and nature in culture
These are nomads of Scythian-Sarmatian origin, the language of modern Ossetians speaks of their belonging to Indo-European peoples, and their beliefs are distinguished by a syncretic nature. These are tribal cults and elements of world religions that have preserved a rich heritage of paganism. The unity of man and nature, the deification of certain places: natural mountains of individual stones, trees, groves, springs, artificially created for sacrifice and prayers, which Ossetians perform to this day, as well as many festive funeral rites. They strictly adhere to many traditions to this day: weddings are celebrated according to ancient customs, rituals at the birth of children, for example, the naming squad is a separate festive ritual, then the ritual of introduction into the family and protection from the influence of “evil forces”.
Quite recently, in the middle of the 20th century, a custom that was adopted by the Scythian-Sarmatian tribes – the dedication of a horse to the deceased and the installation of cirts (gravestones), which migrated from the Scythian culture to the Alanian, and then to the Ossetian, disappeared quite recently. There are such monuments only in North Ossetia and Alania. They are not necessarily buried; they often stand as memorial signs near the roads.
History and architecture
Ossetia is a small Caucasian republic which is endowed with unique traditions and historical monuments. Fortresses, towers, ancient settlements and crypts have been preserved in the gorges. The largest in the Caucasus Dargav crypt necropolis is located on its territory, and the vast Koban burial ground was discovered, which gave its name to the most ancient Koban culture.
In the 19th century, the capital of Ossetia, Vladikavkaz, became the centre of the Terek region, which included Dagestan, Chechnya, Ingushetia, Kabardino-Balkaria and the Stavropol Territory. Therefore, the city had a huge number of educational institutions, developed industry and trade. The first theatre in the North Caucasus, terrains for cycling, the first cinema in Russia, and a railway. These were all built in Vladikavkaz. There was also established a Belgian concession, which not only built factories for the processing of non-ferrous metals in cities and mountains, but also launched a tram in Vladikavkaz. Therefore, the architecture is beautiful, buildings in the Art Nouveau and eclectic style prevail, many old buildings have been perfectly preserved, although more than 20 churches belonging to different denominations were destroyed during the Soviet period.
Breathtaking landscapes
North Ossetia has an unusually beautiful nature and many magnificent locations. But glaciers are something special, bewitching and alluring with their scale, grandeur, beauty and inaccessibility. Most of them can be reached only on foot or by cable car, and each of them is unique and recognisable. The area of glaciation is more than two hundred thousand square meters, but the glaciers have been retreating and decreasing lately.
It is worth coming to Ossetia for the sake of the mountains alone. At any time of the day and time of the year, you can endlessly watch the snowy peaks emerge from behind the clouds. Stunningly beautiful views from the passes, numerous gorges – all this together restores mental balance and enriches the inner world.
Cuisine
And of course, a little about Caucasian cuisine. Famous Ossetian pies this year took second place in the Tastes of Russia competition in the Cultural Heritage nomination. Why? It is customary to put three pies on the festive table in Ossetia, and before eating them, it is customary to pray for prosperity, abundance and other good things. Only two pies are put on a memorial table. Authentic Ossetian pies can be tasted only in this republic, because Ossetian cheese is produced only there, and pies with other cheeses, accordingly, have a completely different taste. Do not believe it if someone told you that it can be replaced with feta cheese, mozzarella, feta or suluguni!
They make pies with various fillings: with cabbage, wild garlic, pumpkin, cherries, potatoes, beans… But pies with cheese, beet tops and minced meat are considered classics. Real Ossetian pies are made from yeast dough and generously greased with butter. If they are heated in a skillet with oil, they only taste better the next day.
Ossetia has very strong traditions of hospitality, they love feasts and observe a lot of different rituals, which makes Ossetia a truly original, unique republic.
One of the highlights of Tashkent’s rich array of historical and art museums is the Ikuo Hirayama International Caravanserai of Culture. The exterior alone is remarkable, with its two looming buildings surrounded by a garden of cypress trees. However, going inside the building and learning about the life and artwork of its namesake, Ikuo Hirayama, is what truly leaves a lasting impression.
Mr. Hiroyama led an extraordinary life capturing the mystique of Uzbekistan and the Silk Road in his traditional Japanese-style paintings. Today, his legacy continues with the work of the Ikuo Hirayama International Caravanserai of Culture and its aim of bridging Japan, Uzbekistan, and the Silk Road through artistic and cultural exchanges.
Ikuo Hirayama: A Biography
Ikuo Hirayama was born in 1930 in Setoda, Hiroshima Prefecture, Japan. His childhood love of drawing would set the course for his future career in art. Another major event in his formative years – surviving the atomic bomb that fell on Hiroshima in 1945 – would shape his commitment towards peace activism.
He went on to study art and graduated from the Tokyo University of the Arts in 1952, where he specialised in nihonga, or Japanese-style painting. Initially, Mr. Hiroyama focused on Japanese and Buddhist motifs in his artwork. However, in 1966, he visited Turkey as part of an artists’ delegation that set out to examine ruins in the country. This trip sparked Mr. Hiroyama’s fascination with the cultural heritage of the Silk Road, and he would later visit several countries associated with the historic route.
He was especially fascinated with Uzbekistan and the other then-Central Asian Soviet republics and captured the intrigue of the region in his artwork. Mr. Hirayama was able to depict some of Central Asia’s most iconic images – say, elaborate madrassas or traders traveling on camelback – and paint it in the nihonga style’s distinctive combination of detailedness and delicateness.
Mr. Hirayama collected various artifacts from his Silk Road journeys – many of which are currently on display in the Hirayama Ikuo Silk Road Museum in Yamanashi Prefecture, Japan – and campaigned to preserve and restore numerous historical sites that he had encountered in his travels. In the course of his career, he worked alongside such illustrious organizations as UNESCO, the Tokyo National Museum, and the Japan Art Academy Exhibition to promote artistic and cultural treasures from all over the world. Mr. Hiroyama passed away in 2009, but his influence continues to link Japan to Uzbekistan and the Silk Road through the Ikuo Hirayama International Caravanserai of Culture.
The Ikuo Hirayama International Caravanserai of Culture
Ikuo Hirayama’s fascination with the Silk Road extended beyond the visual beauty of these countries. He was also dedicated to reviving the rich traditions of this legendary route. He placed special emphasis on Uzbekistan, as he viewed it as “the historical and spiritual center of the Silk Road [that] connects the countries of the East and West.”1 Furthermore, Mr. Hiroyama’s experience as a survivor of the Hiroshima atomic bomb instilled a commitment in him towards promoting international peace. He believed that cultural diplomacy was a particularly effective tool in learning about other nations and forging friendships based on a mutual understanding and respect towards one another.
Mr. Hiroyama’s admiration for Uzbekistan, as well as his wish to see a Silk Road renaissance, gained increased salience following the Central Asian states’ declaration of sovereignty in 1991. He viewed this event as a golden opportunity for “integrating Uzbekistan with worldwide cultural and scientific society.”2 Thus, he wanted to do his part to expedite this process by forging closer Uzbek-Japanese relations.
In 1999, Mr. Hiroyama met with Tursunail Kuziev, the Chairman of the Academy of Arts of Uzbekistan in Japan. They discussed the idea of creating a cultural center to display the history of the Silk Road and strengthen Uzbek-Japanese ties. Their objective became a reality when the Uzbek government helped fund and establish the Ikuo Hirayama International Caravanserai of Culture in 2002. Since its opening, the institution has strived to “popularise” the cultural heritage of Uzbekistan, Japan, and other Silk Road countries”3 through its various activities.
The institution serves as “both a museum and a scientific and cultural center.”4 The site features two main buildings: one building contains a library, conference hall, and working areas, while the other one has a laboratory, scientific facilities, a vestibule for cultural events, and exhibition halls. As for its functions, the Ikuo Hirayama International Caravanserai of Culture holds art exhibitions featuring the artwork and artifact collection of Mr. Hiroyama. It also sets up cultural events, including master classes, concerts, symposiums, and educational courses. The institution organises archaeological expeditions and uses its laboratory to examine excavated items from those ventures. The grounds of the Ikuo Hirayama International Caravanserai of Culture also feature a cypress-filled Friendship Garden and a “Hiroshima Peace Stone” made from a piece of pavement in Hiroshima that now serves as a symbol of peace. Despite the relatively young history of the center, it has already formed connections with global museums and research institutions to uncover the history of Uzbekistan and the Silk Road and share that heritage with the rest of the world.
At first glance, Uzbekistan – the centre of history’s greatest continental trade route – and Japan – a historically insular island nation – seem to have no common ground. However, thanks to the initiatives of Ikuo Hirayama, these seemingly two distant countries became connected to one another via art and culture. Just as the caravanserai of yore served as a meeting place for traders to share their customs and ideas with one another, the Ikuo Hirayama International Caravanserai of Culture allows for Uzbek and Japanese cultural exchanges that can subsequently spread the heritage of the Silk Road to the rest of the world.
Over years of research and work in Kazakhstan, I have seen many Latin representations of the Kazakh alphabet. Some were pockmarked with apostrophes – others riddled with diacritics. Others still imposed Latin letters incorrectly on the Russian language, creating the following image (from the mobile application of www.soyle.kz, a state-sponsored site that offers free Kazakh language lessons):
Over the past century alone, Kazakhstan has switched alphabets three times (Arabic, Latin, and Cyrillic, respectively) – with a fourth on the horizon. Unsurprisingly, the decision to switch alphabets yet again met with a variety of reactions, both domestically and internationally. Kazakhstani newspapers have generally upheld the shift as a move toward modernization, while many Russian ones have reacted negatively. Indeed, the Russian media has relied prominently on Soviet-era tropes of “culture” and “cultured-ness” (kul’tura and kul’turnost’, respectively) in its coverage of the Kazakh alphabet shift, illuminating its reliance on a deeply Soviet worldview – and its belief that Kazakhstan is leaving it behind.
History of Alphabet Shift and Language in Kazakhstan
Kazakhstan is among the most Russified former Soviet republics – and even today, Russian remains the primary language of government, science, and business despite state efforts to promote linguistic “Kazakhization”. This prevalence of the Russian language in Kazakhstan is integrally related to the continued presence of the Kazakh Cyrillic alphabet: in the Soviet era, the Russian language was a symbol of modernization, as was its associated alphabet, Cyrillic. In that vein, former president Nazarbayev has claimed that the switch to Latin is also part of Kazakhstan’s modernization process, which could be perceived as part of being “cultured.”
The Soviet idea of “culture” has deep roots. Scholar Svetlana Boym writes that “in the nineteenth century culture is often synonymous with literature, and Russians are defined less by blood and by class than by being a unique community of readers of Russian literature.” In the Soviet context, however, “culture” extended beyond this 19th-century conception of literature to include the qualities of the individual who had read these books: in the 1920s, discussions of “cultural revolution” “became the advocacy of kul’turnost’, which “include[d] not only the new Soviet artistic canon but also manners, ways of behavior, and discerning taste in consumer goods. Culturalization is a way of translating ideology into the everyday.” Such ideology, naturally, had to be adapted to the individual republics. In the case of Kazakhstan – previously a largely oral culture – creating “national culture” (“artistic canon,” in Boym’s words) meant, among other things, creating a canon of Kazakh national literature that reflected history and tradition while simultaneously espousing Soviet ideology.
Iurii Bogdanov’s article in Izvestiia, largely concerns itself, rather, with the logistical issues of Kazakhstan’s alphabet shift – but he is nevertheless sure to mention “[the shift’s] negative impact on the development of the humanities, as well as the possibility of access to literary and scientific heritage.” This is clearest in a quote from Bulat Sultanov, the director of the Institute for International and Regional Cooperation at the Kazakh-German University: Bogdanov cites him, in a short albeit separate paragraph, as saying that “during the Soviet years, a solid mass of literature was formed in Kazakhstan – and it was all translated and published in Cyrillic. All of this will be lost for future generations.”
Although Sultanov does not explicitly credit the USSR with creating modern Kazakh literary culture, he admits that a period of great literary creativity and formation of literary heritage (also viewed as “national culture”) took place during the Soviet era – when it was largely produced in Cyrillic. He does not, for example, refer to the period when Baitursynuly’s reformed Arabic alphabet was used to print Kazakh texts or the pre-Soviet period during which many Kazakh stories, legends, and songs were orally preserved. Sultanov’s – and thus, Bogdanov’s – emphasis is specifically on the creation of a printed body of national Kazakh literature in Cyrillic which bears the positive Soviet legacy of the Russian language. For Sultanov and Bogdanov, however, the new Latin script destroys the accessibility (and thus relevance) of the Soviet-created literary canon for future generations of Kazakhs, who would now be unable to engage in their “national culture.”
Nikita Mendikovich writes more caustically about the impact of the alphabet shift on Kazakh “national culture” on Lenta.ru. The article opens by claiming that “yet another attack on the Russian language and Cyrillic is unfolding in Kazakhstan,” reinforcing the relationship between the Russian language and Cyrillic alphabet. Mendikovich quotes Askhat Aimagambetov, the Minister of Education, as saying that “education in the state language [Kazakh] should be dominant,” followed by a timeline of the alphabet shift. Mendikovich makes it clear that Kazakhstan’s “national culture” will be corrupted by this alphabet and attendant language shift: “in reality, Minister Aimagamembetov’s motives in speaking out for the Kazakhization of schools… have little to do with concern for the national language or national culture.” Indeed, Mendikovich states that Kazakhstan’s level of “national culture” will drop following Latinization, as he claims that the overwhelming majority of Kazakhstani media – especially books – is in Russian. With that, Mendikovich claims that “the Kazakh language has practically stopped being used in literary or academic texts”: for him, Russian is the superior “language of culture,” given its dominance in the sphere of the printed word – and Cyrillic must reign within it. According to Mendikovich, the “secondary status” of the Kazakh language precludes it from attaining the Russian language’s prestige – meaning that the Cyrillic alphabet, too, will remain culturally superior as long as Russian remains dominant in Kazakhstan’s literary and media sphere. Even after Latinization.
Mendikovich also quotes Kazakhstani philologist Dastan El’desov as saying that “instead of the language of Abay and Auezov, we have the language of newspaper journalism [publitsistika] and social media, in which it is very hard to write texts on philosophical, legal, academic, and other subjects.” In that one sentence, Mendikovich juxtaposes two versions of the Kazakh language: “the language of Abay and Auezov,” both of whom were included in the Soviet Kazakh literary “culture,” and the “language of newspaper journalism and social media,” which were not. The “language of Abay and Auezov” is rendered in Cyrillic, given that their writings were largely canonized in the Soviet period, while the “language of newspaper journalism and social media” is increasingly rendered in Latin – online. The former is considered “cultured,” as it represents the peak of Kazakh literary culture; the latter is not, as it cannot discuss “philosophical, legal, academic, and other subjects,” which was the content of the Soviet-era, Cyrillic, Kazakh literary world. Mendikovich laments the degradation of a language and alphabet that, in his view, represented the peak of Kazakh literature and, consequently, culture.
It may appear strange that Russia – a sovereign nation – concerns itself with the loss of culture in Kazakhstan, another sovereign nation. Yet Kazakhstan has been not only aligned with Russia, but also been under its control (whether in the USSR or the CIS) for the whole century – and is now changing one of its most visible outward symbols of adherence to the Russian space and Soviet legacy. Consequently, the Russian media relies on tropes that extol the “gifts” of the Soviet era to Kazakhstan, i.e., culture: a worldview rooted in conceptions of the Soviet past to which Kazakhstan is expected to conform some thirty years after independence. The Russian media analyzed here posits that Kazakhstan is leaving its Soviet past behind, even if doing so entails a risk to its “culture,” its literature, and its art.
Never as a British child and Canadian teenager, did I imagine that I might be working across Eurasia, let alone living in Central Asia; the heart of Eurasia. I can honestly say, my life has been far richer as a result, though not due to any planning on my part. My arrival here next to the Mountains of Heaven, the Tien Shan, was a surprise. Being sent by Deutsche Morgan Grenfell investment bank from the financial City of London to Tokyo, Japan, set the context for my later fate working in Russia, Ukraine, and ultimately my arrival in Central Asia. Those were fateful days, but I do not regret them.
It is often said by those with no experience of Central Asia that it has no history. This is most definitely not true for anyone who digs a bit deeper. Central Asia is exceptionally rich in history and culture. You can drown in it if you dig deeply enough, like finding a new well by accident. I have discovered so many countless gems of Eurasian history, of individual fascinating human experiences, sparkling for those watching carefully, criss crossing the ancient silk route paths from Europe to Asia and back again.
One key event leaving a deep impact on Eurasian history was the Russian revolution, of course. Often forgotten is that the Russian revolution was also a Central Asian revolution, “Vostok delo tonkoye”. Its terrible impact across Eurasia was profound, wrenching families and people apart from where they grew up and from whom they loved. One of many stories that fascinate me, is the experience of the Czech Foreign Legion and their amazing and ultimately tragic attempt to return home via the Russian Far East after the Russian revolution. Many traumatic stories continued even again during recent times with the collapse of the Soviet Union. Often the pre-Soviet family, and particularly Central Asian clan-based system, was what kept society going, despite the severe economic collapse that followed the Soviet system implosion. Now, the region is making history again, whether through economic renaissance or increasing cultural expression. I am very much an active observer, if not a very occasional minor participant in this new Central Asian expression of character.
My wife’s own family recently discovered a previously unknown Soviet twist to their history. Lidia is Belarussian, a champion of Russian culture, but gets very depressed at any sign of Soviet times. Every time I am away on business, she hides my Soviet souvenirs like pictures of a dead relative. To her family’s total surprise, they recently discovered their descent from a Polish officer, one of the survivors of Poland’s conflict with the Soviet Union. Consequently, my wife is eligible for Polish citizenship, so strong are her Polish roots. Yet with no previous knowledge of her Polish history and with her Belarussian culture so strong, she can’t quite integrate her new history. At least, that’s how it seems to me when I tease her about being Polish. Her Polish grandfather, once captured, totally converted from being Polish to becoming a complete Belarussian Soviet citizen hiding any of his Polish origins. The Soviet Union, and 20th century Communism, did this to many people.
Many curious and largely forgotten histories have popped up at me in Eurasia like summer grasshoppers during my 23 years in Central Asia. Whether it is the ancient history of the region or more recent stories entwined in the agonising birth and death of the Soviet Union. The history of the mysterious Tocharians – the Wu chi – linked to whisky, Teklamakan’s buried cities, and the invention of the wheel. The Sacha and the Scythians, with their grand capital in Issyk (Issaac) and their misty links to the Old Testament and the origins of the Anglo-Saxons; the Angelic sons of the Sacha. Even the angels appear to have originated from Central Asia, with Herodotus based maps placing the Seraphim and Cherabim in control of tributaries of the Caspian in ancient times.
Several stories during the many internecine battles and civil conflicts that characterised the birth of Soviet Central Asia fascinate me. The various alliances made by survivors of the Khanates with the Czech Foreign Legion fighting together, against others, or alone and ultimately leading to the Legion to the Far East of Russian. The Siberian express and later the Amur, the Far East of Russia, was consequently run for several years by survivors of the Czech Legion. Once, visiting the Czech graves on a hill above Vladivostok, I was abandoned by my driver, who wrongly assumed I was gloating over the Soviet dead. I had to walk back to the port; there was no Yandex back then or taxi I could call. Vladivostok’s economy was completely hammered with society hanging on by a thread at the time.
The story of the collapse of Russian aristocracy, the Romanov’s and their aristocratic society in Russia, Central Asia, and the Far East, has so many acutely heroic and inevitably tragic storylines. Whether it is the Romanov family themselves, dying a public death in the House of Special Purposes near the British Consulate in Yekaterinburg, or the White Russian General, Von Ungern Sternberg, a dedicated Russian aristocratic officer leading a fanatical Central Asian Buddhist army. Von Ungern Sternberg and his budhist army often fought against overwhelming odds. Eventually, the odds caught up with him, burying his treasure in a secret location and then dying a tragically lonely death near Mongolia. Rumours of the two youngest Romanov children have largely been forgotten now, only remembered by a dwindling cadre of aristocratic descendants and the Russian Orthodox Church.
One story stands out through the years, though it is really one of my wife’s stories. It is about the discovery of Morozov descendants in Japan while I was working in Tokyo. This particular branch of the famous Morozov family was thrown to the wolves during the Bolshevik justification for their revolution and sweeping seizure of industrial assets. They were lucky to escape Russia with their lives, leaving most of their wealth behind as they fled to America.
For those who may not remember the famous aristocratic industrial family of the Morozov’s, where arguably one of Russia’s biggest victims of the Bolshevik mob. Some senior post Soviet Russians sometimes wonder what happened to the various descendants of the Morozov family.
The Morozovs were one of the most famous, if not THE most famous, industrial families, patrons of the arts, and philanthropists of Russia prior to the October 1917 revolution. Now that Russians are free to appreciate their pre-communist heritage, they are beginning to recognise the huge cultural contribution of the Morozovs. Their founder, Savva Morozov, was a serf who started a Silk-weaving business. Savva’s descendants went on to become the richest people in Russia, largely built on the textile trade and banking. A line of the family even moved into the cotton textile trade in pre-revolutionary USA. Many of Russia’s famous theatres, dance schools, galleries, and bookstores, owe their origins to the Morozovs. After the 1917 October Revolution, the Morozov textile factories, banks, and related businesses were nationalised, and the family ruined – at least in Russia.
After fleeing to America, the ‘Japanese’ Morozovs travelled to Brazil and then Japan where they eventually started a fine chocolate business in the 1920’s, founded by Fyodor Morozoff – the name now changed to look more anglicised. This venture was the foundation of today’s famous Japanese Morozoff Chocolates. Their first store opened in 1931. The Morozoff’s fine chocolate business defined Valentine’s Day in Japan from the very beginning. By tradition, Japanese girls give their boyfriends Morozoff chocolates. Apparently, the more valuable the boyfriend, the more expensive the chocolates. Before this tradition, valentine’s day was completely alien to Japan, as was chocolate. The Morozoffs eventually lost control of the business, starting another business of their own – Kobe and Ginza based Cosmopolitan Confectionary. Morozoff Chocolates Ltd went on to become a Nikkei 225 company – one of the biggest companies in Japan
This fascinating story came to us by chance. My wife moved with me to Tokyo and would often visit two cozy little Russian bookstores. One of the bookstores had a small cafe, where Lidia would often have tea before returning home to the other side of Tokyo in Jiyugaoka, where we lived. On one occasion, when drinking tea, Lidia was approached by an elderly European gentleman who asked where she was from. They started chatting, during which the elderly gentleman remarked on how familiar Lidia looked. As it turned out, someone who had once been very close to him looked exactly like Lidia. It turns out this person, though far older than Lidia, had been born only a few kilometers away from Lidia’s birthplace, Povitya, on the Ukrainian side of the modern border. Lidia and the gentleman became good friends and occasionally met again for tea in the Russian bookstore cafe.
Eventually, we realised this elderly gentleman was Valentin Fedorovich Morozoff, 1911-1999, eldest son of Russian born founder of Morozoff Chocolates, Fedor Dimitrich Morozoff, 1880-1971. Valentin was President of Kobe based Cosmopolitan Confectionary and possibly the original inspiration for Morozoff Chocolates Valentine theme. Both Fedor and his son Valentine are buried in Kobe Municipal Foreigners Cemetery. Lidia met Valentin for chats in 1996 and 1997, but sadly Valentin died shortly after we moved back to Europe in 1998. Though Lidia realised that Valentin and Fedor were descendants of the famous Russian industrialist family, it was only when she told me who she met that I realised Valentin and his family were founders of the Nikkei 225 Morozoff listed company.
I took the time to find out more about Morozoff Chocolates, Cosmopolitan Confectionary, and the Morozoffs. The Morozoff family were close to two Soviet Ambassador’s to Japan and met many Russian characters of note during their visits to Japan, including individuals such as Tolstoy’s daughter. Upon his death, Valentin’s private papers have been archived in a major US historical institute.
Sadly, we only found out that Valentin had died when I originally went to write this article. On a happier note, Japan enjoys possibly the finest chocolate covered confectionaries in the world. “When life is good, everything is covered in Chocolate”.
Lessons of the Hot Days of ‘Kazakh Winter’ for Central Asian Integration
Disturbances in first half of January 2022 caused by popular unrest in Kazakhstan can be remembered as the ‘Kazakh winter’ – events which shocked the very foundation of the political system of this state. They revealed a deeply rooted vicious regime of diarchy which the first President of Kazakhstan N. Nazarbaev created – the regime of the power of him, by him and for him (to paraphrase Abraham Lincoln’s dictum: “Democracy is the government of the people, by the people, for the people). This ‘Kazakh winter’ revealed a very controversial, perplex and dangerous development of the state.
It wasn’t controversial, perplex and dangerous only for Kazakhstan but also for the whole Central Asia which will likely face direct or indirect challenges related to the situation in this Central Asian country. What kind of challenges? They are twofold; it should be noted that: 1) each individual Central Asian country side by side with its own specific problems, experiences similar problems to Kazakhstan; 2) all five countries of the region are regionally interconnected, interdependent and are engaged in a regional integration process.
In the wake of the “Kazakh winter”, it becomes obvious that the Kazakh President has two options: to consolidate his own power at the expense of democratic reforms or to speed up reforms with some risk for the autocratic political regime. Similar options do exist in all countries of the region (just like in all authoritarian countries of the world). Therefore, some lessons should be taken by all in the region.
Throughout independence, Kyrgyzstan has been moving from “revolution” to “revolution” and has already seen 6 presidents. Its symbolical image of the “island of democracy” in Central Asia appears to be a myth. Turkmenistan has moved from one dictator to another one. Tajikistan has been developing under one president all this period since the end of the civil war in 1995. Uzbekistan has a second president who came to power after death of his predecessor. Finally, Kazakhstan has experienced a “two-presidents” system until the overthrow of the first head of the state and transit of power ended up with country-wide popular unrest. None of these Central Asian countries have been able to manifest themselves as a democratic/democratising/liberalising polity. So, political systems of all Central Asian states are quite similar to each other, in one way or another way.
Moreover, the tasks of democratization are actually the same everywhere, since they imply a checks-and-balance system of powers, existence of independent opposition parties, independence of the judiciary, independence and high authority of the parliament, active civil society and so on. From this point of view, one can assume that similar social, economic and political problems will likely cause a similar reaction on other parts of the population.
Another important lesson is in relation to what can be called the “test of unity”. Unity and regional integration of Central Asian countries can be challenged in the context of the “Kazakh winter” in two ways: 1) countries concerned can take an isolationist stance with respect to the country-in-unrest in order to prevent any spill over of disturbance across the borders and reduce the probability of challenges to authoritarian regime; 2) as it happens everywhere with countries mired in domestic unrest and revolutions or civil wars, external forces can take geopolitical benefits from such conflicts either by supporting their proxies or even by directly meddling in the conflicts.
The ‘Kazakh winter’ didn’t prompt Central Asian countries to isolate themselves from Kazakhstan or from each other; on the contrary, they expressed moral and diplomatic support to Kazakhstan. However, the tokens of the second challenge – geopolitical – were observable in this case. The Russia-led Collective Security Treaty Organization (CSTO) forces were, for the first time, used in Kazakhstan, but not against an external aggressor but against internal rioters and protesters. Moreover, they were not operationalised for a dynamic military mission, but for the static tasks of guarding governmental buildings and the airport of Almaty. Activation of the sleeping military block coincided, accidentally or not, with exacerbation of tension between US/NATO and Russia and Moscow’s ultimatum delivered to the West on security guarantees. That ultimatum openly asserts that the former Soviet space belongs to the Russian sphere of influence and ignores the independence and sovereignty of Central Asian states.
In this geopolitical context, the main lesson of the hot days of the ‘Kazakh winter’ is that Central Asian countries must strengthen their regional unity and accelerate the integration process which would be the best response to the above-mentioned challenges: democratic reforms and the “test of unity”. Destructive geopolitics will undoubtedly undermine both democracy and integration in this region. Regional integration will be the best option to address these challenges. This scheme works as follows:
A) The recent past period of almost a decade of frozen regional integration, especially related to self-isolationism of Uzbekistan, demonstrated that it cannot but cause mutual mistrust and increase tension between and among the countries concerned. Such disunity can be capitalized by those geopolitical forces which pursue the “divide-and-rule” strategy and intend to impose upon the “conflicting” countries of the region its role of a mediator (CSTO’s January “mission” in Kazakhstan can be the hypothetical case or a prototype of such a scenario).
B) Authoritarian systems are by nature antagonists of integration. They can declare their co-operative stance and even support regional economic and trade cooperation, however, should some political disturbances occur in their country (like in Kazakhstan), they, in order to survive, appeal for help to an extra-regional allied great power, instead of democratically coping with such cases. Regional integration, in turn, can help create the common system of mutual assistance which will be free from geopolitical deviations.
In this regard, it should be mentioned that on 6th December 2021, the presidents of Uzbekistan and Kazakhstan signed a Declaration of Alliance which was due to become a Treaty very soon. This document says, among other things, that their alliance is a key factor in strengthening peace, stability and security in Central Asia. The two sides expressed their determination to closely cooperate in the sphere of foreign policy and advance mutual interests and ideas of regional unification for the sake of securing pace and stability in Central Asia. They also stressed the importance of achieving mutually acceptable solutions of regional issues by Central Asian states themselves.
This Declaration was, in fact, an essential message to the region and to the world concerning the above ‘test of unity’. From this perspective, in particular, the creation of a regional system of mutual assistance and collective security would be of vital importance for addressing different intra-regional and extra-regional threats, including cases similar to the “Kazakh winter”.
Dr. Farkhod Tolipov
Director of the Non-Governmental Research Institution “Knowledge Caravan”
Chernobyl Fallout: Recovering the Lands of Belarus
Following the Chernobyl nuclear power plant accident, most of the radioactive emissions settled in the thirty-kilometre zone around the nuclear power plant itself. The population from this region were resettled, and the Polessky radiation-ecological reserve was created on the territory. About 70% of the radioactive fallout fell on the territory of Belarus, as a result of which the level of contamination of its territory is the highest of all countries affected by this tragedy. 20% of all forests in Belarus are still polluted, and 6,000 km2 of land have been withdrawn from agricultural use in accordance with legislation. 109,000 people were resettled. According to calculations made by the Institute of Economics of the National Academy of Sciences of Belarus, the total damage caused to the republic by the Chernobyl disaster, calculated for a 30-year period in overcoming it, is estimated at 235 billion US dollars, which is 32% of the republic’s budget in 1985. Irreparable damage was done to the Republic of Belarus, which had to experience the enormous socio-economic, political, environmental and medical consequences of the accident. A significant part of the damage is in the Mogilev region.
An area of 11.2 thousand square kilometres, covering 14 districts of the Mogilev region, was exposed to radioactive contamination. In such conditions, it is practically impossible for quick self-recovery of the affected territories, or the direct restoration of the facilities located on them. We can only talk about a long-term rehabilitation process, and only when it is safe for people and businesses to return to the sites of past radioactive contamination.
On the territory of radioactive contamination, depending on the density of soil contamination with radionuclides and (or) the average annual effective dose of irradiation of the population, the following zones of radioactive contamination have been set up:
1. zone of evacuation (exclusion) – the area around the Chernobyl nuclear power plant, from which the population was evacuated in 1986 (30-km zone and the territory from which additional resettlement of the population was carried out);
2. zone of priority resettlement;
3. zone of subsequent resettlement;
4. zone with the right to resettlement;
5. zone of residence with periodic radiation monitoring
Radioactive contamination of soil entails significant problems in agriculture, primarily associated with the acceptable quality of food products produced from them. Soils of natural ecosystems have also suffered significantly. The physicochemical state of radionuclides in the soil and, first of all, the number of their mobile forms are the determining factor in the processes of migration of radioactive substances in the soil profile and along the trophic chains.
Radioactive contamination is the ultimate technogenic load on the human environment, after which it loses its ecological attractiveness and becomes partially or completely unsuitable for the fully-fledged life of people. In such a situation, investment activity also practically ceases, primarily on commercial projects that imply a return on investment in the near future.
At the same time, the authorities are taking measures to restore these lands. So, in 2015, the experimentally south eastern region of the Mogilev region was singled out for as a priority area of economic development. This includes the lands of the Krichevsky, Klimovichsky, Krasnopolsky, Kostyukovichsky, Slavgorodsky, Cherikovsky and Khotimsky districts.
By the adopted regulations, it extends until 2025 the main provisions of the laws providing preferential terms for doing business and investing in these territories. This will create additional conditions for the integrated development of this region, improving the living standards of the population.
The state has determined the procedure for providing organisations with payments from the republican budget to reimburse up to 35% of capital costs that they will incur when implementing investment projects between 2021-2025. The list of these projects is determined by the government on the basis of proposals from the Mogilev Regional Executive Committee.
In the development of the real sector of the economy, the modernisation of cement plants should be noted. They were transferred to local types of fuel – peat briquettes. As a result, the share of local fuels in factories increased to 30 percent. The quality and volume of products remained the same, but the costs decreased.
The cement cluster in the Krichevsky region has been supplemented by a new plant for the production of cement-particle boards, which was opened by Belzarubezhstroy. Food – production of “Domochaya” corn sticks. With the participation of the Development Bank’s funds in the village of Peregon, Slavgorodsky District, the Mogilev Meat Processing Plant has built a pig-breeding complex for 24 thousand heads. To date, this is the largest project in the southeastern region. On the territory of the Slavgorod region, a production site for bottling honey was launched on the territory of the Krasny Pischevik – Slavgorod Unitary Enterprise. It is planned to process up to 300 tons of useful product here annually. And next year, the production of confectionery products will start operating in Slavgorod. Woodworking workshops were built in Klimovichsky, Kostyukovichsky, Krasnopolsky forestry enterprises, drying complexes – in Krasnopolsky and Cherikovsky. Also, the necessary equipment was purchased for the forestry enterprises. In the segment of small and medium-sized businesses, a number of industries were created, new jobs were organised.
These examples show the effectiveness of the chosen method of supporting the Chernobyl territories. The special legal status of the region makes it possible to organise profitable investments for potential investors. In view of the above, despite the negative consequences of the accident at the Chernobyl nuclear power plant, the affected regions have a fairly stable rate of development, which allows them to ensure the life of the population at a decent level.
Being born a girl continues to be a considerable risk factor in many geographical regions, and Central Asia is one of the case examples where violence committed against women and girls is high. According to the latest data of OECD, 14 to 59% of women in Central Asia are subjected to beatings, sexually abused or otherwise ill-treated, given the region’s existing traditionalism, socio-cultural factors and religious beliefs.
Historically, women have played a subordinate role to men in Central Asian societies. The daughters-in-law (“kelin”, “gelin”) were openly neglected in their husbands’ families, in addition, bride kidnapping (“kyz alyp қashu”, “ala kachuu”), arranged and early marriages were widely practised and considered revered traditions in parts of Central Asia. Later, the socialist system doubled the burden on the shoulders of women. Even though being endowed with relative freedom and certain rights, along with housekeeping, women from Soviet Central Asia had to carry out social and industrial duties. Yet, given the formal Soviet privileges, the patriarchal structure ingrained in Central Asian societies was challenging to overcome and completely erase from the consciousness of traditional societies.
The 1990s independence of the Central Asian states did not improve the countries’ position in achieving gender equality and eliminating violence against women. All states still have a patriarchal social system with great respect for traditional and spiritual foundations, which in many respects still assigns a secondary role to women and does not allow them to control their own lives. In turn, religious overtones, to some extent, began to reap even more fuel on the fire, promptly shaking the position of women and girls. As a result, one may interpret traditions and customs differently, which can sometimes escalate into gender violence. Central Asian news feeds increasingly report domestic violence, bride kidnapping, “kelinism”, early marriages and other forms of abuse. Although, presumably, this is because people begin to speak more openly, pay more attention, and understand that such cases are not a manifestation of respect for traditions or religion but a violation of women’s rights.
For instance, Kyrgyzstan and Kazakhstan occupy some of the leading places in the practice of kidnapping girls for marriage. One of the most recent cases in Kyrgyzstan that strongly sparked civil society outcry was the bride-kidnapping of Aizada Kanatbekova. In April 2021, in Bishkek, a group of men abducted 26-year-old Kanatbekova. A local shepherd found the abducted woman’s and kidnapper’s bodies two days after in a car. The case caused a public resonance and outrageous protests with calls for layoffs and other official actions.
Likewise, arranged marriages are still not uncommon in Central Asian states. For instance, in Tajikistan, parents of young people can choose a spouse for their son or daughter. Sometimes it happens that families even forcibly marry their children without considering his/her opinion. Such marriages are nothing more than forced marriages, in which a forcedly married young woman may suffer more as a result of violence from her husband or his family.
Early marriage is another problem that violates the rights of underage girls and is closely related to the problems mentioned. Child marriage in Central Asian countries remains an acute problem, and girls from rural areas are the most vulnerable to cases of child marriage. They often get married directly after finalising or during high school, which negatively affects their education. These girls, as a rule, are forced to drop out of school, never having the opportunity to finish their education, and subsequently to have further career development.
All these forms of gender violence are intertwined, mutually causal and may, in some cases, bring on “kelinism” and domestic violence. A phenomenon of “kelinism” (new brides’ forced subservience to their mothers-in-law in their husbands’ households) exists in all Central Asian countries, which at worst is nothing more than slavery and institutionalised family violence. Such manifestation of “kelinism” can have tragic consequences. One of the striking examples took place in Kyrgyzstan in 2017: a young woman decapitated her mother-in-law after experiencing bullying and violence. Another example was the case of Mukhlisa Kadambaeva that has called attention to domestic violence in Uzbekistan. The young woman was found hanged after her parents said brutal abuse by her husband’s family.
Unfortunately, violence against women and girls in Central Asian countries seems to be normalised, often viewed as a private affair of each family, and rarely prosecuted. A survey in Uzbekistan found that only about 10% of male respondents did not object to domestic violence, arguing that husbands were justified using force if provoked by their spouses. While in Tajik society, 97% of men and 72% of women believe that a woman must endure domestic violence in order to preserve the family. Parenthetically, domestic violence in Tajikistan is still not criminalised and is at the drafting stage.
Conclusion
Polarised foundations still exist in Central Asian societies with a patriarchal and traditionalist orientation, prescribing an active role for a man and a passive position for a woman. This aspect is the first and foremost aspect affecting gender policy and the regulation of gender-based violence in these states. The ideas of gender equality and non-discrimination are yet far from being deeply embedded in Central Asia’s public consciousness and culture. As long as women are seen as belonging to men and not as individuals with equal rights, as long as forms of violence against women are justified by traditions and customs, Central Asian societies have a long way to eradicate violence against women and fully respect women’s rights.
RadioAzattyk. (2021). “Kyrgyzstan: Aizada Kanatbekova’s murder case dismissed due to suspect’s death’. Retrieved from https://rus.azattyq.org/a/31272588.html .
Nazarova, Z., Yarmoshchuk, T.; Egemberdieva, J. (2020). Hand wash father-in-law’s underpants and never complain. Who are “kelins” and what happens to them after marriage. Retrieved from Present Time: https://www.currenttime.tv/a/kelin-central-asia/30593708.html .
Safar, T. (2021). Will domestic violence be recognized as a criminal offence in Tajikistan? Retrieved from Radio Ozodi: https://rus.ozodi.org/a/31512804.html .
The night passed and dawn arrived. As usual, I left home at 8 o’clock in the morning to go to the office. I got to my office, and everyone there was astounded by the Taliban’s progress.
It was clear from the faces of my colleagues that something was wrong. Everyone felt that something big was going to happen. It was like the approaching storm before the flood. That morning we held a news-conference as usual. Our head of department told us that in the future we should come to work with traditional clothes (the same clothes that were common under the Taliban`s watch).
There were reports of the fall of Kabul’s neighbouring provinces being heard with little or no conflict. The Taliban were advancing quickly towards Kabul. At around 12 noon on the same day, news showed that the Taliban reached the gates of Kabul. And after 20 years, the Taliban returned to Kabul. Everyone was worried about what was happening before our eyes. Everyone was afraid of a prolonged war with the accompanying destruction. There was a scramble by government officials trying urgently to get back to their homes.
The people of Kabul were in a hurry – everyone was panicking and trying to get to safety. The commotion continued until the end of the day but no one really knew what was happening. The only thing that was clear was that the Taliban really had reached the capital of Afghanistan. Efforts to temper the panic and potential for bloodshed were launched by Afghan allies and some government officials. At 6 pm it was announced through various media and sources that the president had escaped. These were the moments when Afghanistan was suddenly thrust in a power vacuum.
The Taliban reached the centre of the capital overnight. People were still asking themselves one question, however. How can it happen that Afghanistan, with all its facilities and comprehensive global support, is falling to the Taliban? After twenty years of immense presence and support of the United States and with a large well-equipped army, including tanks and aircraft, Afghanistan fell in less than a month. The United States had spent billions of dollars on equipping and training Afghan forces since 2001.
It was believed that the government had the capability to prepare one hundred and eighty thousand soldiers for military operations. Given this, how did the country fall so quickly and without even a whimper? The answer to this question, unfortunately, has various aspects.
1. The government was surprised by and overly hopeful for the Doha peace talks.
The government did not want to disrupt the Doha process by launching large-scale military operations against the Taliban, and relied more on a defensive strategy. However, the Taliban used the opposite approach – a stronger side will get more points in negotiations – so they tried hard to take control of several provinces in order to appear to have more strength in the negotiations.
2. Unprofessional appointments, especially in military positions in the name of rejuvenating government institutions.
The government made appointments and appointed people to military positions who had no experience of war and did not know the geography or politics of Afghanistan. This only served to aid the deterioration of the situation, and caused the security forces to lose their morale easily while the Taliban’s morale grew stronger day by day.
3. Corruption
Corruption was another key factor in the fall of Afghanistan. Over the 20 years of the Comprehensive Global Conference, billions of dollars were donated to Afghanistan. Unfortunately, much of it was not distributed in the right places. The former finance minister has now revealed that most of these forces were imaginary and high-ranking government officials pocketed these imaginary soldiers’ salaries. In twenty years there were of course achievements in terms of the development of the media, women’s rights and education, but these could have been even greater. Corruption has undoubtedly harmed the people of both Afghanistan and the United States.
And now, spontaneously with the withdrawal of the Americans, people are becoming disappointed with all their achievements in the fields of education, human rights and freedom of speech. Worse still, all people are afraid that the Taliban will accuse and seek retribution against people that co-operated with the former government and foreign forces. Life in Afghanistan remains fuelled by and filled with fear.
FAST FACTS: People killed during the Taliban seizure of Afghanistan
American soldiers – 2,448
NATO soldiers – 1,144
Afghan soldiers – 66,000
Afghan civilians – 47,245
People killed by Taliban and other groups – 51,191
After broad public discussions, Uzbekistan has adopted its five-year Development Strategy for 2022-2026. It consists of seven priority directions and one hundred goals Uzbekistan is willing to achieve within five years. This strategic document will serve Uzbekistan as a baseline for further reforms in all spheres.
The Strategy foresees the implementation of various measures that should create the basis for joining a number of “states with the above-average income”.
The country has identified target goals in concrete numbers and introduced the mechanisms of reaching those goals. Further economic liberalisation, privatisation in most spheres, competition, elimination of monopolisation, the attraction of more foreign investment, price stabilisation, support of the development of “driver spheres of the economy,” and decentralisation that gives more authority to the regions are among many other priorities identified in the Development Strategy for 2022-2026.
For instance, a target goal for the country is a 1.6-times increase in GDP per capita in the next five years and for per capita income to reach $4,000 by 2030 by ensuring stable high growth rates in all sectors of the economy, including energy, industry, machinery, mining, agriculture and others. Another important aim is to ensure macroeconomic stability and gradually reduce the annual inflation rate to 5 per cent by 2023. This year, the state intends to decrease the inflation rate to no more than 9 per cent.
Looking at the proposed industrial policy reforms outlined, one can see that the country will continue ensuring the stability of the national economy and increasing the share of industry in the GDP by increasing the volume of industrial production by 40 per cent. For that, priority areas have been identified, and each consists of its own target numbers. These goals include implementing large investment projects in metallurgy, such as an increase in the production volumes of gold by 26 per cent and silver by 42 per cent, and a 2-fold increase in copper and ferrous metal products. Production in the chemical industry will be worth $2 billion by developing the chemical and gas chemical industries and bringing the level of natural gas processing from 8 to 20 per cent. Additionally, the plan calls for double the production of building materials, growth in the leather and footwear industry by over 3 times its current size, a similar increase in pharmaceutical industry products, and furniture products growing by 2.8 times.
All of these plans require an uninterrupted supply of electricity to the economy. Therefore, in addition to other planned measures, the active introduction of green technologies in all areas, an increase in energy efficiency by 20 per cent, and a reduction in emissions of harmful gases into the atmosphere by 10 per cent are proposed. For example, by 2026, there is a planned increase in electricity production by an additional 40 billion kW/h, bringing the total to 110 billion kW/h. Furthermore, the government intends to save about 3 billion cubic meters of natural gas by bringing the share of renewable energy sources up to 25 per cent of energy production by 2026. In conjunction with this, reducing the emission of harmful gases into the atmosphere to the tune of 8 million tons is also a priority.
Another important goal is the transformation of the digital economy into a core “driver” sphere of the economy. Implementing work aimed at increasing the digital economy’s volume by at least 2.5 times is also a goal to strengthen the country’s potential in this new sphere.
Planned reforms need a constant flow of investments that require an appropriate investment environment and the rule of law. Accordingly, taking measures to attract the necessary $120 billion over the next five years, including foreign investment of $70 billion, is another crucial goal for the government to realise. Moreover, the country is planning to reform its capital markets. Thus, it is planning to increase financial resources in the economy by bringing the capital market volume from $200 million to $7 billion over the next five years.
Completion of the transformation of the banking system, bringing the share of banking assets of private banks from 20 to 60 per cent in 2025, in general, is a goal to reform the banking sector and increase the affordability of decent banking services.
Uzbekistan plans to increase the Republic’s exports by 2026 to $30 billion to maintain sustainable economic development. Hence, bringing the share of the private sector in exports to 60 per cent is a priority. Accordingly, by improving the system of providing organisational and financial assistance to exporting enterprises, the country is willing to increase the current number of exporting enterprises from 6,500 to 15,000. Expanding the geography of exports of goods from 115 to 150 countries is also expected.
To further support entrepreneurship, the government plans to reduce the tax burden on business entities by 2026 from 27.5 per cent to 25 per cent of GDP and decrease VAT from 15 to 12 per cent, as well as reducing profit tax for telecommunications, banking and finance sectors from 20 per cent to 15 per cent.
The government is planning to increase the economic potential of the regions by carrying out decentralisation reforms to support the development of the districts further. Keeping in mind that agriculture reserves a high volume in the state’s GDP, the annual growth rate of agriculture is expected to be at least 5 per cent, which should lead to the increase of farmers’ incomes by at least two times. Furthermore, Uzbekistan plans to implement a more differentiated approach in developing districts and communities. As such, depending on the main specialisations of communities, be it different types of farming, textile or other, government plans further support those driver areas in that community, addressing the peculiarities of each specific community separately.
Acceleration of the processes of Uzbekistan’s accession to the WTO is also among the priorities of the Development Strategy of Uzbekistan. In the meantime, the expansion of exports of finished products to European countries within the framework of the GSP + system will remain a priority.
Uzbekistan has identified several priorities for economic transformation in its Development Strategy 2022-2026. The realisation of all these measures requires high potential and substantial resources. As such, co-operation with its allies and integration into the world community have been prioritised in many of the goals set in the Strategy.
Eldor Tulyakov,
Executive Director at the Development Strategy Centre in Uzbekistan
This years Central Asian Spring Festival will take place on Sunday, 20th of March, from 12:00 to 16:00, at UCL Main Campus! Nowruz is a Central Asian spring celebration, marking the beginning of a new year in the Persian calendar.
Many countries, such as,
and many more, celebrate this colourful and vibrant festival! So we invite you all to come and celebrate with us this year, with delicious Central Asian food, performances, souveniers and positivity. We are looking forward to creating unforgettable memories with you! Everyone is welcome, so invite all your friends and family and come to enjoy the festivities!
For all questions and enquiries, please feel free to contact us in DM, or by email, ucl.kazsociety@gmail.com
Oksana Zhukova is a multi-talented, multi-award-winning creative person who cannot but fail to impress you when you meet her. She is General Director of the ArtMedia production centre, a leading journalist, prose writer and public figure. She is a member of the ECG Advisory Council, academician of MARLI, winner of the ECG Film Festival in the Documentary nomination, winner of the Open Eurasian Literary Festival and Book Forum in London, and head of the public diplomacy projects “ArtMedia Tour: We are together” and “ArtMedia. We draw with a word”. OCA finds out more….
OCA Magazine: Oksana, tell us about yourself and your creative activity.
Oksana Zhukova: I consider myself a person of the world and an avid traveller. Creativity gives me the opportunity to fly, it inspires me. My favorite topic is people. My favorite planet, the one I name in my poems, is the planet of Love – Sunny Taurida, my homeland, its mountains, sea and pink lakes, and my favorite city is Evpatoria, where our art base “Pink Lake” is located near the Black Sea, where people often come to participate in our public diplomacy projects “ArtMedia Tour: We are together” and “ArtMedia. We draw with a word”.
By education I am a philologist, TV journalist and TV director. I have been a journalist for about thirty years, mostly working in television. I started as a correspondent for the Economic Review, I also was a production editor, a newscaster, a special correspondent for political programs, an author and a host of a program on culture and art. When I studied for two years at the preparatory courses at the Faculty of Journalism at Moscow State University, at the School of Junior correspondents and the Press Center section of the Minor Academy of Sciences, I published my own youth newspaper; since then I have been creating my own projects. Along with my work on television, my online magazine “Gallery of Stars” appeared, and then “ArtMedia. We draw with a word”. I wrote on social issues for newspapers and magazines, I was the head of press services. Now I continue to cooperate with the media and I run the ArtMedia production center, which has a wide range of activities, including the production of documentaries.
OCA: Your works made it to the finals of the competition in London “Open Eurasian Literary Festival and Book Forum” (OEBF) last year and won in one of the nominations. What is the story behind this?
OZ: I got to the final of the OEBF competition in three nominations “Prose”, “Small prose” and “Poetry”, with the novel “At the Height”, the story “The Karadag Monster” and a series of my poems “Poetic Illustrations”. I began to write poems for photographs and paintings when I hosted an author’s program on television, fifteen years ago. I create poetic illustrations for my own paintings and for the paintings of my artist friends from different countries of the world. I wrote one of the first illustrations in verse for Inna Aslanova, a member of the Eurasian Creative Guild (London), and now I am writing a book together with Tommy Barr, a representative of the Royal Society of Arts (Great Britain). All prose works are based on my work on television, in newspapers and magazines.
The story “The Karadag Monster”, which describes a sharp social topic was published in the Literary portal “East-West”, and on the official channel of the ArtMedia production centre you can find a poetic TV report from Pink Lake to the paintings of artists – participants in our public diplomacy projects, authors of our informational, literary and artistic platforms “ArtMedia”.
I have long wanted to write a story about a real man of our time. I have been working in journalism for about thirty years and I interviewed many prominent people from different parts of the world, but I wanted to show the beauty of the soul of the wonderful representatives of my beloved peninsula and demonstrate to the whole world the beauty of my native Taurida. I tried to combine all this in a book about a unique woman who saved others, forgetting about herself. She became an example of fortitude not only for me, but also for many others, being the only woman in the world who conquered all the seven-thousanders of Eurasia three times and she is Elvira Timofeevna Nasonova. Elvira Timofeevna was eighty last year. To commemorate this date, I presented her with the first prize named after my mother Raisa Gorbunova (for many years of saving people) and dedicated to Elvira Timofeevna the story of a real person of our time “At the Height”. We met ten years ago, during the period when I was doing interviews with famous people. It was a period of creative crisis, I could not work, because I experienced a personal tragedy, my mother died that year. The last exclusive interview was then recorded with Robertino Loretti, there was no strength and desire to continue the project. Just at that moment Elvira Timofeevna’s sponsor offered me to do an exclusive interview with her. The story is based on this exclusive, but at the same time there are many lyrical digressions and landscape sketches of my native peninsula.
OCA: Did the documentary film, based on your story win at the London Film Festival?
OZ: Yes, exactly, based on the story “At the Height”, a documentary film in English “The Way to the Heights” was created with the personal savings and resources of the team of our production centre “ArtMedia”. The goal was the same, the creative team of the production center wanted people not only in the East, but also in the West to know more about our Taurida, its magnificent nature and heroic people. “The Way to the Heights” won and was shown in a cinema in central London. Now our production centre “ArtMedia” is working on the Russian version of the film.
During the filming, Elvira Timofeevna proved to be a real hero. Being eighty years of age, neither a sore leg nor violent protests prevented her from conquering the next peak. I am grateful to fate that she gave me a meeting with this unique woman, who became an example of fortitude for me, she reached incredible heights, despite numerous injuries, physical and mental. We plan to publish the story “At the Height” in Russian and English, and with the film we will participate in other international film festivals, so it is not in the public domain yet.
OCA: What personal creative projects are you planning?
OZ: After winning a literary competition and a film festival in London, I was elected to the jury of the film festival, an ambassador and a member of the Advisory Council of the Eurasian Creative Guild (London) and the chairman of the expert council on journalism. This is very honorable. I think this public work will take a lot of time, now the members of the Executive Committee and I have developed a marathon of mini-competitions in the genres of journalism, on a given topic, which is designed to unite us even more, so not only journalists and publicists can take part in it.
In the coming year, my personal creative plans include to complete our project with an artist from the UK, a member of the Royal Society of Arts, Tommy Barr and make a video presentation, to film a short film-announcement of my “Pink Lake Tales” (I write them in verse and prose), separately for adults and children and to develop our joint “fairy tale” project with Aldona Grupas, who wrote a fairy tale about our art trip around England and my visit to London and called it “Princess of the Pink Lake”. In addition, I plan to continue filming TV reports that combine journalism and poetry for my cycle “Poetic Illustrations” for paintings by contemporary artists. But the main project is the collection “I Can Fly”. Since childhood, we have been carrying a load of resentment, pain, disappointment, envy, jealousy behind our backs, which does not allow us to fly high, gain wings, believe in ourselves and share a piece of our soul with people around us, take off and soar freely in harmony with ourselves and the world. This collection will include my lyrical-philosophical, portrait and social essays, stories, novels “The Dream of the TV presenter” and “Lepa”, separate chapters from the “Tales of the Pink Lake” for adults, poems from the “Poetic Illustrations”.
OCA: You devote a lot of time to social activities, tell us about your projects in this direction?
OZ: Friendship between peoples, cooperation through culture and art for the sake of world peace, for some people these might be just big words and hackneyed grandiloquent phrases, but for me it is the embodiment of a bright childhood dream of preserving fragile peace on Earth. My dear grandfather, Fedya, told me about the horrors of the Great Patriotic War. My mother often told me about her childhood, destroyed by the war, full of hardships and troubles. Her father, my grandfather Yakov, died in 1945, just a month before the Great Victory, and my grandmother had to raise seven children alone. My mother often said: “We will be able to overcome everything, if only there was no war, if only people would not kill each other.” In my early childhood, I dreamed of becoming a cosmonaut, and in my teens, I wanted to become a messenger of peace, like Samantha Smith or Katya Lycheva. I became a TV journalist and, thanks to my beloved work, I managed to organise international projects, bringing together creative people from around the world. Our virtual public diplomacy project “ArtMedia. We draw with a word” celebrates its anniversary. Ten years ago we published the first article by a foreign journalist, the same year as the public diplomacy project “ArtMedia Tour: We are together”. The authors of the Internet portal “ArtMedia. We draw with a word” invite to the peninsula the heroes of their publications — well-known figures of art and culture, and we hold creative meetings in different cities of the peninsula, presenting the work of our and foreign journalists, writers, poets, actors, musicians and artists on the same platform, or vice versa, we demonstrate creativity of our authors, going abroad. The tenth anniversary of the public diplomacy project “ArtMedia Tour: “We are together” was celebrated not only on the peninsula, but also far beyond its borders. Anniversary creative meetings started in Yevpatoriya in early spring and ended on the eve of the Old New Year.Despite the pandemic, Tauris was represented in the works of the project participants, including abroad. This year the project was attended by artists, journalists, poets, prose writers, actors, singer-songwriters and musicians from the UK, the Netherlands, Italy and Germany.
The anniversary year for our team also coincided with my personal anniversary and with the anniversary of the main person in my life, my good wizard – Son. With his unique abilities that he showed in early childhood, he inspires me to all victories and achievements. I have been learning from him all my life and striving to become better.
In the year 2022, I want to wish us all health, kindness and light, a flight of inspiration and new tops in creativity, but most of all – peace! Peace in the world and in our souls.
On the 10th of December Crocus City Hall hosted the first All-Russian educational “Reputation” business-forum. 35 speakers, 10 panel discussions, thousands of spectators, dozens of discussion topics and the forum has become one of the largest events of the year in the field of business education.
The Reputation Forum became the basis for the formation of a new business environment and unique networking in Russia. For the first time, an event of this format was organised with the support of the Ministry of Culture of the Russian Federation.
“Hosting the first forum is not easy. First, it has to earn a good reputation. I am sure that the project will become more effective year by year and international speakers might join it. I would like to thank everyone who took part and supported Reputation at the most difficult first stage”, said Emin Agalarov, First Vice-president of Crocus Group, co-founder of the Reputation project, President of Zhara media holding.
“Our goal is to give young entrepreneurs a certain vector, to show in which direction they should develop. We will continue to choose the most interesting opinion leaders to spread their knowledge to the audience and to motivate it for development”, said Andrey Burgart, co-founder of the Reputation project, co-founder of the RRCC business club, head of Crocus Media.
“Reputation will become a large-scale educational platform and a global business alliance. Today we have launched a large project and in a few years it wll become more popular”, promises Anna Russka, co-founder of the Reputation project, founder of ANNARUSSKA Group.
The forum was attended by the outstanding experts from business, science, education and culture spheres. The speakers held a series of panel discussions, where they discussed current topics, shared their experience and presented their forecasts for the future.
Among the audience of the forum were thousands of students who were provided with free tickets.
The event was closed with an authentic dinner at Nobu Crocus City restaurant, where singer Manizha performed in front of the guests.
It is going to be exactly 30 years since the state entity called the USSR disappeared from the map of the world. What is interesting about that date? Because there were many historic turning points in this arena that could have thrown a vast area of 22.4 million square kilometers into chaos and affected the entire world.
If anyone thinks that the collapse of the USSR was painful only for the former Soviet republics, they are deeply mistaken. In 1991, representatives of the US and many European powers were extremely concerned about the uncontrolled process of destabilization.
In the chaos of collapse, nuclear materials, which the Soviet Union was rich in, could have fallen into the hands of terrorists. Suffice it to recall how in 1994 at the Ulba plant in Kazakhstan a secret storage site was discovered, “forgotten” by Moscow, where 600 kilograms of highly enriched weapons-grade uranium was stored. International terrorists got wind of the discovery. The dangerous cargo had to be urgently exported as part of a secret «Sapphire» operation involving US and Kazakh special services.
Notably, the then President of Kazakhstan, Nursultan Nazarbayev, was offered billions of dollars to keep nuclear weapons, and the first ever Muslim nuclear power appeared on the world map. One day a flight from Libyan Jamahiriya leader Muammar Gaddafi arrived in Kazakhstan, packed to the brim with cash dollars to maintain the nuclear arsenal.
And what would have happened if the head of the young republic, Nursultan Nazarbayev, had been tempted by easy money to solve the severe socio-economic crisis in which his country found itself?
This was a decisive turning point. In the end, Kazakhstan opted for non-nuclear status. But before that, there were difficult negotiations that began in 1991. Secretary of State James Becker was involved on behalf of the United States. The United States aimed to resolve the issue with minimal financial losses to itself, while Nursultan Nazarbayev demanded legal security guarantees from the nuclear powers and closer economic cooperation.
As a result, Central Asia became a nuclear-weapon-free zone, and Kazakhstan became a leader in attracting foreign investment in Central Asia and one of the leaders of the anti-nuclear movement in the world.
The second crossroads, which could have turned history in a completely incomprehensible direction, relates to another equally important event in August 1991 – the coup d’état in Moscow. Representatives of the self-styled State Committee on the State of Emergency (SCSE), taking over power, locked the President of the USSR Gorbachev at his dacha. If regional elites had supported the putschists, the Soviet Union could have survived at its worst, with a backlash to repression and violent solutions to problems.
What about the elites? In some places, they supported the SCSE. Somewhere they took a wait-and-see position. For example, Ukraine, where Mikhail Gorbachev ended up under house arrest, did not show itself in any way.
Much attention was focused on Kazakhstan those days, as Nazarbayev’s figure was one of the political heavyweights on the political scene of the USSR – he was asked to head the Soviet Union government. Nazarbayev, by the way, turned out to be more courageous. He refused to impose a state of emergency and declared the actions of the SCSE unconstitutional. Moreover, when the putschists were about to attack the White House in Moscow, where Russian President Boris Yeltsin had taken refuge, it was the Kazakh leader who, through many negotiations and consultations, helped overcome the political crisis. In particular, the archives have preserved records of his telephone conversations with the Minister of Defense of the USSR Yazov, in which he reasoned with the combatant general who gave the order to bring tanks into Moscow. Yazov eventually listened and withdrew the troops, subsequently describing everything that happened a big stupidity.
The third crossroads threatened the collapse of the USSR according to the ‘Czechoslovak scenario’. Following the Belovezh agreements of 8 December 1991, a total crisis of governance emerged across a vast territory. The three Soviet republics – Russia, Ukraine and Belarus – effectively declared unilaterally that the Union of Soviet Socialist Republics had ceased to exist as a “subject of international law and geopolitical reality”.
This was at a time when negotiations were continuing to preserve the USSR in the form of a confederation that all Western countries supported for fear of the collapse of the colossus on clay feet that could trigger tectonic shifts around the world.
The West tried gently to put its long-standing opponent to the ground so as not to shake the nuclear arsenal when falling, as mentioned above. However, what happened that happened. This could have provoked and provoked in the future new conflicts already mired in the chaos of the USSR. By that time, Nagorno-Karabakh, as well as the entire Caucasus, Transnistria, tension was growing in Tajikistan, where a little later a civil war broke out.
The Slavic republics seemed to fend off the growing crisis by forming a triple union. The Turkic republics, in turn, spoke of the need to create their own union. New dividing lines were emerging on the map of Eurasia, which could provoke many new conflicts on national and religious grounds, turning a vast territory into a new source of global instability.
What stopped this process and gave the divorce of the former Soviet republics a civilized character? Nursultan Nazarbayev. He assembled the leaders of the former Soviet republics in the capital of Kazakhstan to form the Commonwealth of Independent States, which put a legitimate end to the collapse of the USSR this time.
Taking all the above into consideration, it is easy to conclude that it was the role of Kazakhstan’s leader that made the process of the collapse of the USSR more favorable for everyone both for world politics and for the populations of the former union member states. In addition, his further actions only strengthened the process. Kazakhstan has become an anchor of stability in Central Asia. It is the only country that has managed to resolve the border issue with all of its neighbors including the Caspian Sea which is rich in oil resources. Neither the Russian Empire in the 19th century nor the Soviet Union in the 20th could reach an agreement with China on the division of territory. Nursultan Nazarbayev could. But not through concessions, but through mutual compromises. Here is just one very eloquent figure: the area of Kazakhstan within the USSR was 2 million 717 square kilometers, the area of independent Kazakhstan today is 2 million 725 thousand square kilometers. As we can see, thanks to successful negotiations on the highest level and laborious work of diplomats, Kazakhstan has not only gained territory, but also solved the main destabilizing factor of modern times – the issue of unsettled borders.
From 11 to 13 October, the capital of Kazakhstan hosted an annual forum of photographers, which was attended by almost 50 photographers from the CIS countries.
Photography is one of the most exciting professions in the world. Today, the direction of photography has increased just like photographers themselves, for whom there are very few schools or universities teaching photography. Since 2012, the Kazakhstan Forum of Photographers has been helping budding photographers every year by teaching the correct technique for working with cameras, giving lectures on the selection of studio light, and also holding master classes to promote their work.
This year the Kazakhstan Forum of Photographers has risen to a higher level. Thanks to the organisers, who are themselves experienced photographers – Daniyar Shaimergenov, Andrey Kim, Saule Kemelova, the forum gathered about 50 photographers from different countries. The speakers were Konstantin Eremeev (Russia), Tim Osipov (Russia), Ksenia Zasetskaya (Russia), Ilya Dvoyakovsky (Ukraine), Arina Ratushnova (Kazakhstan), Aioni Haust (Kazakhstan), Andrey Kim (Kazakhstan), Evgeny Zadokhin (Belarus), Ablai Kairzhanov (Kazakhstan).
The general partner of the forum was Canon. Canon Consumer Sales and Marketing Director Igor Shchurov personally came from Russia and for the first time presented the flagship Canon EOS R3 camera in Kazakhstan, and the forum participants had a unique opportunity to test-drive this camera. According to Igor Shchurov, despite the fact that Canon has been on the market for almost 100 years, it is still famous for quality, thanks to the technologies and innovations that they use, and as the director of the department of consumer sales and marketing, he added that the preferences and demand of the audience are also important.
Igor Shchurov
Also this year, the forum included nominations such as “Best Photographer” and “Best Photo”, whereas a prize was an impressive gift from the general partner.
Ospankhan Aubakirov became the “Photographer of the Year”, who received a certificate for the amount of 1,200,000 tenge from Canon as a prize. Diana Nazmutdinova became the winner in the “Photo of the Year” nomination, and also received a certificate from Canon for the amount of 1,200,000 tenge. Photographers who received second places were also awarded certificates worth 180,000 tenge.
The Kazakhstan Annual Forum of Photographers is undoubtedly one of the most important events for photographers. This is a place where both novice photographers and professionals communicate for acquaintance and exchange of experience. Event where you can listen to lectures from leading experts in the photography industry, watch workshops from top photographers, take part in master classes on studio lighting, photo processing and promotion of your own brand, as well as take part in outdoor photography to consolidate the material in practice.
The OCA Magazine team also was pleased to attend such an event.
OCA Magazine: Tell us, please, about yourself and your creative activity / work
Yulia Gutkovich: I am a lawyer, was born in Rostov-on-Don, Russia. When I was twenty-four-years old I moved to Israel, lived there for seven years and in 2011 moved to the UK where I live now.
I work as an immigration solicitor at Redfern Legal, a boutique London law firm located at Covent Garden. Writing stories and poetry is my hobby. Recently I started publishing my first book with my best short stories. My texts are fiction based on my experience as a long-lasting migrant, a forty-years old woman, a mother and now, also as a person, who lived in complete silence for ten months. The main character of my stories is a strong, hard-working woman, looking for her place under the sun.
OCA: How did you choose your path and who is your role model in the creative space of your art?
YG: I fell ill three years ago and lost all my hearing within three weeks. I did not know what to do and how to cope with living as a deaf person. I thought my life was over and then my wise mom told me: “If you cannot travel, write about your trips; if you cannot hear, tell people what you have already heard”. Following her advice, I started to publish short memories and jokes on Facebook. I did not expect people to enjoy reading them and ask me for more. Later, one night, I could not sleep. All of a sudden, a short fiction story crossed my mind: within an hour I wrote it down and put it on my Facebook page. It was my first short story “A Province Girl”. As my stories have become well-known not only among my friends, I received an offer to present them at my personal Zoom story-telling evening. That was my first experience: I read my own stories to the audience of sixty people, who purposefully gathered to listen to me. Following the successful concert, I repeated it several times.
The main choices in my life have been knowingly or unconsciously determined by my mother and uncle. It’s common in Russia to start planning your career at the age of fifteen or sixteen. I had two options in mind: to be an English teacher like my mom or a lawyer like my grandfather and uncle. The latter told me: “If you plan to live in Russia, go to Law School”. I was absolutely sure that I would never ever move abroad and chose that profession. Since then I have relocated twice and started a career as a lawyer from scratch three times. I have never planned to become a writer or an artist. On the other hand, I evidenced how my mother and uncle published their own books as a side-line of their main occupation. I believe both are my role models.
OCA: Which achievements of yours would you like to emphasize?
YG: Before my deafness, I sincerely assumed that my main accomplishments are three legal qualifications in Russia, Israel and the UK. After starting to cope with my disability, I have come to a conclusion that the main achievement of mine is the ability to laugh at myself. If you ask about formal certificates in the creative area, there are just several of them: I am a finalist of Pushkin in Britain poetry competition in 2019 and a finalist of ECG short prose competition in 2020 with my story “Showstopper”. Also I took part in several stand-up shows and organised my solo story-telling evenings.
OCA: Do you have any personal projects that you would like to talk about?
YG: I would like to translate my stories into English and publish my first book before my 42nd birthday.
OCA: When and where have you heard about ECG for the first time?
YG: In 2020 my good friend forwarded me a link to the ECD prose competition, and it was for the first time I learned about the guild.
OCA: Are there any new projects of ECG, in which you plan to participate?
YG: This year I would like to take part in the poetry competition. I faced a lot of changes in my life during the last months and this has led to a new wave of poems.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career?
YG: I would wish them not to be afraid of being deaf to others’ opinions, believe in themselves and believe that their text or a piece of art will find their admirer.
The world of space of Armat Bektas is mostly linear, at the subconscious level he structures everything according to the principle of harmonizing reality of the surrounding world which is “nonlinear” that is to say unharmonized by consciousness.
The artist is absorbed by the idea of creating a new philosophy of the Great Steppe in art and creating another plastic language of expression in it. The idea was born on the basis of the study of Kazakh art, the work of P. Picasso, P. Klee and other masters of the avant-garde world.
Relying on all the artistic heritage of mankind and gazing intently at his own classical folk Kazakh art, Armat Bektas builds his “steppe philosophy”, the philosophy of linearity of its structure, which is dictated by a complex of reasons, including the space of the steppe itself. The steppe landscape is primarily flat and majestic, with rounded chains of hills and the shape of yurt along with the legacy of cult architecture blending seamlessly into them are the genetic codes of the environment. The artist interprets these phenomena in search of a new stylistic expression of his thought.
In the works of the master, there is almost meditative flexibility in the smoothness of flowing lines of movement of forms interpenetrating or intersecting from one direction to another but always striving for stability and inner integrity.
As a person who has long been looking for the foundations of spirituality in the modern globalized space, Armat Bektas takes seriously the idea of Jacques Attali (the French economist, banker, writer and politician, who describes the future as a nomadic world) about tolerance in matters of faith and religion. Bektas in his work tries to visualize the theory of Jacques Attali through the pictorial language.
He seeks to create an image of a single divine spirit, because he is convinced: God is one; he seeks to express the idea of a new synthesis of everything divine in the mind of humankind, but he perfectly understands that this is one of the most delicate strings of his soul and can in no way be imposed let alone infringed upon anyone’s interests.
By inventing a new language of expression, a new style in art; A. Bektas is not afraid to combine symbols of different confessional affiliation; since they were “born” from a once single source. Universal symbols and signs are the basis of all religious symbols, and their vertical structure is another return at a new stage and level of development to the once lost unity.
The predominantly vertical development of the elements of the cosmic structure of our universe is taken by the artist from the past cultural experience of mankind: the entire past history of its development sought to build the harmony of this world from the depths of the universe, the information field of which relied on the “divine vertical”.
“I seriously thought about these questions – demand of time, and energy along with potential are given to the artist for realisation of creative programmes originally bestowed by nature, and of course, the author’s personal position in the modern art world is mandatory“. Bektas believes that the time has come for a mind reboot, for a deep understanding of realities of our time and our own contribution to the general world art history.
To create a new style in art, the artist works at the Sal Seri Gallery, which is located in Nur-Sultan city, Kazakhstan.
A creative group of like-minded people was created to promote this idea including Nurai Medeuova, Arystan Smagulov and Armat Bektas. To implement its projects, the Sal Seri Gallery collaborates with the Eurasian Creative Guild, under the leadership of Marat Akhmedjanov, who organizes events dedicated to the development of art among young artists and writers in different countries.
Sal Seri Gallery expresses its deep gratitude to the Eurasian Creative Guild and looks forward to further fruitful cooperation!
Khalima Truspekova,
(an Art History PhD, Docent, Associate Professor at KazLAACE)
OCA Magazine:Tell us, please, about your creative activity / work.
Daria Sadygalieva: My name is Daria,I am an architect, graphic artist, member of the Association of Artists of Botanical Art of Russia (AHBI) and member of the Eurasian Creative Guild (London).
My activity has always been connected with architecture and design, but at the same time I had a great desire to do something really important. Having a lot of practical experience and constantly developing my knowledge in the field of architecture, I teach graduate students of the Faculty of Architecture at KRSU.
In 2013, I founded the KORU studio, where I can fully realize my vision in matters of art education.
It is very important for me to do what I love. After all, education is a great responsibility both to the child and his parents and to society as a whole.
OCA: What is the main sense of your studio?
DS: At the beginning, I managed to assemble a team of like-minded people who happily supported my idea of realizing a unique place for creativity. All the teachers of the studio are practicing artists, teachers who are passionate about their work and have extensive experience in this field. The main areas of the studio are academic drawing, painting, sketching and graphics.
OCA: Why did you choose this particular activity?
DS: Currently, there is a certain turning point in art education. Time, living conditions and goals have changed. Modern children are completely different.
They perceive information differently and old methods no longer work. I try to look far ahead and develop new teaching methods in this area, keeping the experience of the past.
OCA:What is special about your training program?
DS: Our main aim is to instill love for art, develop a sense of taste and the ability to think creatively. The programs are designed in such a way that in an unobtrusive form they give the necessary material consistently and arouse the students’ interest in creative self-development. It is important to take into account not only the child’s age, but also their hobbies in everyday life, how they perceive the surrounding reality.
Each child is unique and you need to be able to get right with anyone.
A studio is not a school. Unfortunately, we are faced with the problem of limited time for classes, However, despite this, we see positive dynamics and results of our activities. We are proud of the achievements of our students who successfully enter local and foreign universities, win competitions and participate in exhibitions in the visual arts.
OCA: Who is your role model in the creative space/ sphere of your art?
DS: Both masters of the past and contemporary artists have presented the world with a huge amount of their works. I cannot single out one artist who would be an example to follow. We all learn from other people’s works and I respect the work of any artist. But it is very important not to imitate someone and find your own ways of self-expression.
OCA: When and where have you heard about ECG for the first time?
DS: One year ago I was lucky to meet Marat Akhmedjanov and Tatiana Shevchenko (Executive Director of ECG (London)). We had a meeting where they talked about the plans of the Guild. It was very pleasant that there are people like that who are concerned about the development of art in Central Asia.
OCA: Tell us, please, about the events of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work?
DS: It is very pleasant that ECG helps many creative people to express themselves far beyond the borders of Kyrgyzstan.
On the basis of our studio, we held a face-to-face meeting of the members of the Guild, where we shared with each other the results of our activities. Personally, such meetings inspire me and give me confidence that we are doing important and necessary work.
OCA: What is the Guild for you?
DS: I am very happy to be a part of this community. We are promoting art and I am always glad to take part in projects and exhibitions of the Guild.
Perhaps in the future we will see the students of our studio among the participants of ECG exhibitions and competitions
OCA: What would you wish for the members of the Guild, who are just starting their career?
DS: I wish everyone who is engaged in creativity not to be afraid to express themselves, to work hard, to study, to find strength and inspiration for creativity in any situation. Do not give up when you fail, believe in yourself and do not betray your ideas!
OCA Magazine: Tell us, please, about yourself and your creative activity / work.
Darya Zalesskaya: My name is Zalesskaya Daria and I am 28 years old. I was born in Almaty and now live with my family in Issyk. All my life I have been doing creative work. I first took a pen in my hands when I was 1 year old. Since then, I have never been bored, because drawing was my main pastime and entertainment.
I tried different techniques, types of art and creativity, for example wood burning, airbrushing, decoupage, worked with a hand jigsaw, baked and painted cookies with food paints, was fond of nail design, and painted walls. At the moment, I am practicing digital illustration, trying different styles in this multifaceted direction. I paint portraits, nature, and everything that inspires and cheers people up. Favourite techniques are digital illustration, watercolor and acrylic painting.
What I like about my work is that everyday I try new ways and directions. I don’t work in one style, although this thought upset me before. But it’s more interesting to develop yourself, to learn new things, isn’t it?
I also love taking part in art marathons! It is a great opportunity to get acquainted with works of other different artists and illustrators. Get new skills and experience in a short time.
OCA: Who is your role model in the creative space/ sphere of your art?
DZ: Since childhood, I liked the bright paintings of Van Gogh, and also love the works of Serov. From contemporary artists, I really enjoy the style of my mother Elena Bezrukova – projective graphics, I like its lightness and expression! Also I follow the works of an insanely creative blogger – Aisulu Nurtayeva and am inspired by the watercolor works of Oksana Viktorova.
OCA: Do you have any personal projects that you would like to talk about?
DZ: In the fall of 2019, I took part in the Super Kyz project. I was one of the illustrators of children’s books about outstanding women of Kazakhstan and painted a portrait of the legendary Bibigul Tulegenova. In the same year, there was a big project to decorate the walls in a family cafe.
In 2020, I took part in a competition from the Carlsberg company, came up with a poster on a given topic and took third place. And I am incredibly proud of being a participant in the exhibition “100 years of Komsomol”, from ECG.
I am also the illustrator for several training courses on the restaurant business topic, and the illustrator of books on speed reading.
OCA: When and where have you heard about ECG for the first time?
DZ: From its founder, Marat Ismailovich Akhmetjanov.
Marat Ismailovich is an old and good friend of our family! During one of his visits to Almaty, he told me about his new project, where he wanted to unite creative people and help them to develop. I believed in this project, because Marat is a great enthusiast and a real ideological inspirer! And he has brought his project to life.
Now I am a member of the Eurasian Creative Guild!
OCA: Tell us, please, about the events of the Eurasian Creative Guild (London) and projects that you have already taken part in.
DZ: All activities of the Guild make a great contribution to the cultural development of our country. They unite, inspire and support people of all creative professions. The meetings are very sincere, warm with really wonderful people. I really enjoyed taking part in an art exhibition dedicated to the work of the writer Chingiz Aitmatov.
OCA: How does ECG influence your creativity and success in your work?
DZ: ECG taught me to not be afraid to show my works and to accept the idea that I can be on a par with other talented artists of the Guild. I also like that the exhibitions held by the Guild are all different, interesting, allowing you to show your work as you see it and feel comfortable at the same time.
OCA: What would you wish for members of the Guild, just starting their career?
DZ: I wish everyone to go forward, to work and grow in their field. And be open to people!
OCA: What is Eurasian Creative Guild for you?
DZ: We are all friends with the same interests. They are cool, positive people from whom you can get a sea filled with emotions.
The Guild is a great and magical resource that helps to develop yourself and your business. It inspires, supports, guides and gives an opportunity to show yourself to the world. Thank you very much for that!
And thanks to Marat, because he embodied his idea in a large, global and cool community!
OCA Magazine: Tell us, please, about yourself and your creative activity / work Ekaterina Zgurskaya: My name is Ekaterina Zgurskaya aka Katerina Zver (rus. “The Animal”) – it’s a moniker based on one of my projects, a short animation video about various fantasy creatures. One of the main characters was a strange three-tailed animal with blue fur. It became my profile picture on social media and later transformed into a personal brand. I’m an artist and graphic designer, writer, teacher, and doll-maker, and have a hand in theatre projects and creative management. OCA: Who is your role model in the creative space/ sphere of your art? EZ: It’s a difficult question since I work in various spheres of art. But I have some role models in general, such as skater Alexey Yagudin, coach Alexey Mishin, naturalist Nikolay Drozdov. All of them are famous thanks to their true passion for their work, and to their professional achievements, not to the scandals and offensive speeches.
As for art, the main influencer for me is Pavel Orinyansky, the artist and illustrator – his works were one of the reasons for me to become an artist. Besides, I can add Alphonse Mucha and Boris Vallejo. As a writer, I try to measure up to maestros like Walter Scott, Roger Zelazny, and Bram Stoker. As for Russian writers, it’s Alexey Tolstoy, Mikhail Uspensky, and Natalya Ignatova.
For my dolls, I have no exact role model, but try to learn from various doll-makers. I really admire Florence Jenkins and her phenomenal self-belief. Sometimes we all need to be like her.
OCA: Do you have any personal projects that you would like to talk about? EZ: The main one of my current personal projects – “Nanny Glennfire’s tales”, a fairy tale book based on British folklore. We are working on it together with my co-author Olga Gotalskaya from Minsk.
Also I published three fairy tale books and am currently working on the fourth one. I also take part in exhibitions both local and international. You can see some of my dolls at “The Puppet Lane” gallery in Izmailovsky Kremlin, Moscow. Some of my tales are already available for reading online, and one of them titled “The Ugly Tim” took 2nd place at the “Russian Hoffmann” literary contest. I’m planning to translate this book into English in the future and try to publish it in London.
OCA: When and where have you heard about ECG for the first time? EZ: If I can recall clearly, it was in 2018. I was leading an online magazine “The Modern Bestiary” and made a special issue for Natalia Anikina and her fantasy project “Enhiarg”. After learning that one of her books participated in the OEBF, I’ve decided to look closer at this contest. At first, I was planning to participate only as an author, but then I got a letter about Expert Councils. That’s how one project led me to another one.
OCA: Tell us, please, about the events of the Eurasian Creative Guild (London) and projects that you have already taken part in. EZ: The first one is OEBF – I tried my luck as a writer and took part in the jury in art nomination. The second one is “TOP 25 Artworks of Eurasia”, where I was just a participant.
OCA: How does ECG influence your creativity and success in your work? EZ: The ECG, being the large web of connections, is a very fertile ground for creative things. You may meet the right person, who knows two other right persons and they all may have exactly what you need for your projects.
And you may prove useful for someone just because you have the right phone number. Sometimes it’s all about some small details.
OCA: Are there any new projects of ECG, in which you plan to participate? EZ: Since I’m an Ambassador of ECG, the projects of ECG are my duty. I have a few projects at work, aiming to strengthen the cultural links between the countries and popularize the Guild’s activities. Sure it will take a lot of time and effort, but nobody said it’d be easy. Interesting? Yes. Easy? Surely not.
OCA: What would you wish for the members of the Guild, who are just starting their career? EZ: First and foremost, you should ask yourself, what did you join the Guild for? You shouldn’t take the ECG as some kind of fairy with a magical wand, who’ll make you famous and talented in one day with no effort. Then you should decide, do you want to add your piece into the common pot, or you came only to eat from it? As with any other union, ECG is people in the first place. People are different and surely not everyone is ready to be active, but if you join the group just to sit in the corner and feel like a “part of something”, perhaps you should try those unions, where you will pay some money and receive a glossy certificate.
But if you join the group, whose mission is to create cultural and social links, you should take an active part in it. Thankfully, there are a lot of projects and opportunities here.
The Covid-19 pandemic has shown how interconnected human health is with the environment, as well as with economic and social progress. We can no longer ignore the signals that nature itself sends us.
Unfortunately, climate change is on the rise. In Central Asia, the average annual temperature over the past 30 years has increased by about one degree. The decline in the flow of major rivers and biodiversity in our region is a matter of deep concern. The problems of greenhouse gases and large-scale pollution of the atmosphere have been exacerbated.
There is no doubt that countries’ actions to achieve the goals of green development must be more proactive and more effective. We have no other choice. It is a message we plan to take to the important COP26 conference in Glasgow later this year.
This important work has already been started and is being implemented in Uzbekistan. Thus, in the energy sector, a comprehensive strategy and a transition to a “green” economy, as well as programs for the development of renewable and hydrogen energy, are being implemented.
Under the Paris Agreement, Uzbekistan committed to reducing greenhouse gas emissions by 10 percent by 2030. President Shavkat Mirziyoyev, in his speech at the second International Summit “Partnership for Green Growth and Global Goals – 2030” (P4G), noted: “We are the first in the region to join the Global Green Growth Institute and intend to open its office in Uzbekistan.”
One of the key areas for the Ministry of Energy is the desire to achieve carbon neutrality including through the development of “green” energy. Thus, the Ministry has begun the implementation of major projects for the construction of solar and wind power plants. The country plans to more than triple the share of renewable energy sources in the next ten years. The Ministry is also working closely with neighbouring states in order to develop the large hydropower potential of the Central Asian region. Plans are underway for an international conference, “Green Energy for Developing Countries”, to be held next year in Uzbekistan.
Analysis shows that Uzbekistan is actually quite capable of providing itself with energy. The country is not only rich in gas and oil, but also has a huge potential for the development of environmentally friendly energy sources.
The country is not neglecting conservation. A lot of work is being done to modernise the power grids and, in the next five years, as the plans are implemented, the loss of electricity during transmission and distribution will be significantly reduced.
It is also planned to reduce the consumption of natural gas for energy production from 16.5 to 12.1 billion cubic meters by 2030 and to use gas produced domestically for conversion into polymer products (i.e. goods with high added value) with a view to their further export.
The use of renewable energy sources is now one of our priorities. In accordance with the recommendations of the UN Convention on Climate Change, Uzbekistan seeks to improve energy efficiency and increase the share of renewable energy sources. The Ministry of Energy, together with the European Bank for Reconstruction and Development (EBRD) and the international consulting company Mott MacDonald, is working on a comprehensive carbon reduction strategy.
It is clear that Uzbekistan’s current energy production system needs to be modernised, and today is heavily dependent on natural gas, but gradually a well-developed strategy will help to move to low-carbon forms of energy production, and at the same time meet rapidly growing energy needs.
The Ministry, together with the Asian Development Bank (ADB) and the World Bank (WB), recently developed a ten-year electricity supply plan. By 2030, the implementation of this plan will lead to the creation of additional energy capacity, which will include 5 GW of solar energy, 1.9 GW of hydropower and up to 3 GW of wind energy.
The potential of renewable energy sources in Uzbekistan becomes clear from a glance out a Tashkent window. On average, the country experiences about 320 sunny days each year. The state has set a goal to increase the share of renewable energy in the total volume of electricity production by 2030 to 25%. By September of this year, the Ministry will be ready to commission the country’s first solar photovoltaic power plant of an industrial nature with a capacity of 100 megawatts. It is being built in the Karmaninsky district of Navoi by Masdar (UAE). Another 100 MW solar power plant will be commissioned soon in the Samarkand region. It is being built on the basis of Public-Private Partnership with the French company Total.
To develop a “roadmap” to create a carbon-neutral electricity generation sector in Uzbekistan by 2050, the Ministry in co-operation with the Ministry of Investment and Foreign Trade with the support of the EBRD and the Government of Japan, has convened a consortium of international experts. In fact, according to expert opinions, the move to an energy sector with zero carbon emissions in Uzbekistan by 2050 is quite feasible, both technically and economically.
In 2020, a tender was announced for the construction of two photovoltaic plants with a capacity of at least 200 MW each in the Samarkand and Jizzakh regions. Applications for participation in the tender were submitted by 83 companies, a major increase in investor interest.
On May 20, 2021, according to the results of the study and evaluation of technical and commercial proposals of applicants, the tender commission declared Masdar (UAE) the winner with a tariff offer of 1.79 cents per kWh of electricity for the project for the construction of a 220 MW solar power plant in the Kattakurgan district of Samarkand region. Masdar was also recognised as the winner of the project for the construction of a solar power plant in the Gallyaaral district of Jizzakh region, offering a tariff of 1.82 cents per kWh for a power plant with a capacity of 220 MW.
Elmira Bekmurodova, Advisor to the Minister and Press Secretary Ministry of Energy of the Republic of Uzbekistan
OR 12 GW OF RENEWABLE POWER CAPACITY IN LESS THAN 10 YEARS
Can it be possible for a country to go from zero to climate hero or 12 GW of solar and wind power in less than 10 years and at a very low cost?
This is a daunting task for any country. But Uzbekistan, whose current installed capacity is just 14 GW, most of it fossil fuel-based, is taking up the challenge. Even if the target is ambitious, there is little doubt that it is achievable, given the pace of change in Uzbekistan and the commitment of its leadership.
In May 2020, Uzbekistan announced it would aim to build 8 GW of solar and wind power generation capacity from scratch. Since then, the country has already auctioned almost 1 GW of solar capacity. Recently conducted solar tenders secured the lowest solar tariffs for the entire EBRD region, a vast territory spanning several time zones from Mongolia to Morocco. In August 2021, Uzbekistan announced its ambition to raise this target to 12 GW – another major step demonstrating strong commitment to the green agenda and setting an excellent example in the run up to the COP-26 summit.
The Government of Uzbekistan has done a tremendous amount of work in a very limited period of time to make setting such a target possible, proudly supported by the EBRD. The EBRD has already financed the first 200MW solar PV in Uzbekistan through the first two projects 100MW in Nur Navoi with Masdar and 100MW with Total Eren in the Samarkand region. Green electricity produced by these power plants will be enough to supply approximately 70,000 households.
And there is more good news – auctions for 1 GW of wind power are underway supported by the EBRD. The first such auction, for 100 MW, attracted over 70 qualified investors and is also the first under Uzbekistan’s Public-Private Partnership (PPP) law developed with the Bank’s assistance in 2019.
This engagement in renewables is happening on the back of the EBRD’s extensive involvement in the broader energy sector reform and its work with public sector entities.
Since the introduction of currency and trade liberalisation in 2017, a number of reforms have been implemented in the country. They have been instrumental in attracting foreign investment to Uzbekistan and its power sector as well as in enabling the successful launch of renewable energy tenders. The unbundling of the sector monopoly, Uzbekenergo, setting up a new power market model, the adoption of the PPP Law and bankable power purchase agreements (all supported by the EBRD) contributed to the commercialisation of Uzbekistan’s power sector. The Bank is also financing investments by the National Electric Grid of Uzbekistan into the electricity transmission infrastructure in the Navoi region, which will help increase the penetration of intermittent renewables.
The development of renewable energy is part of Uzbekistan’s broader ambition to decarbonise its power sector. As demonstrated by studies conducted to formulate the EBRD-supported Low Carbon Pathway for Uzbekistan’s power sector, it is technically and economically feasible to achieve the Uzbek power sector carbon neutrality by 2050.
The EBRD supports the transformation of Uzbekistan and its ambitious reforms by increasing its regional presence (including a third regional office in Urgench, which opened in early 2021), supporting a broad range of reforms through technical cooperation projects and committing fresh funds to support public and private clients. The EBRD’s business model is a unique blend of sector expertise and long-term customer-tailored financing, combined with policy dialogue. To date, it has invested around € 2.4 billion in 97 projects across Uzbekistan.
The EBRD works with long-standing partners ranging from the Ministry of Investments and Foreign Trade to the Ministry of Energy, the PPP Development Agency, the Ministry of Finance and the Ministry of Economy.
Modern Uzbekistan is a young country, celebrating its 30th anniversary, but it is rooted in an ancient civilisation in which sciences such as algebra and astronomy flourished. Today’s fast-moving reforms in the power sector go hand in hand with Uzbekistan’s growing international profile in renewables and the decarbonisation of existing thermal power capacity. The country is responding to the global challenges and uncertainties of climate change. What is clear, though, is that the EBRD stands ready to support Uzbekistan every step of the way on this journey.
by Nandita Parshad Managing Director, Sustainable Infrastructure Group EBRD
OCA Magazine: Tell us, please, about yourself and your creative activity / work Igor Gushchin: The sphere in which I work is not only my job but also my life. I can talk a lot about art, this is a phenomenon and a product of human consciousness. What distinguishes a person from an animal is the ability to express thoughts, experiences, emotions and ideas in the form of images, colors and compositions on canvases, paper and other surfaces, as some messages for the present and future!
The style of my author’s painting, which I have defined for myself, is non-standard, philosophical as Transcendental Art (Lat. transcendens – going beyond sensory experience). Kant defined this as what precedes sensory experience and makes experience possible (for example, space and time).
OCA: How did you choose your path and who is your role model in the creative space/ sphere of your art? IG: I devoted myself a lot to reading philosophical and religious books in search of TRUTH. This is what prompted me to express my thoughts and ideas on canvases, since the language of painting has the ability through the composition of images, symbols, a certain color palette to convey to the viewer a new thinking and a new level of consciousness beyond the conventional three-dimensional dimension, and the ability to expand consciousness to a higher level of intelligence, helping to develop the civilization of society along a vertical line into the vastness of the universe. Most of my idols to follow are philosophers who preach cosmism: K.E. Tsiolkovsky, D. Chizhevsky, V. Vernadsky, science fiction writer Alexander Belyaev. as well as mystics of esoteric teachings, such as G.I. Gurdjieff, N.K. Roerich, H.P. Blavatsky, Sri Aurobindo, J. Krishnamurti and many others, but I especially like the architect Antoni Gaudí!
OCA: Which achievements of yours would you like to emphasize? IG: In 2012, preparing for one of my exhibitions, I wrote a small book called “The Essence of Transcendental Art”. At the symposium in 2020 in Cyprus, I painted more than 100 works for the Cyprus Museum of Modern Art, on the topic of Micro and Macro Space.
OCA: Do you have any personal projects that you would like to talk about? IG: Yes, but for the implementation of my projects I need a sponsor. In general terms: a large architectural structure in modern style with rounded shapes in white, inside or inside of which there are giant frescoes depicting cosmic constellations and galaxies. I believe that our Creator is our Galaxy, and it should be depicted in the center of this NEW TEMPLE, as well as images on the walls of all saints and enlightened Teachers known throughout the entire life of mankind in cosmic light suits.
This will push a new generation of mankind to turn their attention again to the ancient teaching, the wise message of which has been left to mankind for eternity, for all ages. I mean the gospel.
OCA: What makes you different from other representatives of your field? IG: It is possible that I stand out from other artists having a non-standard search for self-expression in art.
OCA: When and where have you heard about ECG for the first time? IG: I don’t remember exactly when, but I’ve heard about it from Marlan Nyssanbaev, ambassador of the ECG in Almaty.
OCA: Tell us, please, about the events of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work? IG: I like that there is such a wonderful society in Almaty! Interesting meetings are often held, and especially the fact that, thanks to ECG, there is an opportunity to participate in the openings of new exhibitions of artists, where you can show your new ideas on canvases and communicate about art with viewers and members of society
OCA: Are there any new projects of ECG, in which you plan to participate? IG: Of course, I am always glad to participate in the openings of new exhibitions.
OCA: What is Eurasian Creative Guild for you and how do you see your future partnership? IG: The Eurasian Creative Guild for me is a WINDOW to Europe and an opportunity to show my creativity and my ideas and thoughts to a wider circle of human society.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career? IG: To approach art, as a scientific research, seriously and consciously, relying on the old classical school of painting, but then, to look for new non-standard forms of self-expression through the cognition of Oneself in the space of our Being.
From the beginning of the written history of humankind, Central Asia was at the crossroads of civilisations, cultures and development. Archaeological discoveries show that the first known cities and states were present here for more than five thousand years. Magnificent monuments, temples and government buildings, with the sophisticated structures, prove that this land was full of complex scientific and educational institutions.
Even when we look within the past millennia, the inventor of algebra and algorithm – Al Kwarezmi, the father of modern medicine – Ibn Sina (Avicenna), the creator of the first globe – Ulugbek and many more renowned scientists, who added their instrumental value to the development of current scientific knowledge, all lived and thrived in our territory.
Since independence, the education sector was one of the most hurt sectors of the economy. Due to the lack of financing, outflow of specialists and overall changes in the mentality towards more market driven sectors, our country has experienced a dip in education. We tried, nonetheless, to keep certain indicators, such as overall literacy rates, free basic education and maintenance of existing schools.
However, the real transformational changes only started after President Mirziyoyev took office and conducted comprehensive reforms in all spheres of the social and economic life. With the strong political will of the current President, we were able to transform our education system in order to lay the foundations for a new renaissance.
In order to more accurately administer the education sector, four separate entities such as the Ministry of Pre-school Education, the Ministry of Public Education, the Ministry of Higher Education and the State Inspectorate for the Quality in Education were created. Each of them has specific tasks and responsibilities. Within the short period of time, we were able to achieve significant gains and improve the landscape.
In the area of pre-school education, in 2016 the total coverage of children under the age of 7 in pre-school education was around 20 percent, today it exceeds 63 percent. In 2017, there were only 5,200 kindergartens, today their number has increased almost fourfold and numbers more than 19,300. Within the past 4 years, 1,450 preschool educational institutions were built and reconstructed with the help of the State budget.
In the area of the higher education, in 2016 there were only 60,000 first year students who represented just over 9 percent of high school graduates. Just three years later the total number of the spots in state universities reached over 170,000 and now covers 28 percent. The number of the universities have doubled and many branches of international universities, as well as private universities have opened.
The most significant reforms, however, have happened in the sphere of public education, which touches upon every single family in the country. Currently, there are 10,008 schools in the country, which employ more than 500,000 teachers with over 6.2 mln students. Since 2017, 201 new schools were built, 1,823 were reconstructed and 2,040 were completely overhauled. The amount of money spent on such reform, in all regions, is at least 3-4 times higher than has been spent in the last 25 years since independence.
Along with the quantity, the quality of the education processes is extremely important. Today, in the age of the internet and AI, information technologies are a fundamental part of any industry. Over 90 percent of all schools, including the ones in remote areas, are connected to a high-speed internet. 70 percent of all schools have local area networks and we are trying to get the number to 100 percent gradually increasing WiFi in schools.
One of the most important changes is raising the status of our teachers in society and making the profession one of the most respected in the country. For this purpose, we have abolished forced labour in the country, lowered the level of bureaucracy and raised the salaries of the teachers. Additionally, we are conducting mass training of our existing teachers in their own subject matter as well as in new pedagogical and psychology skills with the partnership of the US, Great Britain, Russia, Finland, Japan and other countries with the best education systems.
Next, we have completely revised the curriculum, since the entire educational component depends on this. Having good school infrastructure, qualified teachers and high-speed internet is not enough to deliver a quality education. We are working with experts from the best international organisations to create new books and supplementary material, including notebooks for students, handbooks for teachers and apps for gamification of the process.
Overall, the schools have become results-oriented institutions with a clear vision and purpose. Now that educational institutions have been freed from unnecessary red tape, we have begun to demand precisely the high-quality transfer of knowledge that is required to develop our students into leaders of the future. The effectiveness of the work of the teaching staff of the school is not assessed by a beautiful building, newly-printed books or modern infrastructure, it is much more important here to see the actual success and achievements of graduates.
Summing up, I would like to quote the address of the President of the Republic of Uzbekistan to the youth: “New Uzbekistan begins at the doorstep of the school,” which means that the transformation of the education system will continue, and we will make every effort to create opportunities for our nation’s children to reach their full potential and compete in the global markets. We have to make sure that they will be able to solve today’s and tomorrow’s challenges and make the world a better place to live.
Sherzod Shermatov, Minister of Public Education of Uzbekistan
While relations go back over six hundred years, with an exchange of letters between King Henry IV of England and Amir Temur, the British Council has been supporting systemic education and cultural relations with the UK for the last quarter of a century, since the signing of formal bilateral agreement with Government of Uzbekistan in October 1996. Major achievements over these 25 years have included:
supporting the establishment of Westminster International University in Tashkent now offering a range of programmes to 4000 students; the development of modern national pre-service teacher training programme now being delivered in 18 institutions with more than 4000 graduates per year; the development of English for Specific Purposes (ESP) curriculum now used in 45 state Universities; a new Quality Culture programme co-created by the London Metropolitan University and the Ministry of Higher and secondary education offered innovative professional development journey to 500 academic leaders annually for 6 years; a theatre development programme engaging with 75 members of academic staff, 42 theatre professionals and 170 students leading to new voice and movement modules in the curriculum at the Institute of Art and Culture and Uzbek Hamlet production by Uzbekistan arts students reaching the audience of 2350 in Uzbekistan and the UK, in collaboration with Rose Bruford; first ever UK Contemporary Art education programme and exhibition in Uzbekistan attended by 14000 visitors and engaging through education and media programmes with more than 4 million people.
This year, British Council programmes respond to the national education and culture reform objectives in Uzbekistan and engage with over 700 organisations, directly supports 115,000 individuals and reaches 27m people in Uzbekistan and UK.
Through the Creative Spark higher education programme, the British Council developed 6 UK-Uzbekistan university partnerships that are mainstreaming innovation and entrepreneurial training through curriculum reform and ecosystem development. The Big Idea Challenge and Entrepreneurial University Awards schemes offer higher education students and academics, as well as young entrepreneurs, opportunities to develop and present their project ideas and get recognition for their business start-up or education reform work in their institutions. This programme engages with 11,000 Uzbekistan students directly annually. According to the project beneficiary survey, a total of 92% said Creative Spark had improved their knowledge of the UK creative industries and business environment, and 76% of project participants felt they had already used some of the knowledge or skills gained. As part of the programme, an MoU was recently signed between the University of Central Lancashire and the Tashkent Textile and Light Industry Institute to outline key steps in long-term collaboration in the areas of fashion, design and enterprise. In addition, the first private entrepreneurial university in Uzbekistan has been established in collaboration with London South Bank University – another strategic Creative Spark partner.
The new Going Global partnership programme provides opportunities for governments, national sector bodies, universities, researchers, academics and students to collaborate and partner with the UK. Though working together in mutually beneficial partnerships, the programme aims to contribute to stronger, more inclusive and globally connected higher education systems which support economic and social growth. The programme will include Systemic Innovation Dialogues and Ministerial collaborations, Change Academy for university teams to support their Quality Assurance and graduate-focussed projects. From the new academic year, the programme will have a strong TVET development focus with the aim of improving the quality and efficiency of education institutions and addressing the development of graduates’ soft skills, employability, and community outcomes.
To support wider state school sector reform, the British Council engages with the Ministry of Public Education of the Republic of Uzbekistan around its Public Education Development Concept 2030 to ensure that the ministry takes an active part in the global debate, including the Education World Forum. The programme includes research around public education vision and strategy, English language teaching in secondary schools and education sector responses to Covid-19 to identify key areas of focus and ensure a holistic approach in the reform.
The British Council plays a convening role as co-chair with the Ministry of the English Reform Steering Group which aims to ensure a holistic approach to teacher education, and to connect the Ministry to influential ELT networks, institutions and professionals. One such reform project, the Future English project, aims to help school graduates to improve their English and offer Continuing Professional Development opportunities to English teachers nationwide through the Online Teacher Community platform. In 2021-22, 2000 English teachers in Uzbekistan will benefit from brand new professional development courses focusing on English for English teachers and Teaching Skills. In 2021 the British Council worked with the Ministry around a national English Curriculum strategy and offered consultancy to develop the strategy and its team. The English Curriculum strategy document will inform all future decisions and plans and the core group of national curriculum writers trained through the project will act as a driving force for all English curriculum reform work nationally.
One of most important aspects of the British Council’s work in the country is giving access to thousands of people to a high-quality international test – IELTS. To respond to national reform in foreign language teaching the Council developed a new Assessment Matters programme that engages with policy makers, teachers and students around this important aspect of reform and initiated IELTS partnership programmes with major universities and education agencies all over Uzbekistan to support exam candidates. There is now a successful partnership project with the State Testing Centre and are offering Aptis for Teachers test that has been used worldwide to assess English language teacher’ English proficiency and to certify teachers at a national level.
This year is the year of Opportunities for Young People in Uzbekistan and the British Council is set to play a key role, along with its partners and networks in the UK and Uzbekistan to create new exciting opportunities for young people to realise their potential and to shape the future.
OCA Magazine: Tell us, please, about yourself and your creative activity. Lidiya Drozdova: I live in Kazakhstan. I create from the beauty around me and give the happiness of creativity to everyone who wants to learn how to paint.
I am the worker of Kazakh art, member of the Kazakhstan Designers Union, of the Eurasian Creative Guild, Deputy Chairman of the Expert Council for Fine Arts in the Guild, a member of the French MONDIAL ART Academy in Paris, a member of the Georgia Artists Union and member of the Northern Cyprus Artists Union. Head and founder of the artists community in Almaty “Apple palette” since 2017. The 2021 year gave me unexpected joy – I received the dignity of “Worker of Kazakh Art” and a medal for special services in the visual arts of Kazakhstan. Also, at the international symposium in North Cyprus, I received the Silver Key Award and entered the list of Europe International Watercolor Masters. I also have my own art workshop. In 2021 will be the tenth anniversary since I decided to open my art studio.
OCA: Who is your role model in the creative sphere of your art? LD: I admire the Renaissance period, the art of the sixties in the Soviet years, Contemporary Art. Speaking about favorite artists, there are several of them: Auguste Renoir, Francisco Goya, Ilya Repin, Alexander Ivanov, Konstantin Vasiliev, Evgeny Sidorkin.
OCA: Do you have any personal projects that you would like to talk about? LD: Over the past five years, we have held more than thirty exhibitions, six international plein-airs, and more than twenty creative plein-airs. Series of Master-classes “Sea” will start soon. I am going to teach everyone how to paint the sea element in oil on canvas. From global projects, we started preparations for an international symposium for artists in Kazakhstan. Now we are looking for interested structures, businessmen wishing to become financial sponsors in this large-scale project.
OCA: When and where have you heard about ECG for the first time? LD: For the first time I’ve heard about the Eurasian Creative Guild from my colleague-artist Marlan Nyssanbaev. It was four years ago, when we first met on FB, then at the exhibition “Art without Borders” from the Eurasian Guild. So we became friends and now we are working in one team: Lidiya Drozdova, Igor Gushchin and Marlan Nyssanbaev.
OCA: Tell us, please, about the events of the Eurasian Creative Guild (London) and projects that you have already taken part in. LD: I want to express my gratitude to the Vice-Chairman of the Guild, Marat Akhmedjanov and his entire team.
Thanks to the support of the ECG and Marlan Nyssanbaev, I held a meeting with international plein airs in Kyrgyzstan. Also, with the support of Marat, in one of our exhibitions dedicated to the 100th anniversary of the Komsomol we were able to nominate two Prizes for talented artists.
On February 20, a grand opening of the first Gallery of the Eurasian Creative Guild “ZvagWard” in Almaty took place. The opening was presented by the exhibition “The World of Eurasian Colors”, which was attended by 38 artists.
OCA: How does ECG influence your creativity and success in your work? LD: The opportunities for my personal participation in various projects of artistic creativity in different cities and countries have undoubtedly expanded. Thanks to these exhibitions and plein-airs, I have established cooperation with many people and realized many of my plans.
OCA: Are there any new projects of ECG, in which you plan to participate? LD: In the future I am going to participate as an artist in the art contest. It is a great honour for me to be invited by the Guild leadership in London to participate in this project as a member of the Expert Council and to take part in the organisational moments of this exhibition in many cities.
OCA: What would you wish for the members of the Guild, just starting their career? LD: For all new members of the Guild I want to say that you have found yourself in the excellent union of creative people. In the Guild, you can realize your dreams, since there are friends from all over the world, who can respond and support you in holding an exhibition, presenting your talent.
OCA: What is Eurasian Creative Guild for you? LD: The Eurasian Creative Guild is an opportunity to implement creative plans in collaboration and support of the same talented people like you. This is a friendship with poets, writers, artists of European and Asian countries. The guild helps to reveal and show your talent to the world!
The British Museum has announced that it is working closely with colleagues in the Art and Culture Development Foundation (ACDF) under the Ministry of Culture, and the staff of the Embassy of the Republic of Uzbekistan in London. On 30th September 2020 the Museum signed a Memorandum of Understanding with the ACDF and agreed to explore possibilities of developing joint education initiatives, training professionals in arts and culture, discussing exhibition projects, advising on stolen or trafficked items of Uzbek origin, and other matters as appropriate.
The issue of trafficking is a particularly serious and sensitive matter, and the British Museum is the lead organisation in the UK for advising UK law enforcement agencies if they have concerns over any items. The Museum has successfully intervened twice in the case of Uzbekistan, once in the case of a beautiful monumental calligraphic glazed tile illegally removed from a 13th century monument at Vobkent, near Bukhara, which was a memorial to the prophet Job and known as the Chashma Ayub. The tile was identified in a well-known London gallery but the owner immediately brought it to the Museum once its provenance was established. It was officially handed over at a small ceremony held at the Museum in July 2017 and returned soon after to Tashkent, where it is being held at the State Art Museum of Uzbekistan until it can be restored to the monument from which it was taken.
In January 2020 a group of further calligraphic tiles were stopped and seized by a Border Force officer from a passenger entering London Heathrow airport and identified by a large panel of international and Uzbek experts contacted by the Museum. Some of these tiles are very similar in style to examples known from the famous Shah-i Zinda near Samarkand and they date to the late 13th or early 14th centuries. They were exhibited at the British Museum with the permission of the Ministry of Culture and are now being returned to Tashkent with the generous assistance of the Embassy in London. This was a good opportunity to share knowledge and experience across the different organisations involved, including law enforcement and experts, and the media attention and display of such items at the British Museum send a strong signal to the world, as well as its many UK and international visitors, about the strength of collaboration by all the parties concerned.
Finally, the Museum announced its contributions to an album highlighting its Uzbek collection, which will be published shortly in a series entitled “The Cultural Legacy of Uzbekistan in the World Collections”.
by Dr St John Simpson Archaeologist and Curator, British Musem
OCA Magazine: Tell us, please, about yourself and your creative activity / work Maksat Kantarbayev: I am from Kazakhstan, come from the village Kulan, whis is placed in Zhambyl region.
I am a Member of the Union of Artists of the Republic of Kazakhstan, and became a member of the Eurasian Creative Guild (London) in 2018. Grew up in a creative environment: My father Kantarbayev Kirgizbay was an all-round person, and was a member of the Union of Artists of the USSR. Just like my father, I am engaged in painting, oil painting and watercolors. My main to paint magnificent native landscapes.
OCA: Who is your role model in the creative space/ sphere of your art? MK: I’ve always admired the Russian school of painting, and I would emphasize works of such masters as Shishkin, Levitan, Vasnetsov, etc.
OCA: Do you have any personal projects that you would like to talk about? MK: I have a plot in the mountains, and I would like to equip it for organising plein airs and symposiums at different times of the year for Kazakh and foreign painters.
OCA: When and where have you heard about ECG for the first time? MK: I learned for the first time about the Eurasian Creative Guild in 2018 from Nyssanbaev Marlan, who is an Ambassador of the ECG in Almaty.
OCA: Tell us, please, about the events of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work? MK: I really like the meetings of the Guild Members where they freely communicate in a creative atmosphere, solve various problems and outline great projects. I also took part in international exhibitions of paintings held by the Guild in London, Nur-sultan, Almaty and other areas.
OCA: What is Eurasian Creative Guild for you and how do you see your future partnership? MK: For me the Eurasian Creative Guild means being a member of a large positive, creative, ambitious, promising family with great opportunities! Having become a member of the ECG, my creative horizons have expanded, many foreign like-minded people have appeared with whom I can exchange creative plans, ideas, and are more often exhibited at European exhibition galleries.
OCA: Are there any new projects of ECG, in which you plan to participate? MK: Yes, I want to take part in all of the competitions for artists in the near future. OCA: What would you wish for the members of the Guild and other creative people, just starting their career? MK: For members of the Guild who are starting their creative path I would like to wish first of all perseverance, because creativity is a very difficult process, when you need to completely surrender to it in order to have a decent result.
International art lovers attending the 2021 Venice Architecture Biennale were in for a treat. For the very first time in the history of this prestigious festival, Uzbekistan had a national pavilion, situated within the Arsenale. Titled “Mahalla: Urban Rural Living”, this 1:1 scale model of a house in a traditional Uzbek mahalla (neighbourhood) was curated by Emanuel Christ and Christoph Gantenbein, Professors at the Swiss Technical School in Zurich and founders of renowned the Christ & Gantenbein architecture practice. Their structures blended with photography by the Dutch artist Bas Princen, and an original soundscape by sound producer Carlos Casas, who recreated the noises of the mahalla. “Mahalla is a social, cultural and urban phenomenon,” explained Christ, “[and it’s an] indication to where a global contemporary society could find a vision, information, inspiration.”
Uzbekistan’s presence in Venice is indicative of the country’s growing interest and investment in the contemporary arts. The pavilion is one of a number of activities led by the Arts and Culture Development Foundation (ACDF) under the Ministry of Culture, which is exploring new areas of art and cultural development, forging ties with international institutions, and promoting the culture of Uzbekistan on the world stage. Uzbekistan has always been a fertile ground for creativity, but now artists of all kinds are being supported to push their work to new levels, and to find the audiences they deserve.
One of ACDF’s strengths is in its ability to build relationships with high profile international partners. ACDF has formed a new partnership with Scala, the UK-based arts and heritage publishers, whose meticulously researched and beautifully illustrated books highlight the art and artefacts of the world’s greatest artists, museums, and galleries. Five Scala publishing projects for Uzbekistan area now underway, including The Lands of Central Asia by Professor Edvard Vasilievich Rtveladze, the chief archaeologist at Alexandria on the Oxus (formerly known as Kampir Tepe); and Savitsky Karakalpakstan State Museum of Art, a lavish coffee table book dedicated to Uzbekistan’s most important modern art collection, authored by the museum’s director, Tigran Mkrtychev.
The renovation and modernisation of Uzbekistan’s national collections is a high priority for ACDF. Some of the most exciting developments include the creation of a Centre for Contemporary Arts in Tashkent, which opened in 2019 with an exhibition called Qo‘rg‘on Chiroq, featuring the work of Uzbek video artist Saodat Ismailova; the expansion of the State Children’s Library to a design by Russia’s Ludi Architects Bureau; and the renovation of the Residence of Prince Romanov, which will become a branch of the State Museum of Art.
What art and architecture aficionados are most impatient for, however, is the reopening of the State Museum of Art. The original building – a striking example of Brutalist architecture – was built in 1974, but is now doubling in size to become the pre-eminent art museum in Central Asia. The Pritzker Prize winning Japanese architect Tadao Ando has envisaged an extraordinary complex which incorporates more than 7,000 square metres of exhibition space, storage for 100,000 exhibits, and a new city park. Together, this will be a cultural focal point for the city, revitalising urban life in this part of the capital. Construction work is underway, and it is hoped that the museum and its surrounding facilities will reopen to the public in 2022.
Gayane Umerova Secretary General of the National Commission of Uzbekistan on UNESCO Affairs Executive Director / Art and Culture Development Foundation under the Ministry of Culture of the Republic of Uzbekistan
“I really want our society to be inclusive. I think we should start with culture because music and arts do not require interpretation. If we make culture inclusive and accessible, everything else will go by itself, God willing,” said Mirsaid Mukhotorov, a blind student of international law at the University of World Economy and Diplomacy. The Arts and Culture Development Foundation (ACDF) under the Ministry of Culture of Uzbekistan has recently hired him as a consultant on inclusive programmes thus setting up a good example on how cultural institutions should be inclusive and accessible for persons with disabilities in Uzbekistan.
Today, there are 102 museums, 39 theatres, 826 cultural centres, 4 universities, 25 colleges of culture, 322 schools of music and arts, 2 music lyceums, 207 parks and 3 zoos functioning under the Ministry of Culture. Introduction to culture is an effective means of socialisation and inclusion of children and adults with various forms of disabilities into society. Studying arts develops people spiritually and intellectually and brings aesthetic pleasure. However, can every citizen of Uzbekistan enjoy going to the theatre, museum, or a park? How many people with disabilities are hired by cultural institutions? Do they meet the 3% obligatory employment quota provided by the Law “On the Rights of Persons with Disabilities”?
Improving inclusivity and accessibility in the field of culture and arts is essential for many reasons. Firstly, it is the right of everyone, including people with disabilities, to participate in cultural life on an equal basis with others. This year this long-awaited change happened in Uzbekistan – the United Nations Convention on the Rights of Persons with disabilities was finally ratified and came into effect on 28 July. Article 30 of the Convention guarantees equal rights of children and adults with disabilities to participate in cultural life, recreation, leisure, and sport. To provide this opportunity cultural materials, TV programmes, films, theatre, and other cultural activities should be in accessible formats for people with sensory impairments and cultural institutions should be physically accessible for visitors with reduced mobility.
Secondly, children and adults with disabilities possess unique traits including creativity, artistic and intellectual potential that could be used not only for their socialisation but for the enrichment of the Uzbek cultural endowment. Diversity and inclusion will inevitably make our culture rich with talents that we would otherwise leave behind. Inclusive cultural performances themselves could become a means of achieving social inclusion in Uzbekistan. A bright example is the Ilkhom Theatre of Mark Weil in Tashkent which initiated an “Inclusive Theatre” project by establishing a creative laboratory for children and young artists with disabilities.
Inclusive theatre and arts can also change negative stereotypes and prejudices surrounding children and adults with disabilities in Uzbekistan as the main problem is not in disability but in discriminatory societal attitudes and environmental barriers. Lack of accessibility at cultural institutions negatively affects not only citizens, but also guests arriving in Uzbekistan. According to the data of the State Committee for Tourism of Uzbekistan in 2019, a fifth of the tourists coming to the country were over 55 years old. For example, most of the Japanese tourists are people over the age of 60. According to the World Health Organization, 15% of the world’s population, or 1 billion people, have some form of disability while in the European Union alone, there are about 120 million people with disabilities.
ACDF has been at the forefront in promoting inclusion at cultural institutions of Uzbekistan since 2019 when it initiated the Samarkand Half Marathon – Uzbekistan’s first international charity run now held annually in Samarkand. The event had a great impact by drawing public attention to the problems of accessibility and inclusiveness of cultural and arts objects. The funds raised during the marathon were first used to produce theatrical performances accessible for blind and visually impaired people by introducing for the first time the audio descriptive commentary service. The second time the funds were directed to supporting children with autism and creating a children’s art studio.
However, there is still a lot to accomplish to make cultural life accessible for children and adults with disabilities. Uzbekistan can learn from the UK experience of making cultural institutions accessible. For instance, each cultural institution can make access guides for visitors with disabilities and reduced mobilities and put such information on their websites. In England almost every public organisation has access and mobility information on the availability of ramps, lifts, visual aids, induction loops for users of hearing aids and other types of reasonable accommodations made. Creating accessibility guides and involving people with disabilities at cultural institutions will make a positive impact and serve as a good example of inclusion for other public institutions in Uzbekistan to ensure they leave no talent behind.
OCA Magazine: Tell us, please, about yourself and your creative activity Margarita Yagudaeva: I was born in Tashkent, the capital of Uzbekistan, grew up there before I went travelling around the world. Recently, I completed my PhD in Linguistics and am now a Doctor of Linguistics. As for my creative side, I have been painting for many years, starting as an amateur in Uzbekistan. Having been living in the UK for about 9 years now, I began associating myself as an artist only a few years ago. I have had some group and solo exhibitions already and am finding the Eurasian Creative Guild as a great way of showcasing my work among other creatives.
OCA: How did you choose your path and who is your role model in the creative space of your art? MY: Arts and painting in particular, have always been fascinating for me. I met the vice-chairman of the ECG, Marat Akhmedjanov, back in 1999, when he was a publisher of the first fashion magazine in Uzbekistan, and I worked as a photo model for a bit. His entrepreneurship and the fact that he managed to create the Guild, Hertfordshire Press, and the OCA magazine here in the UK, helped me believe that everything is possible, despite being far away from your motherland. So, in this regard, Marat has been a role model for me.
As for the artists, I appreciate many, but Francis Bacon has affected me the most. His rather dark contemporary art, his difficulties, and persistence, have all been a great influence.
OCA: Which achievements of yours would you like to emphasize? MY: I could have said that relocating to a different country, writing a thesis in another language, and managing to stay afloat, would be a big part of anyone’s achievement. Nevertheless, I have this dream of becoming a full time artist.
OCA: Do you have any personal projects that you would like to talk about? MY: I do have some ideas that I have been nourishing for a while. One of the most adventurous ones would be creating an interactive exhibition, where I would like to touch upon such topics as mental health and inclusivity. An exhibition that would include performances from the audience to create an immersive experience for both, myself as an artist, and the audience as viewers.
I am aware that it would even require writing some music, as well as working on lights, space, and dimensions, let alone painting in its usual sense.
OCA: Tell us, please, about the events of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work? MY: In addition to attending various meetings, I participated in the recent Film Festival held in Romford. Presented some of my paintings there, met new people, and watched some films.I think attending such events and taking part in them facilitates exchanging ideas with other creatives and helps you refresh your own views. Also, bringing creative people from all over the world and from different fields is always fruitful, so keep it up, Eurasian Creative Guild!
OCA: What is Eurasian Creative Guild for you and how do you see your future partnership? MY: ECG for me is a perfect platform to showcase my art, to meet other creatives, and to learn more about the arts movement in my home country as well as in other countries in the region.
I would like to see us collaborating in the future on a regular basis..
And finally, being a member of the Guild brings back that feel of home I sometimes miss living far away from my motherland.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career? MY: I’d say that being part of such a supportive community is a great environment for anyone who is just starting or has already been creating for a while. I wish the situation with Covid to change soon and the Guild be organising more events to promote our vision further to the world. By our vision I mean Central Asian, and it is the way I identify myself too.
Everything that is imaginable – is possible, and with such a bright head of the Guild and us all, I am confident, we will succeed and will unite more creatives to make the magic happen.
Since its creation in 1753, the British Library – formerly the Library of the British Museum – has amassed more than 170 million collection items. A small portion of these are in Uzbek or Chagatai, or related to the territory of the contemporary Republic of Uzbekistan. Despite their small number, the 50-odd Turkic manuscripts from Central Asia and 1650 or so Uzbek and Chagatai publications form an invaluable resource for those seeking to discover the rich cultural, political, and economic legacies of Uzbekistan. More than a few of these works are world-class treasures, and are shared with visitors and researchers alike.
Among the earliest, and most noteworthy, manuscripts from the region is the Nuṣratnāmah, also known as the Tavārīkh-i Guzīdah. This exquisite item, copied in 970 AH (1563 AD1), is a history of Genghis Khan and his descendants down to the Shaybanid Dynasty. The work is complemented by 16 large illustrations narrating scenes that incorporate some of the most notable rulers from this lineage. Apart from the beauty of the compositions, these paintings are invaluable for the information they provide us about the lives, costumes, and customs of the rulers of Central Asia. When combined with the content of the Nuṣratnāmah, they shed considerable light on the history of statehood and governance in the lands that would become Uzbekistan.
The British Library’s holdings, however, are more just sources of knowledge about the history and politics of the region. With more than 40 manuscripts of his poetry and prose, the Library’s collection of Navoiy works is unparalleled in the United Kingdom. Widely recognized as a paragon of Chagatai literary production, Alisher Navoiy’s creations were and continue to be admired and emulated across the Turkic World, and beyond. Although not all of the manuscripts in the Library’s care originate from the territory of the Republic of Uzbekistan, they all speak to the power of Navoiy’s words to inspire and delight. Some also foreground the consideration and adoration with which his oeuvre was regarded. A small volume from Herat, for example, contains wonderful examples of decoupage in a dizzying array of bright colours, alongside breathtaking calligraphy and a lonesome line drawing of a seated man. Similarly, an incomplete volume of his Gharā’ib al-ṣighār, produced in Istanbul in 1520 AD, complements Navoiy’s immortal verses with delicate and detailed paintings from the Golden Age of the Ottoman Empire.
Manuscripts, of course, are not the sole component of the Library’s Uzbek and Chagatai holdings. The collections include works from contemporary Uzbekistan that go back to the last two decades of the 19th century. Some are quite rare, including a lithographed copy of the Dīvān-i Mashrab, and a late 19th-century Russian-Sart phrasebook. The British Museum and British Library’s excellent relations with Soviet and Uzbek institutions ensured that these holdings continued to grow throughout the 20th century. From Arabic- and Latin-script magazines produced in the 1920s, to literature and social science research from the post-World War II era, the Library’s holdings of Uzbek materials are now the largest and most comprehensive in Great Britain. They form a crucial component of scholarly endeavours to understand better the history and culture of the Uzbek nation.
Today, the British Library continues to build its Uzbek and Chagatai holdings in concert with partners in Uzbekistan and around the world. In this way, we play a small but important part in strengthening the bonds between our two countries.
Endnotes:
A.D. stands for Anno Domini, which means “In the year of our Lord.” The Hijri Calendar has years marked by A.H., which stands for Anno Hegirae, “In the Year of the Hijra.” The hegira took place in A.H. 1. The Hijri Calendar is the official calendar in many predominantly Muslim countries.
text by Dr. Michael Erdman, Curator, British Library
OCA Magazine: Tell us, please, about yourself and your creative activity Tatiana Kaunis: Historically I always was creative in some way. When I was a child I used to compose fairy tales for myself and play it. At school I wrote poems and short stories, several times I won in different competitions and so on (I guess most creative people can tell something like that so let’s be less boring). When I was twenty I got an opportunity to learn script writing at Sverdlovsk Film Studios and still I think it was one of the best decisions in my life. I’ve been a singer in a girls band and it was a great experience. But maybe among all of my creative hobbies painting is the most stable one since very early childhood. Though I’ve never tried to become professional in any kind of these activities.
OCA: How did you choose your path and who is your role model in the creative space of your art? TK: Still I don’t. Maybe that’s why I so admire being a part of the ECG (London) and see the creative industries from the inside. Hope one day I’ll choose something. In the point of the role model I can say that everything started with my father – he’s an artist, and I loved to watch how he drew.
OCA: Which achievements of yours would you like to emphasize? TK: For now I can emphasize only my job in the ECG (London). It’s a huge honour to know that I’m the one from dozens of guys who tried to work it out but left because of many different reasons. And It’s even more inspiring to know that all the team members are survivors too!
OCA: When and where have you heard about ECG for the first time? TK: I came as an intern in 2020 having been searching for a job in a creative industry. It was a lucky accident for me and I’m glad I wasn’t afraid to use it. It was hard to pass through the internship because it was a totally different world for someone who used to work in one country and play only one game. The ECG (London) becomes the lifetime opportunity to see different cultures and meet new people with a very unique vision. Besides, it’s always a very high speed of life which keeps you in shape permanently. But I like it.
OCA: Tell us, please, about the events of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work? TK: Well, usually I can share my impressions of all ECG events and projects at last for a whole day, but it takes too many words to write it down here. You better come to the ECG official meeting to listen to it. How does ECG influence my creativity and success in my work? It changed my life from top to bottom, opened new horizons to me and now I plan to go to university for the third time.
OCA: Are there any new projects of ECG, in which you plan to participate? TK: Sure! For me personally the most significant one is the first ECG (London) Creative Residence called “Horizons” (Borovoe, Kazakhstan). Very symbolic name, isn’t it? I always dreamed about the house in the mountains near the woods and lake, where I could draw and write and do other things. To be honest, in my childhood I couldn’t think about the residence and this dream came true in a very unexpected way. But now it’s even better.
OCA: What is Eurasian Creative Guild for you? TK: Now it’s my life so I will try to live it in the best way possible.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career? TK: As an executive director I can recommend to use the ECG opportunities as much as possible (a rolling stone gathers no moss). As an individual I can’t give any advice, I’m still learning to live my life in this high creative way. All I can wish for all of us is to be brave, don’t be ashamed of your creativity and… good luck!
Heading into the autumn of 2021, the revival of international tourism still looks some way off. But as flights resume, travel restrictions are lifted, and tourists regain confidence, we will start to see the sector’s recovery. Uzbekistan has been using this downtime to build upon the foundations it laid pre-COVID and prepare to realise its potential as the preeminent tourism destination on the Silk Road.
“Sustainability” has long been a hot topic in tourism: prior to the pandemic, the UNWTO launched the Tourism for SDGs platform to help countries work towards the achievement of 2030 Agenda for Sustainable Development. But seeing the devastation wrought by COVID-19, policy makers and businesses alike have grasped that sustainability can’t just be a buzzword. It has to translate into actions, because there is no point in building back the tourism industry unless we build it back better than before. Sustainable tourism consultant and travel writer Megan Eaves puts it clearly:
“Our whole economic system is built on the idea of unmitigated growth, but you simply can’t have unmitigated growth on a planet with finite natural resources. So, we need to find new economic systems that incorporate health, quality of life, and sustainable practices instead of [only] cash.”
Tourism has to deliver jobs and economic growth, but it must do so with due respect for the environment and for the communities who call the destination home.
This message is rippling across the tourism sector, and international tour operators and their customers are a driving force for change. David McGuinness, co-founder and director of the UK’s Travel the Unknown, explains:
“Sustainability has been a central plank of our philosophy since we set up the business. It always made sense for us that we do all we can to ensure that the special places we bring our clients to are properly looked after and that local communities benefit from our tours. And it quickly also became an important differentiator for our clients, many of whom had been travelling for many years and had grown increasingly concerned about the potential pitfalls of badly managed tourism and over-tourism in general.”
As an emerging tourism destination, Uzbekistan is perfectly placed to take advantage of the COVID-19-enforced reset to implement holistic tourism practices across the sector. In fact, Eaves believes Uzbekistan is capable of far, far more:
“Uzbekistan can become a global leader and set an example for the world. What Uzbekistan should be looking to implement is regenerative tourism – a concept that goes beyond ‘carbon zero’ and asks the traveller to participate in the active regeneration of the destination through volunteering, educational programmes, wholly green accommodation and transport methods, and community investment/local spending.”
With this in mind, Uzbekistan is working closely with its international partners to envisage what sustainable tourism means in practice, and to implement policies and investments which will have a tangible impact. There is a focus on both urban areas – including the UNESCO World Heritage Sites for which Uzbekistan is famed – and rural areas where tourism has to date been underdeveloped.
The Ministry of Tourism and Sports is collaborating with the World Bank Group to explore how Uzbekistan can strengthen the protection and resilience of its tangible and intangible cultural heritage. This includes everything from disaster risk management (DRM) for monuments, in particular those vulnerable to earthquakes and climate change; to considering the importance of integrating cultural sites, public spaces, and essential infrastructure in urban planning. Coordination here is key. In order to be sustainable, tourism cannot be the remit of a single ministry. The Ministry of Tourism and Sports can set the direction and oversee activities, but there needs to be buy-in and active participation from a wide range of government institutions – from the Ministry of Culture to the Ministry of Construction, and regional Hokimats to educational bodies – as well as international agencies and the private sector. The European Union’s Switch Asia project Model for Sustainable Tourism in Central Asia (MOST) takes a regional view of sustainable tourism, reminding us that sustainability is a global goal, not one which stops or starts at an international border. The Association of Private Tourism Agencies of Uzbekistan (APTA) is a key partner. Since the programme’s launch in Tashkent in February 2020, 105 participants from Uzbekistan have already received online training in topics such as the criteria for sustainable tourism, quality standards and certification methods, green procurement, environmental certification processes, and relevant tools for assisting data collection and management. Annual round-table dialogues are strengthening the dialogue between business organisers, experts, and government authorities; and working groups are exchanging international experiences, legislative frameworks, and good practices from each country.
Investment in sustainable tourism can drive development, and the Aral Sea region is a case in point. It is a place “abundant with historical, archaeological, and ecological sites” according to Olimjon Saidmamatov and colleagues at Urgench State University, and itineraries have already been developed incorporating the Lower Amudarya State Biosphere Reserve, the Sultan Uvays Mountains, the Ustyurt Plateau, Sudoche and Saigachia, and the Aral Sea. The government has committed to establishing a new national park which, combined with the South Ustyurt National Park created in 2020, will be a major draw for eco tourists, in particular those interested in wildlife, hiking, and dark sky tourism. The availability of camel rides, jeep tours, and yurt stays complements these activities, adding value. There is a prime opportunity here to develop educational and volunteering programmes, too, so that tourists learn the perils of excessive exploitation of natural resources and can contribute actively to the region’s regeneration. Three million hectares of the former sea bed can be planted with saxaul trees, fixing soils and in doing so preventing dust storms. Participating in foresting the Aral Sea bed, bringing new life to an environmentally devastated zone, is the epitome of regenerative tourism, and exemplifies how Uzbekistan can lead.
by Sophie Ibbotson World Bank consultant and writer specialising in Central Asia. She is Uzbekistan’s Ambassador for Tourism, author of Bradt Guides’ Uzbekistan, and a trustee of the Royal Society for Asian Affairs.
The public address of a head of state to his people is always a prominent political event, for the whole world as well. Especially when it is a state that leads the Central Asian region. Particularly now, when the region as a whole is far from stable, is battered by the coronavirus pandemic and is sensitive to any change in the political and economic climate.
Last Wednesday, Kazakhstan’s President Kassym-Jomart Tokayev delivered an address (officially called the head of state’s address) to the people of his country. Tokayev noted that this was a jubilee year for Kazakhstan, marking the 30th anniversary of Independence in December, spoke with respect of his predecessor, the first president Nursultan Nazarbayev, and highlighted the country’s achievements, including in the international arena
– We must be prepared for any challenges and threats, continuously improve ourselves and always move forward, – the Kazakh leader said with cautious pessimism.
AIM FOR THE GOAL!
The challenges in the world, as they say, are not far to seek. The global pandemic COVID-19 posed a global challenge not only to world medicine, but also to the global economy. Kazakhstan’s economy, like everyone else, has received a serious blow to stability and is now fully experiencing its consequences.
– Our strategic goal is to increase our leadership role in Central Asia and strengthen our position in the global economy,” Tokayev said.
As it’s easy to figure out, this requires investment, preferably solid and foreign, and their “growth” requires a special climate. Last year, the President of Kazakhstan ordered the government to introduce a new tool – Strategic Investment Agreement, in order to fix agreements between the state and investors. The Republic now has high expectations for it.
To sweeten the deal for the government, Tokayev reminded that in 2020, for the first time in Kazakhstan’s 10 years of industrialization, the contribution of manufacturing to economic development exceeded the share of the mining sector.
– The medium-term goal is to increase manufacturing exports by 1.5 times to $24 billion by 2025 and to increase productivity by 30%, – he said.
ONLY DIGITIZATION
However, the ambitious Kazakhstan is not going to be satisfied with the export of products. The country’s president sees the future in information technology. He urged the government to nurture and strengthen the domestic IT- sector. That is, the country needs young, educated professionals in the number of at least 100 thousand people.
– The export of services and goods of the digital industry should reach at least $500 million by 2025,” the President of Kazakhstan hinted non-transparently These and other tasks will require a complete “digital reboot” of the public sector.
The country will have to build a fundamentally new architecture of the “digital government”, so new that “100% of state services will be available to citizens from smartphones”. Tokayev reminded about the launch of the Center of Digital Transformation and specified that it is necessary to create a platform of interaction between national companies and the IT community.
– We need to expand and update data lines step by step, linking them to international corridors,” he explained. Modern data centers that can serve neighboring countries will have to be created.
According to the President of Kazakhstan, the country’s information and telecommunications potential is enormous, and in the new digital era it will be of literally geopolitical importance.
– Kazakhstan should become a central digital hub in a broad part of the Eurasian region,” the head of state concluded.
ATOMIC NUMBER
Significant, if not to say fundamental, reforms await the country’s energy sector as well. Tokayev dwelled on it separately.
– Today, these are not just words, but concrete solutions in the form of taxes, duties, and technical regulation measures,” he specified. -All that affects us directly through exports, investments and technology transfer. It is, without any exaggeration, a question of sustainable development of Kazakhstan.
The president cautiously reminded us that by 2060 our country must reach carbon neutrality, that the population and economy are growing, that they need energy, and that soon we will face an energy deficit.
– The world experience tells us that the best way out is the peaceful atom.” Tokayev said. -The issue is not simple, so its solution must be approached as rationally as possible, without speculation and emotion.
The government and Samruk-Kazyna quasi-state holding have been tasked with studying the possibility of developing safe and environmentally friendly nuclear energy in Kazakhstan, as well as, at the same time, to prepare proposals for hydrogen energy. So as not to get up twice.
The situation here is, however, ambiguous. On the one hand, Kazakh society is very negative about the prospects of building a nuclear power plant in the republic; on the other hand, Kazakhstan has signed and ratified the Paris Agreement aimed at reducing greenhouse gas emissions and improving the energy sector until it is completely “green”, so the republic simply has nowhere to go.
MY LANGUAGE IS MY FRIEND
Kassym-Jomart Tokayey also responded without emotions regarding the international situation. Recalling the unstable situation in Afghanistan and the general increase in global tensions, the Kazakh leader announced a restart of the defense-industrial complex and the Military Doctrine of the country.
– Strengthening defense capabilities and increasing the responsiveness to threats should also be priorities of national importance,” he said. -We must be ready for external shocks and the worst case scenario.
In brief, as it’s in the song “We are peaceful people, but our armored train is on the reserve track.” And if anyone wants to test this defense capability, let him know that Kazakhstan is ready for anything in advance.
Common sense has always been the main feature of the Kazakh leaders. It helped Kazakhstan to survive the collapse of the USSR, the 1990s and global economic crises, etc. Overcoming the pandemic and its consequences seems to be planned according to the old patterns. This can be called conservatism.
The situation in Afghanistan was a real test of the international community’s commitment to democratic values and principles of mutual assistance. One of the first Central Asian states to pass the test was Kazakhstan, which promptly responded to the UN appeal and hosted missions by the international organisation.
As the military situation in Afghanistan escalates, the UN has asked Kazakhstan to temporarily relocate to Almaty the United Nations Assistance Mission in Afghanistan (UNAMA) and other UN agencies accredited in the Islamic Republic of Afghanistan.
In the spirit of full cooperation with the UN and as part of Kazakhstan’s commitment as a full member of this organisation, President of the country Kassym-Jomart Tokayev has decided to support this UN appeal. On 18 August, the first flight with UNAMA staff landed at Almaty airport, and just a few days later a second plane arrived with representatives of the Assistance Mission in Afghanistan and other UN agencies accredited in Afghanistan.
The Ministry of Foreign Affairs of Kazakhstan, together with the authorities of Almaty and competent agencies and services, promptly took all necessary measures to accommodate UN staff in the country’s largest city. The incoming staff members are international diplomats, holders of UN passports and immunities. From the temporary office, the organisation’s staff will closely support the work of the UN team in Afghanistan.
According to the UN representative, it is expected that the international staff of the United Nations Assistance Mission in Afghanistan (UNAMA), as well as UN agencies, funds and programmes, with a total of about 100 people, will establish a temporary office in Almaty. It should be noted that this measure will allow the UN to continue providing assistance to the people of Afghanistan with minimal disruption, without risking the lives of its staff.
Despite the current situation, the majority of humanitarian personnel remain in Afghanistan, providing life-saving assistance to millions in need. The temporary remote office in Almaty will act as a hub for rotating UN staff in and out of Afghanistan, depending on the security situation in Afghanistan.
For its part, the United Nations expressed its deep appreciation to the Government of Kazakhstan for its support and co-operation, as well as for the swift action to accommodate the international organisation’s staff and comprehensive assistance in their resettlement.
It should be noted that Kazakhstan’s current actions are not the first in the history of interaction with the UN. For example, Kazakhstan played a notable role in reducing the intensity of the conflict in Syria by launching the Astana process to resolve the situation and providing a dialogue platform for all parties to the conflict in that Arab republic. The point of Kazakhstan’s initiative was to create de-escalation zones in Syria, free from hostilities between the conflicting sides. The Astana platform was the first time that both representatives of the Syrian authorities and their opposing militants were at the negotiating table in the course of a peaceful settlement.
The world community also remembers Kazakhstan’s peacekeeping role as part of the UN Interim Force in Lebanon and in other hotspots, where international military units were engaged and assisted in various spheres of activity.
We would like to pay special attention to Kazakhstan’s peacekeeping activities in the current situation in Afghanistan. Thus, during the escalation of the military situation in the Islamic Republic, during which the Taliban regime imposed restrictions on aircraft departures from Kabul airport, a Kazakh air force transport aircraft landed and took off safely, along with 14 Kyrgyz nationals and one each from Russia and Lithuania. It is also noteworthy that the above-mentioned nationals of other countries had previously contacted the Embassy of Kazakhstan in Afghanistan for assistance, where they were staying prior to their departure from the country.
In a word, Kazakhstan has today once again proved its regional leadership and demonstrated to the world that the United Nations has a reliable and proven partner in Central Asia, whose actions serve as an example of cooperation for the entire world community.
BIOGRAPHY: Kazat Akmatov is a well-known people’s writer of Kyrgyzstan. He is the author of such wonderful works as “Arhat”, “Munabiya”, “Howl”, “13 steps of Erica Claus”, “Shahidka”, “Sacred Hearth”, etc.
The works of K. Akmatov have been translated into dozens of languages and included in the study programme in many countries. They have also been staged in theaters of Kyrgyzstan, Kazakhstan, Uzbekistan, and Russia.
K. Akmatov has been awarded numerous awards, including the Toktogul State Prize for the novel “Arhat”, the Russian Lomonosov Prize for the novel “Munabiya” and many others.
The most well-known novel of the writer is “Arhat”, which was recognized as the “Bestseller of the Year” in 2009 and became the winner of the Moscow International Festival “Bibliobraz” in 2009. The novel was published in 2010 and republished in 2011 by the Russian Foundation for the Development of the Russian Language, and in 2013 it was presented at the World Congress of Buddhists with the participation of the Dalai Lama .In 2014, and in 2015 it was published in English by the British publishing house “Hertfordshire Press”.Despite numerous refusals from various titles, K. Akmatov is a State Advisor of the Civil Service of the 3rd class (2002) and a people’s writer of Kyrgyzstan (2011).
KAZAT AKMATOV’S WIFE, BAKTYGUL SULTANGAZIEVA
OCA MAGAZINE: Tell us, please, about yourself and your work? Sultangazieva Baktygul: My name is Sultangazieva Baktygul Bekboevna, I was born in Frunze (now Bishkek) in 1960. I work as a director of the National Cancer Center, doctor of science, teaching oncology to students. I have more than 30 years of experience, during that time I’ve made 20 thousand oncological operations.
OCA: What did influence your choice of that pathway? SB: My parents have seven children. There was no doctor in the family, but lawyers, economists, and parents wanted me to become a doctor. I also wanted to be a doctor to treat my parents so that they didn’t get sick, so our wishes coincided. And then I chose the profession of surgeon. Now looking back I feel happy, because I like my job.
OCA: Do you have any personal projects that you would like to talk about? SB: Since I work as an oncologist, we also use chemotherapy and radiation research methods for treatment. Many devices for the study and treatment of cancer patients are not available. I had an idea that turned into a project to create and build a clinic equipped with modern equipment for the diagnosis and treatment of cancer patients. Now this project is being implemented. God willing, in the near future there will be a new high-tech clinic in Kyrgyzstan.
OCA: When and where have you heard about ECG for the first time? SB: Of course, I learned about ECG from my husband, the people’s writer of Kyrgyzstan Kazat Akmatov. He told me in detail about the organisation, its work, and he was very inspired. Then I did not attach much importance, but later I realized what the essence of ECG is and even became a member of this Guild myself.
OCA: Tell us, please, about Kazat Akmatov and his creative life? SB: Kazat Akmatov is a People’s Writer of Kyrgyzstan, Public figure, screenwriter, playwright. You can talk and write a lot about Kazat Akmatovich. He was born in a village on the shore of Lake Issyk-Kul, grew up and graduated from high school there. He started working as a simple worker at a stud farm. Then he entered the philological faculty of the University. He worked as a Komsomol and party worker and joined the army where he began to write his first works. He was the secretary of the Writers’ Union. In 1990, he organized the Democratic Movement of Kyrgyzstan (DDC). He was a deputy of the first convocation of the Jogorku Kenesh. His early works are The Young Man, the Holy Fatherhood, the Time of the Earth, Munabia, and others. Later, Arhat, the Thirteen Steps of Erica Claus were published in 2013 in London. He was awarded the Manas-1000 medal and became a laureate of the State Prize named after Toktogul Satylganov and the All-Union Prize named after Nikolai Ostrovsky.
He was a wonderful family man, father and friend. In 2012, he lost his beloved daughter Munabia. This has had a very hard impact on his health, he could not bear the loss of his daughter and on September 14, 2015, he passed away. He devoted his entire bright life to the Kyrgyz People.
OCA: How was he connected with the ECG and how did the Guild influence his creativity and success? SB: He was closely associated with ECG, joined the Guild, actively collaborated, and used to visit the meetings and events organized by the Guild. After working with the Guild, he began a new round of his work at the international level. His books have been translated into English and four books have been published in London.
OCA: As we know, this year Kyrgyzstan is celebrating the 80th Anniversary since Kazat Akmatov’s birth. Could you please tell us what kind of events are planned to be in this year with support of the Guild? SB: Large-scale events dedicated to his anniversary are held throughout the Republic. These are scientific conferences, performances in theaters of his works, a demonstration of the film Munabiya, book exhibitions, the opening of the museum to Kazat Akmatov, speeches on television and the press, publications, republishing of his books and others.
Within the framework of the Guild, a large international conference is planned in Bishkek, also the film Munabiya based on Kazat Akmatov’s book has taken part in the film festival in London and even became a laureat of Grand-Prix there. In addition, the opening of the memorial plaque of Kazat Akmatov was held in London, and we are organizing competitions for the best publication about the works of K. Akmatov and for the best script for the film “Thirteen Steps of Erica Claus”.
OCA: What do you think, what was the Eurasian Creative Guild for Kazat Akmatov and what does it mean for you now?
SB: The Guild was very important for Kazat Akmatov in his work. This is the release of his works on the international level, the publication of his books in London, and communication with creative people from all over the world. For me, the Guild is a certain stage of Kazat Akmatov’s creativity, which continues even now. I also joined the Guild and now cooperate with it. We have certain plans for the work of Kazat Akmatov.
OCA: What would you wish for the members of the Guild, who are just starting their career? SB: I would like to wish the Guild members who are starting their creative path success in their field, close and tireless cooperation.
It is was a great honor to be asked to be the Guest Editor for this edition of OCA magazine. The magazine is now in its twelfth year and has grown in influence over that time. I have been involved with OCA and the Eurasian Creative Guild for nearly nine years – having met Marat Akhmedjanov in a coffee shop in Almaty, Kazakhstan where we talked about writing, creativity and the amazing region that is Central Asia. Since then, we have continued to collaborate and through the Guild I have been fortunate to meet incredibly talented writers, musicians, poets and artists from across the Central Asian region. It has been a privilege to proof read, edit and review numerous works and the members have given me the confidence and encouragement to write and publish my own works! It is testament to the adage that ‘Creativity is a collaborative process’.
I love getting my copy of OCA magazine as it transports me back to my own memories of the region and always teaches me something new! This edition is no different and magically looks back to traditions through the fashions of Turkmenistan and the fascinating Gagauzia region of Moldova! – definitely on my future travel plans!
The Magazine also takes a glimpse into the future influence of the area and also identifies difficult current affairs in the region that affect us all in this ‘topsy turvey’ world in which we live. However, I am particularly excited about the setting up of a creative OCA center in Borovec Kazakhstan and I can’t wait to get involved in helping to develop the exciting new cultural space.
This has been a difficult time for creative people across the globe but I am pleased to say that over the past months, OCA magazine and the Eurasian creative guild have risen to the challenges admirably with regular webinars, online seminars and online gatherings of ECG members across the globe. Online celebrations of Nauryz involved cooking, singing, cultural celebrations and was attended by ambassadors and other dignitaries from the region. It is not only about culture and business organizations, educational establishments and entrepreneurs have all been given a platform and a fantastic networking opportunity. I am sure that many excellent collaborations will develop because of these events. OCA and the Eurasian creative guild aims to connect people and there is no better way that it does this than through the 9th Literary festival OEBF, 3rd ECG Film Festival and 5th Romford Film Festival that all took place in June. These events truly bring Central Asia to a new audience and you can find more about the participants in this edition.
I hope you enjoy reading the articles and become excited and enticed by the Eurasian region. I also hope that you will join us for our events and activities wherever you are in the world!!
Flame International Awards’ are thrilled to come back to London.
‘Flame’ Family and Friends, Creatives, Celebrities, Followers, Networkers, Influences and all Beautiful People. After this long period of lockdown and COVID restrictions we will finally meet again under one roof and celebrate an amazing event.
The hottest event of the Year is in the heart of London at the Hard Rock Hotel, Marble Arch.
We bring to you a Spectacular Show with exclusive performance of various artists, designers showcase, awards, live auction, raffle, a fantastic dj, music and dance with lots of fun and surprises, with celebrities and high profile people on board from around the globe.
Organiser and famous designer ‘YANA FLAME QUEEN COUTURE ‘ will showcase her unique collection of Haute Couture designs and Bikinis.
FIFAF21 is a unique creative-driven project, and one of the most classy and prestigious events held in London. It is an exclusive platform for all creatives from around the globe which this time is being held at the iconic ‘Hard Rock Hotel’.
This August promises to bring us the hottest expression of brilliant international talents and an amazing experience for everyone.
A ‘CHARITY GALA SHOWCASE’ by talented designers and beautiful models will hit the runway with their fabulous collections.
Performers will rock the floor with rhythm and movement and the sound of their voices will touch your soul.
A live auction of paintings and a raffle with great gifts waiting for you.
This amazing event will bring to you an amazing opportunity to meet high profile people, great networking with like minded successful and famous people from the world of fashion and art industries, influencers ,fashion and art show business industry, TV, media ,magazines and celebrities.
Doors open for guests, networking, red carpet and drinks at the bar at 18:00
To apply for ‘AWARDS’ or to ‘ NOMINATE’ contact us directly via email (the information about awards and nominations is at the bottom, please scroll down applications accepted by 10 August)
To apply to take part as a ‘DESIGNER’ or ‘EXHIBITOR’ or to apply for a ‘BUYER’ or ‘PRESS PASS’ please contact us by email at: flame.fashion.and.art.festival@gmail.com
If you would like to discuss exhibiting a pop-up space at the show or showcase or if you have any questions please do not hesitate to contact us directly via email.
GET INVOLVED, SUPPORT OR SPONSOR YOUNG TALENTS AND YOUNG DESIGNERS.
Would you like to get involved as a performer, artist, helper, volunteer, partner or sponsor of the project, if so please contact the organiser via email at: flame.fashion.and.art.festival@gmail.com
is £120 via bank transfer(be provided as required) or via PayPal to https://www.paypal.me/yanaflame (yana.flame@gmail.com) please use the option of sending to friends or family or a 10% charge will be put on top of your payment.
For applying you will need the following:
Payment in advance and your portrait photo for creating a poster of you in the Flame International Awards 2021 applications accepted by 10 of August
What breed of man’s best friend won the hearts of 5 million Turkmens? Big, furry, calm as God, but shaped like a beast? It’s the Turkmen Alabai.
In Turkmen, Ala means patchy, variegated or multicolored if you will. Bay, in this case, means rich as in terms of very rich. These wonderful gentle giant monsters are exceptionally cool, reserved and intelligent, yet they are the lonely beastly lions of the Garagum (Black sand) deserts. If you cross their territory, they turn into predatory bear assassins with a point of no return.
They are not categorically disposed towards people and only accept their own immediate family. It’s more of a partner in crime type relationship. They are the ‘keep your distance’ type of dogs, although, if they would be bred as friendly home pets, I imagine they’d be the Saint Bernards of Turkmenistan. Alas, I haven’t met a Turkmen that has considered that option, although, once we owned a part Alabai and desert wolf, who we named JJ. He loved to run away and roam free around the herds of our neighbor’s cows on Petit Jean Mountain in Arkansas. He also loved meeting anyone, be it human, animal, or insect. He loved life, but he didn’t like the water, wouldn’t even dip his paws in it. His amicable nature also became his doom in Ghana, where we lived for almost 2 years. To our dismay, he was poisoned, possibly by burglars at night. So, when I say Alabai dogs are very loving and friendly, I truly mean it.
Turkmens have bred Alabais for various reasons, but the primary purpose nowadays in modern Turkmenistan so far is for dog fighting, which is practiced unofficially. The authorities choose to turn a blind eye, as they are the ones who are usually involved in such sport. At an early age their ears and tails are clipped to help with sparing and reducing the possibility of rips and tears. Alabai dogs, also known as Caucasian or Central Asian Shepherds, are the best guard dogs for herds of sheep. The jackals, wolves, and even leopards and hyenas in the deserts are generally fearful of them. They became so admired, that the President of Turkmenistan found yet another novelty in his old age. The other one obviously being Akhal Teke, breed of horses.
Not long ago the undoubtedly ominous “Khan” of Turkmenistan (Han in Turkmen), Gurbanguly Berdimuhamedov, established a national holiday to honor the Alabai. Berdimuhamedow, who has the honorific title Arkadag, and is called the “Kim Jong-Un” of Central Asia behind his back, ordered a 15-metre (19 foot) gold coated statue for the Alabai to be erected on a traffic circle in Ashgabat.
Returning to the other giant, however, it’s a shame that a country with the fourth largest gas reserves in the world, has regressed so fast that there is now scarcity of food in Turkmenistan, and moreover some regions have to live off of food stamps to merely survive. While the government keeps sending humanitarian aid to Afghanistan to calm the Taliban, or bribe them quid pro quo, or presents Tatarstan with giant trucks loaded with food, Turkmenistan’s own residents are either stampeding their way to the state bread shops to buy poor quality flour, bread, oil and eggs, as well as just one chicken per family per month. In addition to food shortage, because of new construction, the Turkmen people continue to be asked, and sometimes forced, to leave their homes, without adequate provisions for alternative shelter.
So, Turkmenistan has a giant gold coated statue of the Alabai, hoisted honorably with a countrywide holiday celebration, while the reality of life remains grim and harrowing for many. This compares to the streets of Ashgabad that you will find clean and beautifully presented – there are no beggars or roaming animals. What happens to Alabais, and other dogs, and cats, and pets? The Housing and Utilities Services are given unwritten instructions to exterminate any animal on the streets. I have witnessed the aftermath first-hand. In 2018, to my horror, I saw a kitten laying on the side of the park with its head crushed. It was bludgeoned to death. In the past, I had heard stories about such things taking place all over Turkmenistan, but never imagined coming across one myself. Nearby men and women were working, they leisurely and naturally tended to the lawn of the park.
So, while Ashgabat is a beautiful Guinness-proclaimed “marble city” it holds within it spine-tingling secrets of extermination and fear. Both, the first president and the second, never appeared to like living beings. They got rid of animals, got rid of trees, and got rid of unwanted people, or the horses that overthrow them. Alabai dogs are no exception.
Love has no boundaries. Anyone can find their favorite poetry through the work of Mihai Eminescu.
In Romania, as well as in the Republic of Moldova, children study the poetry of Mihai Eminescu from a young age. He is the most beloved poet for Romanians of all ages. For in his poems we find the emotions we experience at different stages of life. However, we can say that the first significant spark between readers and Eminescu’s poetry appears in the adolescent period, when love leads to its biggest headaches.
Eminescu’s work has been translated into several languages. Specifically, in 150 languages distributed in over 250 countries. In German, during his lifetime, the Rumänische Dichtungen collection was published in three editions between 1881 and 1889, by the queen-poet Carmen Sylva, in collaboration with Mite Kremnitz. Out of 20 poems by Eminescu translated into German, the queen (who appreciated him “moderately”) translated only 3, Mite Kremnitz, instead, 17 (including the most famous pieces: Evening Star, Doina, Letter III).
Beyond his unparalleled work, there are many aspects of his life less known to the public.
Eminescu tended to create a semi-circle universe. On this semicircle, having as horizons the birth and death of the world, between which stretched the arc of universal history.
Eminescu was, of course, a romantic. His love affairs, as well as the spices of bohemian life, have also been the subject of extensive controversy in the public sphere since the poet’s lifetime. Disturbingly handsome, conquering, a singer with a golden voice, a heavy smoker, a great coffee lover and a borderless partygoer, but also a patriot for whom “Long live the nation!” was the only greeting. This is how the researchers rediscovered the man who was Mihai Eminescu.
The historians who studied Mihai Eminescu’s work and life say that he impressed at first sight, he had an extraordinary charisma and a very pleasant physique. I would also say that what really impressed people about the poet was his voice. He sang very nicely. Little is known about this talent of Eminescu. He could have been a good vocal soloist at any time. He often accompanied the fiddlers at a party, but his relatives also asked him to sing to them.
After the age of 25, the poet began to face his own demons. The fire of creation, the often-precarious life he led, and disturbances of the soul caused the poet to acquire a serious mental disorder. Eminescu suffered from bipolar disorder. It manifested itself in halves. Of course, Eminescu’s genius did not cause this condition and the disease did not condition his genius either. They were completely independent. He probably ended up in this situation because of the living conditions of a certain period. The poet did not receive adequate treatment either. There were no effective treatments at that time. The Viennese doctors to whom he was taken also confirmed this diagnosis. In Romania, he was put into barrels filled with cold water when the conditions worsened.
The poet Mihai Eminescu died on the morning of June 15, 1889, in the Sanatorium of Mental Illnesses of Doctor Şuţu, in Bucharest. His death did not match his creation. He died in a shabby robe, on a metal hospital bed, locked in his “cell” in the hospital. Just minutes before he passed away, he only wanted a glass of milk and moral support.
Mihai Eminescu wrote poetry until his death. When he was taken away for autopsy, the robe in which the poet had died was taken by his admirers. In one of the pockets was a small notebook. On it were written his last poems: “Life” and “Stars in the sky”.
“The Evening Star of Romanian poetry” sparked a real revolution in Romanian and universal literature. Dying at the age of thirty-three, Eminescu left behind an great body of work composed of poetry and prose. But flipping through his manuscripts reveals an Eminescu planning great lyrical and dramatic compositions, a poet with aspirations of greatness, perhaps such as Goethe.
WHAT HAS WORKED? WHAT HAS NOT WORKED? WHAT NEEDS TO BE DONE?
The unexpected and rapid developments of 2020 as a result of the spread of the new virus have led to unpredictable and tragic consequences on a global scale. A lot has been said about this, and most likely the topic of the consequences for the world’s population remains an urgent topic for modern and future scientists. In this article, we will consider only some aspects of the International relations during a pandemic in Eurasia.
Health diplomacy The introduction of a general quarantine froze international relations in the classical sense. Forgotten in the 60s, the race of medical diplomacy to eradicate dangerous forms of disease in Africa, Asia, Latin America and the Middle East has acquired new features. As in classical international relations, we have seen outcasts with inappropriate behavior. Countries projecting power, countries that are equal and countries competing in medical technology. Access to advanced technology products – vaccines and drugs for Covid-19 – are dividing the world and regions, building new lines of rivalry. We are witnessing the formation of vaccine war in real time.
Global challenges International challenges don’t disappear by themselves and continue, similar to other resource wars. From oil price wars between Russia and Saudi Arabia to competition over the EU gas market, between Russia and the U.S. Competition has seen direct clashes, such as the aggravation of Sino-Indian relations on the disputed border territories of Fergana in Central Asia. We witnessed a lightning-fast war between Azerbaijan and Armenia. Countries competed for medical resources. The crisis has exacerbated humanitarian issues. The EU countries resorted to harsh measures such as border closures and administrative expulsion. The general deterioration of the economies in the countries of origin pushed new waves of refugees to migrate. In the EU these were spontaneous protests against lockdowns. In countries such as Kyrgyzstan and Belarus, acts of disobedience and protests have occurred as a result of falling living standards and reactions to growing injustice in society. We witnessed the share of small and medium-sized businesses in all countries was rapidly decreasing. New accents in world politics and diplomacy The quarantine and lockdowns have changed our world. With a decrease in consumption, transportation, and services, there was a simultaneous growth in medical services, pharmaceuticals, freight transport, communication services, software development and digital content. Despite the threatening trends in the global ecology, the pandemic has produced unexpected results. Such as reducing air emissions and reducing pollution of the world’s oceans. The striking self-purification of water in Venice, as well as the significant reduction in carbon emissions from the standstill of a multimillion army of private cars, improved air quality in cities and the overall emissions situation. Significant events with titanic consequences for the future world happened in 2020. These are the People’s Republic of China’s (PRC) refusal to process foreign waste, the PRC’s plan to reduce its hydrocarbon dependence. Plans to phase out hydrocarbon fuels have intensified, for example Uzbekistan’s plans to soon reach 8GW of solar generation.
Modern Don Quixotes Among the large amount of information about Covid-19 of a predominantly alarming nature, it is also worth noting the examples of high professionalism and the height of the human spirit. Chief Sanitary Doctor of Greece, Sotiris Tsodras, a man who recognized the danger of a new threat earlier than anyone else, did everything possible to save his country and helped other countries by transferring experience. Jack Ma, a man of great heart and modesty, who has helped every country affected by the virus and wished to remain in the shadows. Mr.Yavlon Vakhabov, Ambassador of the Republic of Uzbekistan to the United States and Canada, despite the developing global crisis, made titanic efforts to promote investment, ecology and improve relations between nations. Charles Garrett, Ambassador of the United Kingdom of Great Britain to the Kyrgyz Republic. During the peak of the Covid-10 crisis in Kyrgyzstan, he did not stand aside and in his free time with his wife, Véronique, prepared and delivered meals for doctors working in the “red zones” of hospitals.
What didn’t work? At the beginning of the crisis, international co-operation was practically curtailed. International institutions that were largely unprepared for the Covid-19 situation were paralyzed and worked with limited resources. Sluggishness and bureaucracy in the EU in responding to the acute crisis in Italy, the untimely response of the EEU to the return of labour migrants to Central Asian countries from Russia etc. These events clearly demonstrated the poor efficiency of multilateral organizations. Narrow national policy among most countries did not allow widespread generation of physical material and intellectual resources in a response proportional to the crisis. Instead, countries themselves responded to the crisis individually, made their own errors and blamed others. We can say that multilateralism has largely failed in 2020. We hope not forever.
So what worked? Sending doctors from China, Germany, Poland, Russia, etc. to the most affected countries, on the contrary, has shown its effectiveness. Sharing medical products, medical protocols and tests. Countries and continents learned to how to trade in the Covid-19 era, which gives bright hope for the continued development of civilization. Countries actively developed bilateral relations as a result: Hungary and Uzbekistan are prime examples of effective diplomacy in Eurasia. Hungarian “openness to the East” diplomacy achieved significant results in 2020 in the Central Asia. A New role has been added to Modern Uzbek Foreign Policy. It was the Republic of Uzbekistan that first began to send humanitarian aid to neighboring countries affected by Covid-19.
What needs to be done for the future? It is already clear that the current and new mechanisms of international relations and diplomacy will continue. The good news is that international relations have returned somewhat and the intensity of international contacts, albeit with the use of modern communication technologies and the limitation of physical contacts, are growing. Work in the digital dimension and new communication systems will continue and after returning to offline life. This practice, although involuntarily, has confirmed its efficacy.
One of the global problems of our modern world is climate change. The most noticeable process of climate change is observed in the Arctic. There are lots of rallies, actions and campaigns held in support of work on preserving the climate in the Arctic, and on preserving the local habitat and settlements. And against the background of such events, the exhibition “Arctic: Culture and Climate” provides something very different.
The exhibition “Arctic: Culture and Climate” was opened at the end of October 2020 at the British Museum in collaboration with the Peter the Great Museum of Anthropology and Ethnography (“Kunstkamera’’) and other museums. It is the first event where people can see the unique history of the Arctic people and their culture.
The main idea of the exhibition was to show the interconnection of Arctic culture and the climate. More than 50 pieces were brought over from the Russian museum. And among them are amazing things of different purposes: tools of labour; clothes adapted to the local climate and to activities; tableware; artworks that reflect the features of the region and much more. According to the Russian Ambassador to the United Kingdom, Andrey Vladimirovich Kelin, it took a lot of effort to organise the exhibition: “We are well aware of how much effort was put into organising this exhibition, with preparations under way for the past 8 years, which is why it is a great pleasure to see this exhibition taking place today, despite all the coronavirus restrictions.” As the Ambassador notes, this exhibition is also an important platform for British-Russian cooperation and for the development of cultural communication between countries.
About the region The Arctic is a region neighbouring the North Pole and includes parts of Eurasia and North America, the islands of the Arctic Ocean, as well as the neighboring parts of the Atlantic and Pacific Oceans. The area of the Arctic is approximately 27 million km².
The nature of the Arctic is balanced – unique and rich fauna and flora, fresh air, fresh water, natural resources. The Arctic is not only nature, but also an ethnocultural region where different people, cultures, languages are concentrated, and their cultural uniqueness have been retained for several centuries.
About the local people Local people are accustomed to living in the polar climate, which is characterized by long winters, constant snow cover (despite the fact that precipitation in this region does not fall often), and ice. Through the centuries they began to use climatic features in everyday life, and it was demonstrated at the exhibition as well. Moreover, people are completely dependent on the local ecosystem: their everyday life is closely intertwined with the peculiarities of the Arctic. The main activities of local people are hunting, gathering, reindeer husbandry and fishing, so nature is the basis of their life. Therefore, environmental problems like climate change affect their lives more than the lives of people in other regions.
Climatic changes According to the research, the temperature in the Arctic continues to rise at more than twice the global annual average and there is a noticeable melting of snow and ice, which reduces the total area of Arctic ice (this year the ice reached only 3.74 million km²).
Climatic changes in the region have already manifested themselves in the second half of the last century, but the changes were not as significant as now. As the threat of warming has hung over the inhabitants of the regions, they have taken measures to preserve the climate and nature. For these purposes, the Arctic Council was established in 1996. Today it includes 8 Arctic countries and deals with Arctic issues, in particular on issues of sustainable development and environmental protection in the Arctic.
What is the threat of climate change? Due to the reduction in sea ice, animals have to change their usual way of existence. For example, during their annual migration, walruses cannot last for long voyages, so they often stop on ice floes for rest. Due to the melting ice, they have to change the places of their rookeries, and in recent years the rookeries are moving closer and closer to the narrow coasts, which causes some sad consequences, such as the mass death of walruses in Chukotka in 2007.
Also, climatic changes have a direct impact on water supply, traditional food for the local people. They have had to change their habitual way of life: the duration of the fishing season is shrinking, the conditions for hunting have also deteriorated. Animals living on ice sheets have moved to other places because of the melting ice, and hunters have to go further and run the risk of being drowned.
Climate change also impacts on infrastructure: there is deformation of buildings’ foundations, roads, and various technical structures. The situation is aggravated by poor-quality work done in past years, but the most terrible threat is a rise in the sea level, which can cause natural disasters, such as floods, tsunamis, and this will undoubtedly affect the life of regional settlements in the near future.
The importance of cultural events Local people, who have lived in the same conditions for thousands of years, have united with the local climate. It is the features of the region that contributed to the development of these people’s lives and it is the climate that plays a big role in their culture. Therefore, the slightest climate change can lead to very unpleasant consequences in their lives: from the loss of cultural authenticity to disappearance altogether. That’s why it is very important to hold cultural events so that people understand how closely culture and climate are intertwined, and how important climate change is in general.
YERLAN SYDYKOV CHANCELLOR OF THE EURASIAN NATIONAL UNIVERSITY CHAIRMAN OF THE COUNCIL OF RECTORS OF UNIVERSITIES OF KAZAKHSTAN
This year, The Eurasian National University (ENU), named after L.N. Gumilyov, will reach over a quarter of a century in age, during which time, its consistent successes across all areas of the educational space, has seen the institution comfortably take it’s place as one of the regions leading educational establishments. “Nur-Sultan can become the sacred capital, the heart of Eurasia, and the most sacred centre of this heart is our Eurasian University in Nur-Sultan”, the First President of Kazakhstan defined the significance of the young university, assigning it a huge responsibility in training young specialists for the country.
The vision of Eurasianism, as articulated by Nursultan Nazarbayev, is closely connected with the theory of “passionarity” that was first proposed by the Eurasian scientist Lev Nikolayevich Gumilyov, after whom the university is named. The ENU became one of the first proponents of the idea of Eurasianism that has been successfully implemented at the interstate level.
For the ENU, 2021 has begun in earnest and there are a number of priorities requiring immediate action to nourish positive global development during a time where “humanity chooses between future opportunities and threats…”
In response, the President of the Republic of Kazakhstan, Kassym-Jomart Tokayev, has authorised the provision of all intellectual resources, processes, initiatives, conceptual scientific ideas, personnel specialists & technologies to successfully equip the next generation of graduates to tackle the most urgent issues facing society today.
Since its inception, the ENU has become internationally recognised, achieving 357th place among the top 400 QS World University Ranking of leading universities from among thousands of universities. ENU also ranks 51st in the QS ranking for “Developing Europe and Central Asia”.
In 2019, the university was included in the Times Higher Education (THE) global university ranking for the first time. In 2020, the university took a worthy place in the 800+ group of THE subject rating in the direction of physical sciences.
For more than ten years – ENU has been in the top three of the National Rating of the best multidisciplinary universities in Kazakhstan according to the Independent Agency for Quality Assurance in Education.
The ENU has been making efforts towards modernisation of scientific activities with the allocation of funds for the purchase of laboratory equipment, to not only expand the range of research activities, but also to bring scientific projects into commercialisation. It’s scientists from ENU that are currently leading the way in both fundamental and applied research areas such as nuclear and space technologies, bio & nanotechnologies, and new technologies for the hydrocarbon and the mining industries. Examples include the Engineering Laboratory, which develops projects on track membrane technologies and the Research Institute of Bioorganic Chemistry, which has developed more than thirty drugs for medicine and agriculture. The successful implementation of a system for preparing a water-fuel oil emulsion, capable of producing alternative fuel to supply all boiler houses of small cities with a population of up to 40 thousand people in 2019 is the result of the integration of the ENU scientists and businessmen.
Today, the university occupies a leading position in the Kazakhstan segment of international scientific journals. The average citation index of one article by ENU scientists over the past five years from 2013 to 2019 is higher than the national average. Scientists of the university, the winners of the “Top Springer Author “ award, hold absolute records in Kazakhstan for the number of articles in journals with an impact factor published of one author per year. Among them are the names of both well-known and talented young researchers. According to the international information and analytical platform Web of Science, in 2020, ENU was awarded the independent award “Leader in the Number of Publications” in the subject area for “Materials Science” over the last 3 years among the universities of the Republic of Kazakhstan by the Web of Science Core Collection.
The supercomputer, otherwise known as the artificial intelligence “PARAM”, was introduced into the scientific and production process thanks to the co-operation of Kazakhstan and India. In the Kazakh-Indian Training Centre of Information and Communication Technologies, where the supercomputer is located, many undergraduates and doctoral students of Kazakh universities worked on joint international research projects.
Today, the ENU has more than 20,000 students and employs about 3,000 teachers. The fact that its demand remains high is evidenced by the fact that in the past 9 years the number of students has increased from 12,000 (in 2011) to more than 20,000 (in 2019), that is, by 60%
Training is conducted at thirteen faculties across 68 departments and in 262 three-level educational programs, most of which fall under master’s and doctoral programs, which reflects the identity of a modern research university. The most important indicator of the quality of the university if often the level of employment of its graduates. Their demand in industrial enterprises, the quasi-public sector, and public services is 70-80%. Not every university can be proud of such an achievement. The international relations of the ENU are very extensive. Today, the university closely cooperates with 370 recognised universities in 52 countries of the world. This fact attracts foreign students and teachers, the number of which increases from year to year. In 2019, the number of students studying abroad reached more than one and a half thousand people.
The university has many amenities providing for the comfort of its students. In addition to the educational resources, students find themselves surrounded by various cultural centres and youth leisure organisations for interests and hobbies. There are dozens of such clubs and societies in ENU from public speaking clubs, theatres, orchestras, debating societies, music studios, centres for youth policy, foreign language learning and many more. In each building, coworking centres are open during free time. There are seven student accommodation buildings in the ENU. During the acute period of the pandemic, the ENU took an unprecedented step: it was the first in the country to launch the construction of dormitories on the basis of public-private partnership by attracting investors. The 2,500-seat construction facility will be commissioned in 2022.
The 25th anniversary of the Eurasian National University named after L.N. Gumilyov happens in the context of another remarkable date – the 30th anniversary of Independence of the Republic of Kazakhstan. It is a wonderful reason to say: “The chronicles of the University are not interrupted: the years hold glorious abundance of the knowledge generation”.
The well-known public figure Olzhas Suleimenov clearly deduced his formula of knowledge: “The people will become eternal if they always adapt to modern conditions. It should be, first of all, a knowledgeable people. Knowing his past, knowing the present, and then foreseeing the future.”
The ENU, in the centre of Eurasia, is under the close attention of the state and its people. At the university, which is steadily increasing its influence on the international educational space, we look towards a more enlightened tomorrow for the Republic of Kazakhstan.
Prior to 2020, Uzbekistan was one of the fastest growing travel destinations in the world, with the surge in visitors arriving beyond even the highest expectations of those within the Central Asia tourism scene. It was an exciting time to be creating product and leading sales of Uzbekistan holidays for a company organising tours for the UK and European market. With travel as popular as it is, it’s not too often you find yourself around the foundations of a tourism boom, and the few years of astronomical rise in arrival figures was a joy to witness. Of course, we now find ourselves in a position looking at desperate recovery, rather than mere growth.
Considering the devastation throughout the tourism sector over the past year, it’s been difficult to fully concentrate on what can actually be done, particularly for a reasonably new destination on the global scene. With how quickly travel & tourism became a part of Uzbekistan’s infrastructure, the sudden absence of visitors has been harshly felt, with us now approaching the third peak-season for the country without tourist arrivals. However, as more and more vaccines arrive and become common place all over the world, optimism will grow that borders can reopen, and tourism can return to the landlocked countries of Central Asia.
The phenomenal visitor statistics pre-2020 for Uzbekistan are certainly a bright memory for us to follow and be an essential ally in the challenges of recovery. The enormous growth of arrivals had its foundations laid at the end of 2016, when Shavkat Mirziyoyev became President, and tourism was mentioned as an integral component of his plans for the country. The exact numbers, according to The State Committee for Tourism Development of the Republic of Uzbekistan, are still staggering when seen today. In 2017, visitor arrivals had risen to 2.69 million people annually, by 2018 this had become 5.35 million, an astonishing 99% increase in one year. A further 26% increase the following year led Uzbekistan to an impressive 6.75 million arrivals for 2019. Unfortunately, we’ll never know what could have been achieved in 2020, but it’s fascinating to know the forecast for 2025, pre-pandemic, was 11.81 million arrivals.
Focusing on recovery for autumn 2021 onwards, there are a number of aspects to be optimistic about for the rebuilding of the tourism scene – both domestic and international – in Uzbekistan. With 86 countries, as of 2020, being visa free entry, this enables those looking for their next destination to easily choose Uzbekistan. The continuation of previous top arrival figures from the other countries which make up Central Asia, plus Russia, Turkey and China will be vital for immediate increase in figures, with the attraction of the Silk Road remaining high amongst the UK market too.
The potential of winter sports within the country is an incredibly exciting prospect, especially with Amirsoy Mountain Resort, and one which grows from strength to strength, even during the past year while only those living in Uzbekistan could enjoy the perfect slopes. Expanding the peak seasons of spring and autumn with options for skiing will have a stirring effect on visitor numbers from the end of 2021 and beyond. As for the electronic music scene in Uzbekistan, its evolvement amongst the younger generation is creating a stimulating environment, and none more so than with the Stihia music festival, and its unique Aral Sea location. The US-based film director George Itzhak’s spirited documentary last year, Waiting for the Sea, has certainly assisted in further recognition outside of Uzbekistan, and all adds to the curiosity of those looking for a new destination.
Sustainability is, and was, a buzz word circling tourism, and one which Uzbekistan sets up for very well, especially amongst the traditional production of silk and ceramics which can still be seen today throughout the country. Rather than the mass-manufacturing factories of so many other countries, Uzbekistan can showcase its sustainable production through local workshops which continue to create products through traditional processes. Visits to these special places are already an integral part of tour itineraries, most notably at Yodgorlik Silk Factory, and the ceramic workshops of Gijduvon and Rishtan. Pilgrimage tourism is also another aspect which Uzbekistan will be focusing more on in the future, with a view to capture the eye of tourists from both Indonesia and Malaysia.
Excitedly, even during the closure of the country’s borders, we’ve seen an experienced travel company set up an office in Uzbekistan, highlighting the continued potential of tourism within the country. ICS have been a leading DMC in Asia for over 23 years, and their faith in Uzbekistan for the future lends great credibility to the country as a must visit destination. Carsten Schmidt, Group Director of Operations and Product at ICS says “When you look into options for expanding your portfolio, there is an overwhelming variety of amazing destinations. For a very long time I had my eyes on Central Asia. With its collection of ancient cities, there is hardly any other country in the world that reflects the charm of the old Silk Road as much as Uzbekistan”. Such words can only increase confidence in what to expect for Uzbekistan as borders reopen and we all move ahead in recreating the success in arrival figures, alongside the overall satisfaction of those visiting.
As we see the vaccination process gather pace around the world, I have high hopes for Uzbekistan to continue its rise in popularity, which was only stopped in its tracks by the pandemic we’re currently living through. Knowing how much Uzbekistan already has to offer through its monuments of imposing beauty, illuminating Silk Road history, adventurous road trips (or by rail), and fine traditions of dance, costume and art, its tourism scene is one that looks ready to grow once again.
Words and photography by Gary Meynell
Gary Meynell is a travel consultant specialising in Central Asia for the UK and European market. He is also the co-founder of The Central Collective, the curated guide to Central Asia.
From March 2020 and throughout the whole year, the Business Information, Social and Marketing Research Center “BISAM – Central Asia” had been monitoring public sentiments and social situation by tracking changes caused by the COVID-19 pandemic. The information was collected within the framework of international surveys by Gallup International, whose representative in Kazakhstan is BISAM Central Asia, as well as a number of special measurements. The surveys were carried out on a nationally representative sample, as well as on urban and special samples ranging in size from 500 to 2000 respondents.
Today, contrary to the expectations of both general public and specialists, the pandemic continues and, apparently, is not going to leave humanity in 2021 either. The results of sociological monitoring make it possible to see qualitatively new behavioral traits of people and societies, which are important for the health care system, the socio-economic policies of countries, and for business strategies.
Fright and Bravado
In March 2020, when Kazakhstan declared the COVID-19 pandemic state of emergency and the sample of the survey did not include a single respondent who had been infected or whose relatives and friends had been infected, fear of coronavirus was experienced by 53% of the respondents. At the same time, however, a noticeably large proportion of respondents – 60%, believed that the threat of coronavirus was exaggerated.
By April, the situation had changed. The share of those who had a fear of being infected increased by 5%, and the share of “covidoskeptics”, those who were convinced that the threat of coronavirus was exaggerated, decreased to 47%. Here, however, Kazakhstan fell out of the world trend. Globally, bravado over the coronavirus had weakened significantly more. In the United States the proportion of those who had a fear of being infected increased by 25%, in Germany – by 22%. Most other countries recorded the dynamics close to these indicators. In this context Kazakhstanis turned out to be almost the most courageous people in the world in the face of the coronavirus.
By June, Kazakhstanis had relaxed. The share of those who feared of being infected dropped to 45% with an increase in “covidoskepticism” to the March level and even slightly higher. However, a few days after this measurement, the COVID-19 situation in the country began to escalate sharply. In the next six months 6% of respondents had a confirmed coronavirus or suspected an infection. Accordingly, the share of “covidoskeptics” significantly decreased – to 44% of respondents in December 2020 compared to 60% in the first half of the year. And yet, by the end of 2020, more than a third of respondents were convinced that COVID-19 was no different from a seasonal flu.
Losses
Measures to combat coronavirus had complicated the lives of Kazakhstanis much more than the virus itself. By June 2020, 76% of Kazakhstanis who participated in the Gallup / BISAM survey had experienced reduction of family income. Quarantine forced the overwhelming majority of respondents to learn how to save on almost all items of the family budget. Only 12% of those surveyed said that they did not have to “tighten their belts.” 32% saved on food, 43% – on medical services, 58% – on perfumes and cosmetics and 67% – on purchases of clothes and shoes. In the first months of quarantine, 58% of the working respondents switched to a new mode of work (remote work, online services, take-out orders, etc.). About two thirds of the respondents reacted negatively to this transition. An even more negative reaction was caused by the transition to distance learning, which affected almost all school, college and university students. On the eve of the academic year 2020-2021, 86% of parents of students, 74% of teachers of all types of educational institutions and 68% of students expressed their belief that distance learning has reduced the quality of education.
The emotional state of Kazakhstanis had noticeably deteriorated. Almost all respondents experienced anxiety and stress. More than 70% of the respondents had to change their plans for the future and limit their circle of contacts.
Assessment of State Measures
Despite material losses and emotional deterioration, the majority of the interviewed Kazakhstanis treated the measures of the state with understanding and approval throughout the entire period of quarantine restrictions. In March, 62% of respondents agreed with the statement that the government was coping well with the coronavirus, the number went up to 73% in April and 74% in June. However, there was some decline in the indicator at the end of the year, but it still retained a fairly high value of 66%. Who is Guilty?
With regard to responsibility for the spread of COVID-19, Kazakhstanis have found a fairly rational approach. Against the background of an infectious disease, their self-awareness turned out to be quite healthy. About 80% of respondents agreed with the statement that people who refused to comply with the quarantine rules were responsible for the spread of coronavirus infection. However, there were also quite a few respondents who were ready to assign responsibility on “external forces”. More than a half of those surveyed believed that China was to some extent responsible for the pandemic, and a third of them thought it was the United States. About 60% believed that the World Health Organization had not performed properly in the fight against the pandemic.
Fifty four percent of survey participants supported the belief that the virus originated in the process of development and testing of biological weapons. Like any collisions, the pandemic caused a craving for conspiracy theories.
Toughened Up and Adapted?
So can we say that Kazakhstanis have mastered a new lifestyle that is adapted to the pandemic? Hardly. As the monitoring showed, the mood of Kazakhstanis was characterized by doubts, uncertainty and suspicion throughout the year. Ultimately, this was expressed in vigilance in relation to vaccination. Only 56% of respondents are ready to be vaccinated, even with a full guarantee of the safety and efficacy of vaccines. The average indicator for the sample of respondents in more than 40 countries is significantly higher – 67%. Kazakhstan lags behind not only the countries of South-East Asia with their indicators of 84-98%, but also behind most of the Western countries and most of the CIS countries. However, it is ahead of Russia, where, despite the massive scale of vaccination, the share of those who do not agree to be vaccinated (46%) exceeds the share of those respondents who are willing to be vaccinated (43%).
Throughout the year, Kazakhstanis were constantly disappointed in their expectations. In June 2020, 65% of those surveyed were confident that the situation would return to normal by the end of the year. This, as known, did not happen, and the forecasts became much more pessimistic.Thus, both the state and businesses will have to develop and adjust models designed for extraordinary and unstable.
Leonid Gurevich, President Zhanna Abdrakhmanova, Marketing and Communications Manager
BUSINESS INFORMATION, SOCIAL AND MARKETING RESEARCH CENTER “BISAM – CENTRAL ASIA” (Kazakhstan)
Navruz is one of the most ancient of holidays that has survived from the depths of centuries to present day. It is one of the biggest holidays of the Aryan people, including the Tajik people, and other peoples and cultures celebrate it under the same name. Each region in Tajikistan celebrates Navruz with its own distinct local customs and traditions.
Badakhshan In Badakhshan, Navruz is celebrated as “Navruz of Sultan” in some places. In Shugnan and Roshtqala, it is called “Khidir ayom” (Great Holiday). In these places, people greet each other with the phrase “Shogun bahor muborak!” (“Happy spring”) and the answer is “Bar rui Shumo muborak”, which literally means “Happy to your face as well”.
In Shugnan, Roshtqala and Ishkashim, two brooms are used to clean the house, one called “Savorajorub” (this is attached to a long stick) and the other “Piyadajorub” (without the stick). With “Savorajorub” the dust from the ceiling and walls of the house is removed and it is thrown on the roof through the hole in the ceiling called rudz, and by this action, all the evil forces that have accumulated during the year are expelled from the house. With “Piyadajorub” the lower parts of the house (chalak and nekh) and the floor are cleaned. Also, in the early morning of the first day of “Khidir ayom” or Navruz, the man of the house would take a few willow buds, cut the branches with a knife in the shape of pea shells, and children with the phrase “Shogun bahor muborak” would bring them into the house and the owner of the house sprinkles flour on their right shoulder with the intention of purity and peace and puts the branches between the walls of the house.
Kiloguzguz, another local tradition, is a type of “trick or treat” done by children and teenagers. On the evening of the “Khonatakon” ceremony, which is entirely dedicated to cleaning and tidying up the house, children and young people go their neighbours’ or relatives’ house, climb the roof and through a long scarf, or several scarves tied together, from the hole in the ceiling (rudz) to the house and recite a special poem. A slice of bread is tied in one corner of the scarf, and the host takes the bread, and after the song is finished, he puts something on the scarf at the request of the person who came for kiloguzguz. According to the tradition of the mountainous Tajiks, everything that is requested from the owner of the house this evening must be done or given. Special dishes are also made on this day. Given the cold climate, women prepare dishes that are supposed to be warm. Bat, kochi, noni ravghan, consisting of milk, bread, and butter, boj, osh, amoch are an incomplete list of dishes prepared by Badakhshan women on Navruz.
Kuhistoni Mastchoh The people of Kuhistoni Mastchoh district celebrate Navruz as the biggest and most important national holiday, and the first festivities begin in Paldorak village and end in the picturesque village of Rog. Until the end of March in all villages of the district, Navruz is celebrated as an ancient Aryan tradition with honouring the heritage of Jamshed, the ancestral New Year and the revival of spring, the beginning of the planting season and the eternal connection between man and nature. The end of Navruz in Rog village is not without reason since Rog Navruz is celebrated on the same day as the Navruz of Bukhara, and the students of Bukhara madrassas who spend the winter in the village would also join the celebration. In this village, Navruz is also called “Sari soli Rog” or “Rog’s Start of the Year”.
Panjakent Navruz is an important and blessed holiday for the people of Zerafshan, especially the people of Panjakent. The people of this valley eagerly await the ancient holiday of our ancestors, which was celebrated in ancient Sarazm and later in the ancient Panjakent (Panjkat, Bunjikat or Panjekat) and prepare to celebrate it with bright and enlightened spirit. Navruz in Panjakent also begins with cleaning homes. The wisdom of this tradition is explained by the old women of Panjakent, who heard it from their ancestors: “With the advent of spring and the revival of nature, the human body is renewed. By cleaning one’s house and getting rid of broken and old utensils, blessings enter the house and remove sorrow”.
Juftbaroron This ancient tradition is mainly practised by working elders and wealthy men. Juftbaroron is the beginning of the planting season. One of the old men takes a yoke of spores in the presence of all the villagers, and the other takes two or three cups of wheat in his shirt and throws them on the ground. Other elders turn to the qibla and pray that the new year will be full, and the harvest will be abundant.
Rashtonzamin On the morning of Navruz, the people of Rasht open their doors and wait for their guests. During and after the holidays, visiting each other’s homes and visiting the elders of the clan and the village in general, public walks, cultural events and sports competitions, organization of festive markets, beginning of the spring planting and spring planting are the traditions of Navruz. In each village, a pair of bulls plow the land, and one of the elders begins the sowing season by sprinkling wheat. It is imperative to receive blessings from the elderly during the day. Rasht people say: “The way you celebrate Navruz impacts how you spend the entire year”. According to a local legend, on the day of Navruz, angels descend to earth and bring joy and happiness to people. They only enter a house where there is security, stability, and mutual understanding. On the day of Navruz, a white tablecloth is spread in the house of Rasht people. A variety of food, sweets, bakery products and, sumanak (a traditional sweet meal made of wheat) are placed on it. On the eve of the holiday, houses are cleaned. Old and broken things are thrown away, debts are paid off and peace is made the rivals on this day.
Since Kyrgyzstan is a part of Central Asia, events in this country affect both ongoing and planned projects and agreements throughout the region. The political crisis in the country, related to the third revolutionary change of power resulting from mass protests, led to a range of consequences, including those in its foreign policy.
Major international organisations were quite alarmed about the country’s political crisis in its early days. For instance, the UN and the OSCE called for the peaceful settlement of the situation. In a similar vein, the SCO and CSTO also expressed their concerns.
The events of October 2020 revealed that Kyrgyzstan, the “isle of democracy,” has yet to successfully build a robust institutional and constitutional mechanism of the transfer of power to enable guaranteed legitimacy, social justice, and the representation of the interests of the main political groups. This article raises the question about the consequences of yet another political crisis in Kyrgyzstan, and the article also sheds light on what can be predicted about the country’s foreign policy in this context.
The rule of law as a recipe for overcoming the crisis
Internal contradictions, weak state institutions, and the inability of the authorities to pursue policies within the legal framework have cooled the western direction of Kyrgyzstan’s foreign policy.
Kyrgyzstan could have built exemplary relationships with the EU, a unique player advancing its normative issues. For many years, Brussels has supported Bishkek, and in 2016, Kyrgyzstan received trade preferences from the EU via the GSP+ system. However, currently, Bishkek risks losing these preferences amidst the lack of progress in the rule of law and human rights. Recently, the EU decided to postpone the €6 mln aid package to Kyrgyzstan until after the next year’s parliamentary elections, which implies that the new authorities lack legitimacy. This is confirmed by the Helsinki Commission’s statement, which stipulates that “for the country to move forward, the authorities have to seriously combat the widespread corruption, protect private businesses and foreign investment.”
Principles of the rule of law and transparent elections, promoted by the West, could provide a recipe for overcoming the crisis. However, the interim authorities intend to carry out constitutional reform amidst the weak institutions, such as the main legislative body, extending its mandate on its own, the acting president, and the acting prime minister.
Thus, one can observe, the interim authorities have turned a deaf ear to the calls of the local civil society, the Western partners, and international organisations to return to the law-based system.
“Freezing” strategy
Russia and China are also important partners for Kyrgyzstan. Since October, Moscow has suspended the provision of financial support to Kyrgyzstan until the stabilization of the political situation in the country and until the restoration of the functioning of the authorities. Additionally, the Eurasian Fund for Stabilization and Development (EFSD) has already suspended the transfer of $100 mln. – money intended to counter the impact of the COVID-19 on economic, financial, and social sectors. Paradoxically, the cross-cutting 2020 has marked significant, but perhaps, temporary cooling of the relationships between Russia and Kyrgyzstan. The last time, in 2019, Moscow unconditionally donated $30 mln. to Bishkek in support of the state budget.
As a result of such a “pause” from Moscow, the new administration in Kyrgyzstan still has to resolve the issue of the budget deficit, which according to the latest data, comprises 35.6 bln. soms (around $434 mln. at the exchange rate of 1 USD = 82 soms). The strange measures of the new government, aimed at replenishing the state budget, propose an economic amnesty, offering corrupt officials to voluntarily return unlawfully acquired funds to the state.
The role and significance of China for Kyrgyzstan can hardly be overestimated. Beijing is the major trading partner and the main investor. According to 2019 data, China accounts for the largest share in the volume of incoming foreign direct investment – that is, 34.3% of the total volume. By 2019, China has provided Kyrgyzstan with loans of around $1.69 billion for transportation-related projects.
However, the numerous attacks on Chinese enterprises, such as those in the Naryn region in 2019, have added a fly in the ointment to bilateral relations. In February of 2020, the protests of the local population once again disrupted the project of the building of the trade and logistics center, where the Chinese companies planned to invest up to $280 mln.
Following the social unrest and the change of power in the country, Chinese Ambassador to the Kyrgyz Republic Du Dewen, drew attention to the security of the Chinese companies and enterprises during the meeting with Sadyr Japarov. It seems that the audit of bilateral relations with China has already begun. For example, the Chinese authorities might use the management of the border regime with Kyrgyzstan as a bargaining chip. Particularly, in response to Kyrgyzstan’s request to increase the cargo traffic at the Torugart checkpoint, besides the other technical requirements, the Chinese side voiced the necessity to ensure the safety of the Chinese companies.
Interim findings
With Kyrgyzstan focused on internal struggles, concentrating on confrontation between the different political forces, as well as on the issues of holding parliamentary and presidential elections, the “isle of democracy” has been rapidly losing its position in the international arena. Funding is being frozen, agreements are being postponed, whereas the new projects are suspended. While it might be sufficient to hold elections and obtain the official mandate to legalize power, maintaining legitimacy (the recognition by population and international partners) requires constant work. Such work entails improving socio-economic indicators, a genuine, rather than declarative fight against corruption, guarantees for agreements, and transparency.
Each socio-political turbulence in Kyrgyzstan leads international organisations and actors to revise the credit of trust towards the country. Under the current conditions, the field for Bishkek’s foreign policy maneuver will be narrowing and further leading towards Moscow or Beijing. Objectively, none of the internal forces can challenge the status-quo in Kyrgyzstan, the economy of which is too dependent on Russia, where most of the migrants work, and on China, with its loans and infrastructure projects.
The political crisis in Kyrgyzstan will play an ambivalent role for the other neighboring countries. Its “negative” role involves the justification of the authoritarian measures to supposedly strengthen stability, while the “positive” one entails showing the other authoritarian leaders that the voices of the youth and the opposition’s requirements at least have to be heard. Meanwhile, one may also predict that international organisations will strengthen their attention to the issues of “color revolutions” and the mobilization of the protesting potential.
Nargiza Muratalieva PhD in Political Science CABAR.asia Editor
The largest lake group in Belarus, including more than 50 lakes spanning 130 square kilometres, is located around Braslav. The lakes are connected by numerous, but mostly shallow, rivers and streams with a length of more than 300 km.
The most famous of the Braslav lakes are the Drivyaty, Tsno, Nespish, Nedrovo, Potsekh, Voyso, Boloyso, Strusto, Snudy, Lake Osveyskoye, Volos Severny and Volos Yuzhny. The outskirts of Braslav are one of the few regions of Belarus where there were once inhabited lake islands. Since ancient times, the water has represented a mysterious and magical environment for Belarusians, where mighty creatures other than humans lived. It is not surprising that the lakes of Braslav are shrouded in famous legends and myths.
The lake on the lake
Surrounded by pines, Strusto is a tent paradise. Here you’ll find campsites to suit every taste and wallet, from ascetic student campsites to fully equipped campsites, that can be booked in advance from the tourism department in the national park.
Strusto lake and Shovo island
Strusto’s main attraction is Chaichin Island, the largest in the Braslav district. The name comes from the word “seagull”, as all this land, since the destruction of the last village, is now occupied by birds. The island has a unique nature, for example, the Karelian birch grows here by a miracle which has absolutely nothing to do in Belarus. Deep bays hide the cleanest beaches, isthmus, peninsulas and even an inner lake. It is not easy to find, being carefully hidden by lush thickets. But the tireless seeker is rewarded by an amazing spectacle: the forest ends and a perfectly round mirror of water opens in front of the eyes.
One legend of the Braslav region is associated with the unusual origin of Lake Strusto. The deep clean reservoir provides good fishing opportunities. Legend has it that once in a marriage of famous girl, named Strusto, she loved a man with an unusual name, Shovo. Probably this legend has Bulgarian roots, evidenced by the fact that the Slavs started a war and Shovo went to defend his homeland from enemy forces. He promised to Strusto that he would return alive and unharmed, and his beloved was waiting for him. The whole war was coming to its end, but Shovo was still gone and nobody knew what had happened to him. The girl cried inconsolably and cried to form the whole lake. In the end she realised that her fiancé was no longer alive, went out to the lakeshore, looked at the sky for the last time, and rushed into the water. There, where her body rested, and a small island appeared.
St. Teresa Bay
This bay of the holy crystal-clear water, hosts an abundance of fish and crustaceans besides its shores – there is everything you need for recreation. One of the bays of Lake Nedrovo is named after St. Teresa, although almost no local residents can explain why. There is a legend, according to which a beautiful girl named Teresa once lived on the lakeshore. She was known not only for her fairy tale beauty with her blue eyes, snow-white skin, and golden hair, but also for her kind character: she helped everybody in trouble, was wise and treated the locals with spells and herbs. For all this, she was called a saint. One day Teresa went to the lake to wash her laundry. The sun was very strong and very warm. Teresa wanted to take a swim. She fainted in the middle of the lake and went to the bottom like a stone. The locals said then that God takes the bright people early. Since then, this bay has been named after St. Teresa.
The Deepest Lakes: South Voloso & North Voloso
Pagan Vladimir Svyatoslavovich (Krasna Solnishko) and his henchmen wishing to strengthen their position in society and to centralise authority, baptised Russia by fire and a sword. The Belarusian principalities of that time fell under the influence of Kiev, abandoned their traditional beliefs and accepted Christianity. Nevertheless, pagan traditions live in Belarus to this day. For example, in Minsk – the largest city of the country – the last pagan temple was destroyed by the Bolsheviks only in the twenties. Since Belarus is a lake country, pagan hydroniums are common here. Such as the South Volos and the North Volos. After a stone – the altar of a pagan deity – was discovered on the shore of one of the lakes, the theory emerged that the name of the reservoir came from the pagan god Veles, the owner of the dead kingdom, the patron of animal husbandry, ritual poetry and wealth.
Braslav itself contains some 300 lakes. The word Brasl itself is translated from Latvian as “ford”, so the local waters have never been famous for their depth. One of the fords even had a road to the Polotsk lands, between the lakes Drivyaty and Novyaty. The lakes of Braslav are the best visited on foot in spring and summer when the whole area becomes a botanical garden. It is advisable to take a guide for a walk to get the most out of the history and legends as well as being able to point out the healing herbs and plants that can be found amongst these marvelous lands and waters.
Text by Olena Andreieva Fiction writer, author of course books for Russian and English learners, professional ESL teacher, OR (Operation Respect) coach, psychologist and motivational coach.
The Caspian basin has historically been at the centre of production and trade cultures of Central Asia, Iran, the Caucasus and the Volga region. It has formed an important link in the magnificent Silk Road culture that connects Eastern countries and Europe. Today, the basin is an important player in the world economy, with annual economic output of $2.5 trillion.
The Caspian Sea creates advantages for Azerbaijan to build and develop economic ties through the maritime economy between the Volga, Trans-Caucasus, North Caucasus, Central Asia and Iran. The favourable geographical position, rich biological resources, oil, natural gas, phosphorite, salt, iodine, and bromine reserves, as well as sanatorium and recreation opportunities of the coastal regions, provides a solid economic, strategic, social and environmental importance of Caspian Sea for Azerbaijan. The role of the Caspian Sea in the economy of Azerbaijan is undoubtedly primarily related to its hydrocarbon deposits and development. Industrial oil production in Azerbaijan began in the 19th century. The oil pumped from a well drilled in the “Bibiheybat” field in Baku in 1848 laid the foundation for the industrial extraction of “black gold” in Azerbaijan. Azerbaijan ranked first in the world in oil production and refining, accounting for half of world oil production in 1899. During World War II, Azerbaijan accounted for 75 percent of oil production in the Soviet Union. In 1949, the oil fountain in the then rare Oil Rocks marked the beginning of a new phase of offshore oil production 100 kilometres from Baku and Azerbaijan was the first in the world to start offshore oil production.
Intensive organization and implementation of planned geological exploration work in the Caspian Sea since the early 1970s is one of the unparalleled historical gifts of the National Leader of the Azerbaijani people, Heydar Aliyev. Today, his farsighted plans with such projects has enabled Azerbaijan’s independence and prosperity.
The oil agreement, called “The Contract of the Century”, was signed with Western oil companies on September 20, 1994 in Baku. It opened a glorious page in the new history of Azerbaijan, providing basis of exploration, development and production sharing of the “Azeri”, “Chirag” and “Guneshli” fields in the Azerbaijani sector of the Caspian Sea. In total 32 agree-ments were signed with 41 oil companies from 19 countries. The total investment portfolio is about $60 billion dollars under these agreements.
The launch of the Baku-Tbilisi-Ceyhan export oil pipeline in 2006 and the Baku-Tbilisi-Erzurum gas pipeline in 2007 significantly strengthened the country’s role in the world energy markets. The discovery of large gas fields – the “Umid” and “Absheron” fields are some of the greatest achievements of the industry. The probable reserves of the “Absheron” field are about 350 billion cubic meters of gas, which adds to Azerbaijan’s proven gas reserves that have reached 2 trillion 550 billion cubic meters.
In September 2014, the foundation of the “Southern” Gas Corridor project was laid at the Sangachal terminal. Today, full-scale development of the Shah Deniz gas condensate field, expansion of the South Caucasus Pipeline (SCP), Trans-Anatolian Pipeline (TANAP) and Trans-Adriatic Pipeline (TAP) are in place to ensure the operation of the Southern Gas Corridor in connection with the transportation of Azerbaijani gas to the world market. Furthermore, significant work has been completed on three elements of the corridor, consisting of four major projects – development of the “Shah Deniz-2” gas field, the South Caucasus Pipeline and the TANAP pro-ject. In 2017, an Amended Production Sharing Agreement (PSA) for the development of the “Azeri-Chirag-Guneshli” (ACG) block was signed in Baku which extends the “Contract of the Cen-tury “ until 2050.
The Caspian Sea is connected to the Black Sea by the Don and Volga rivers, which means Azerbaijan is a crucial connecting country between Asia and Europe. Therefore, an important part of the East-West transport network is the sea routes passing through the Caspian Sea. The Caspian Sea determines the international importance of the Baku-Alat port, allowing the development of maritime transport with Russia, Central Asian countries and Iran. This port is the most strategic part of Azerbaijan’s logistics infrastructure and is the key point of the logistics corridor, which provides for the transportation of raw materials and finished products from China and Central Asia to Western markets. Characterised by its depth, and never freezing nature, this port will be of great importance to the countries of the Black Sea, the Middle East, Europe and Southeast Asia in the future. A large shipyard has been built in Azerbaijan in recent years to capitalise on this: The Alat International Sea Trade Port in the Caspian Basin is now in operation. Similarly, the Baku -Tbilisi-Kars railway has been constructed.
For a long time, determining the legal status of the Caspian Sea has been a decisive factor for the wider use of its economic potential. The Convention on the Legal Status of the Caspi-an Sea, signed in Aktau in August, 2018, is the only such document agreed upon by all Caspian littoral states. According to the document, each country with a coastline in the Caspian Sea has a share in the upper sea up to 15 miles from the shore, and the right to fish 10 miles from the shore. The rest of the sea is kept in common use. One of the important points of the Convention is that Article 14 establishes the right of the littoral states to build main pipelines from the bottom of the Caspian Sea by mutual consent. It also creates a legal basis for the future realisation of the Trans-Caspian pipelines, which are important for the strategic interests of Azerbaijan.
William H. Moser was nominated by President Trump as the United States Ambassador to Kazakhstan in 2018 and sworn in in 2019. He has been a diplomat since 1984 and has experience of Kazakhstan from his previous posting in 1996 when he served in the then-Embassy in Almaty as a management officer and then as energy attaché. OCA caught up with Ambassador Moser shortly after the US inauguration of Joe Biden. OCA Magazine: You have significant experience working with Eurasian countries. What were your first impressions of Kazakhstan and its culture when you first arrived?
William Moser: During my three years in Kazakhstan in the 1990s, my family and I fell in love with Kazakhstan, both its people and its culture. In fact, I frequently joke that I really learned Russian from Almaty taxi drivers during those years! However, my first impressions of a new Kazakhstan in then-capital Almaty are very different from my impression upon arriving in 2019 as U.S. Ambassador in Astana, now Nur-Sultan. I think Kazakhstanis can be proud about how their country has developed since independence.
More importantly is what hasn’t changed: my admiration for the strength and richness of Kazakhstani culture, their world-famous hospitality and their openness to visitors. I have always felt welcome in Kazakhstan.
We’re celebrating 30 years of diplomatic relations between the United States and Kazakhstan this year in a series of events we are calling “30 Years Together.” We have much to commemorate: our co-operation on nuclear non-proliferation, together cleaning up the hazardous waste left behind from the Soviet era in Semipalatinsk; American private investment, including tens of billions of dollars in the oil and gas industry, which has helped transform Kazakhstan’s economy; and, our security co-operation, exemplified by the recent successful repatriation operation bringing back Kazakhstani citizens from Iraq and Syria. Many things have changed over the last 30 years, but our unwavering support for Kazakhstan’s sovereignty, independence and territorial integrity will continue to be the bedrock of our strong relationship and Enhanced Strategic Partnership.
OCA: What do you think that the culture of Kazakhstan has that sets it apart from the other countries of Central Asia?
WM: Central Asia is such a unique and beautiful region – and my hope is that more and more Americans discover this by coming to visit. This is especially true for Kazakhstan, where even each region of the country has its own distinctive culture that I’ve enjoyed getting to know. From the poetry of Abai, to the musical traditions of the dombra and throat singing, there is a rich tradition that is every Kazakhstani’s birthright. There are a number of legends associated with Kazakhstan’s incredible natural landscapes. Every place I’ve visited in Kazakhstan (and I am proud to say I travelled extensively before the pandemic) has a wonderful local folktale associated with it.
OCA: What are the main spheres of economic or trade co-operation between the United States and Kazakhstan, both today and in the future?
WM: Historically, U.S. investment in Kazakhstan has been primarily focused on the oil and gas sector, where U.S. companies have been doing business since the earliest days of Kazakhstani independence. Together, Chevron and ExxonMobil are heavily invested in all three of Kazakhstan’s largest oil and gas projects – Tengiz, Kashagan, and Karachaganak. We are extremely proud of the contributions these companies have made to Kazakhstan’s remarkable economic development over the past 30 years. Several Kazakhstanis have risen to senior management levels in these companies.
Looking to the future, and as Kazakhstan looks to diversify its economy, we see enormous opportunities for U.S. companies to contribute to that effort. Of particular interest right now is the agricultural sector, and we have been very excited about the news that Valmont plans to build a factory for irrigation equipment here, and that Tyson Foods is developing animal husbandry interests in the economy. But we also see opportunities in other sectors, such as mining, transportation/logistics, information technology, and tourism. One of our main roles in the Embassy is to work closely with the Kazakhstani government to help create the right conditions to attract more U.S. investment into Kazakhstan.
OCA: How do you see our two countries growing closer together, especially in these times of uncertainty?
WM: U.S.-Kazakhstan relations have benefited from thirty years of co-operation and people-to-people exchange. Our ties are stronger now than they’ve ever been.
There are many excellent examples of how our two countries continue to grow closer together. Just focusing on how the United States has been a friend and partner of Kazakhstan during the COVID-19 crisis, we have delivered more than $6 million in direct assistance to combat the virus. From purchases of needed Personal Protection Equipment, to providing laboratory equipment, our partnership has remained strong during this difficult period.
But all of this assistance only builds on the firm foundation established during our long-term co-operation. The United States’ Centers for Disease Control and Prevention (CDC), for example, have been working with Kazakhstani scientists and medical professionals since 1996. CDC has run a program to train epidemiologists in Kazakhstan since 2003 and thus far we have trained 107 Kazakhstanis, many of whom are now in leadership positions in the government’s response to the COVID-19 pandemic. Last year we expanded the program and four of the five COVID-19 vaccines in development in Kazakhstan are being researched in Kazakhstani labs built with assistance from the American people.
OCA: Would you agree that the bilateral relations between the U.S. and Kazakhstan are at their best ever currently? What do you think could still be improved?
WM: Yes, I would agree with that statement. But you’re also correct that in every relationship there can be improvements. It is only because we have such a strong bilateral relationship that we’re able to have frank discussions with each other on difficult topics.
Human trafficking is a good example. The United States knows that we and our partners can never stand still in the fight against modern slavery. For the last two years in a row, Kazakhstan was on the Tier 2 Watchlist of the Department of State list, which means that there are significant improvements which need to be made. We are committed to working with the Government of Kazakhstan to implement key recommendations and make these important changes to stay ahead in this fight, prosecute traffickers, and protect vulnerable groups.
OCA: The culture in Kazakhstan differs markedly from the U.S. What have you learned that might be of interest for our readers who may be from Western countries?
WM: I really encourage your readers to come to Kazakhstan to see for themselves the beautiful country and experience the culture first-hand. While there may be many differences between our two cultures, there are actually more similarities than many of your readers may think. For instance, we showcased in photographs some of the similarities between traditional Kazakh nomadic culture and Native American culture. National Geographic also showed the incredible similarities in culture and landscape between the United States and Kazakhstan in a beautiful exhibition. The United States and Kazakhstan share many traditions from having an open and large countryside – “big sky” country as we call it in the American West.
OCA: What’s the perspective/plans of the U.S for developing democracy in the countries of Eurasia?
WM: A key element of the United States’ Central Asia Strategy is to promote rule of law reform and respect for human rights in Central Asia. Meaningful citizen input, inclusive political systems through elections, transparent policy formulation, rule of law, and respect for human rights make countries more stable and prosperous.
The United States values its relationship with Kazakhstan and will continue to encourage a broadening of opportunities for political participation for Kazakhstan’s citizens, and the free exercise of fundamental freedoms for all the people of Kazakhstan.
OCA: How do you think the recent events in the US around the departure of Donald Trump as president might negatively influence the development of democracy in the Eurasian countries?
WM: In short, it won’t. Despite the violent storming of the U.S. capitol building on January 6, Congress completed its constitutional duty that same day, and we had a peaceful transfer of power on January 20. Democracy can be difficult, and it can certainly be messy, but our country has also demonstrated its resilience.
There are always some adjustments and changes in every new administration, however, we have had a strong relationship with Kazakhstan now for 30 years and that will continue.
OCA: How do you think the confrontation between the United States with China and Russia might affect Kazakhstan?
WM: The United States was the first country to recognize Kazakhstan’s independence, and the United States and Kazakhstan have enjoyed 30 years of co-operation and partnership. We continue to value this partnership and close relationship. Nothing will change that. Our policy is to ensure that the nations of Central Asia have the freedom to choose from a variety of options and partners in pursuing their own national interests.
Regarding Russia and China, President Biden has been clear that we will seek co-operation when it is in the interests of the American people – it’s not just about “confrontation.” At the same time, we will not be shy about speaking up when we see other countries violating the rights of their own people, using chemical weapons, engaging in unfair trade practices, and other behaviors harmful to international security. I am proud of the open relationship we have with Kazakhstan, which allows us to discuss regional and global issues frankly. We also seek to improve the region’s connections to the global economy so Central Asian nations do not have to depend on any one country for trade and development.
Vladimir Zhirinovsky is no stranger to controversy. The founder of the Liberal Democratic Party in Russia, he has been involved in politics and public life for most of his career. A fervent Soviet Union idealist, whose magnus opus, “The Last Break Southward” set out in no uncertain terms that he felt the only solution for the Russian nation was for Russia’s reach to extend to the shores of the Indian Ocean and the Bosphorus, Zhirinovsky is known for his view on how traitors of Russia should be dealt with. He has run for several presidential elections, infamously promising voters that if he were elected, free vodka would be distributed to all and that his presidency would in effect sum to a police state. Now 74, OCA magazine caught up with Zhirinovsky to see whether the pandemic had changed any of his views.
OCA Magazine: You were born in Almaty in what is now independent Kazakhstan. Do you feel any affinity to your birthplace?
Vladimir Zhirinovsky: Of course, this is my homeland. Unfortunately, now I can’t even go there on a private visit, because the Kazakh authorities do not allow me to do so. This attitude towards Russians was the reason I left Kazakhstan at the age of 16. I understood then that the priority in employment, culture, and in everyday life is for Kazakhs only. Russians are now treated as second class citizens.
OCA: Please tell us a bit about your background and how you became involved in politics?
VZ: Since childhood, I stood up for my opinion, defended my rights, and argued with teachers. All my life up to the age of 43 was trying to participate in one way or another in public life. But it was only possible in 1990 finally to switch to party work.
Back at school, I actually wrote a letter to Brezhnev with a proposal on how to improve the economy through agriculture. In the USSR, they sold potatoes of terrible quality for a very cheap price. I suggested, well, let’s raise prices by 30% – people won’t notice it – and the quality of the product will increase. Or bread, it was also sold for a penny and used to feed livestock. The quality was poor. But I was just reprimanded for this anti-Soviet fabrication.
OCA: In 1991 you founded the Liberal Democratic Party, which became the first officially sanctioned opposition party in the Soviet Union. What was behind the founding of this party and what were its aims?
VZ: Parties are the central element in public policy; they form the managerial skills, they develop ideas and programs, they represent the voice of the people. So, I always wanted to be a party member. I tried several times to join the Communist Party of the Soviet Union, but they didn’t accept me, because I was not ready to just keep silent and always vote “for”.
In 1977, I participated in an attempt to create an underground party but failed. The police arrested several participants in a safe house, and I only narrowly escaped. In 1988, out of curiosity, I attended the congress of Valeria Novodvorskaya’s Democratic Party. I was invited to speak and was even elected to the leadership. But I turned this offer down because I already understood then that these people were radicals. They wanted to fight not for power, but against the country, to destroy the Soviet Union.
I met many future like-minded people there who, a year later, persuaded me to lead a new party – the future LDPR. Our first meetings were held in December 1989, and then at the founding congress in March 1990. In May 1991, the LDPR nominated me as a candidate for the presidency of Russia, and the Supreme Council of the RSFSR supported me. As a result, I – a simple lawyer who had nothing to do with the country’s leadership – took 3rd place. 6.2 million people voted for me. It was a sensation. Two and a half years later, the LDPR won its first seats in the State Duma.
OCA: You came under criticism from Western commentators at the time as being a living embodiment of authoritarianism and militarism in modern Russia. Why do you think your politics led to this portrayal and how close to the truth is it? Do you ultimately believe in democracy or another form of government?
VZ: After our victory in the State Duma elections, Deputy Prime Minister Yegor Gaidar, in a conversation with US Vice President Al Gore, called us fascists, because we were against the dissolution of the USSR. Although in reality everything was the opposite. LDPR at that time was the main moderate, centrist party. We avoided any extremism. On the one hand, we accepted the transition to a multi-party democracy and admitted the need for economic reforms, but we proposed to do this gradually: 1% per year and only in the service sector, not in the heavy or extractive industries.
Even today I have a strong allergy to any encroachment on the territory of the country. Why on earth did we fall back to the borders of the times of Ivan the Terrible in 1991? Hundreds of thousands of Russians died for these lands. We haven’t conquered a single kilometre! All national outskirts either themselves asked for the protectorate of Russia, like Georgia or the modern Central Asian republics, which were threatened by southern neighbours, or became part of Russia under international agreements.
OCA: If you were to run for president again, on what basis would you run and how would you change things in modern Russia today? How would you look to strengthen the relationships with former Soviet Union countries?
VZ: One of the main transformations that I would carry out would be to cancel the division of Russia into regions along ethnic lines. In Russia, which is itself a republic, there are other republics that are indicated in the Constitution as independent states. How is this even possible? This is the legacy of the vicious Soviet system. The Bolsheviks needed to divide unitary Russia into national parts in order to prove to the world that it was not one country that adopted Communism, but many different ones united in a union. This laid a terrible mine under our statehood, and this mine exploded in 1991, when the USSR cracked under the artificial borders. 14 new states were formed! Not one of them ever existed within such boundaries.
Regarding the policy towards neighbours, it is necessary to initiate a referendum in all post-Soviet countries: are you ready to return to Russia with the rights of national autonomy? I assure you that the majority would support this proposal, and we would all live richer and better lives, because most of the industries in the CIS countries are focused only on each other.
OCA: The poisoning and subsequent arrest of Alexei Navalny has been well-publicized in the media recently. He too leads an opposition party in Russia. Given your experience of being in opposition, how do you assess the current situation relating to Navalny? Can a true opposition party exist in modern Russia and if so, how should it conduct its politics?
VZ: Navalny is an enemy of Russia. His slogans are beautiful: freedom, democracy, the fight against corruption, etc. But what is behind them? An open fight against Russia itself is in the interests of Western governments. It’s no secret that Navalny is initiating US and EU sanctions against Russia – he openly calls on the European Parliament and Congress to implement them. Imagine if a British politician demanded sanctions against Britain. How would citizens react to that? Almost everything that Navalny participates in is somehow connected with the governments of other countries.
He felt ill on the plane, Russian doctors saved him, the government, at the request of his wife, gave permission for an emergency trip to Germany for treatment, where he was fully supported by the state as a “guest of the chancellor.” Then he recovers and immediately accuses Russia of being poisoned with combat poison! There is a lethal dosage – thousandths of a millilitre. If he was poisoned on an airplane with such a substance, all the passengers would be killed. And Navalny supposedly survived. At the same time, Germany refuses to provide at least some evidence of poisoning.
OCA: How do you see the outcome of the US presidential election, removing Trump from office, as influencing US-Russia relationships in the near term?
VZ: This is some kind of legal absurdity. American-style legislation. Democrats are trying to dismiss a man who has long been retired. The Bolsheviks did about the same in our country at the beginning of the 20th century; they executed the tsar and persecuted everyone who doubted the new policy. Nevertheless, I do not think that under Biden, relations with Russia will somehow deteriorate. The Democrats have already achieved their goal, removing an unwanted president from power, gained a majority in the House of Representatives, and increased their fraction in the Senate. They no longer need the image of an external enemy. Now they are more likely to engage in internal politics, they will finish off internal political enemies. As for the outside, the conservation of America will continue, the withdrawal of troops from other countries, and a decrease in influence.
OCA: The current pandemic has led to numerous challenges for countries across the world? There has been scepticism surrounding the Russian COVID-19 vaccine (Sputnik V). What do you think is behind this and how do you think the vaccine will help bring Russia (and the world) out of the pandemic?
VZ: Our Sputnik V vaccine is by far the best in the world. All research reports were published in the respected international medical publication, The Lancet. The Russian vaccine has a low cost, high efficiency – 91%; it is easy to transport. In Russia, several million people have already got vaccinated, including me and most of the Liberal Democratic Party deputies.
For comparison, the American Pfizer should be stored at -70 degrees! It is much more expensive, and several dozen people died during the tests in different countries. The British “Astrazeneca” was ineffective – it gives only 70% protection and does not prevent infection with new strains, for example, South African. So, of course, we are saving ourselves from the pandemic. Restrictions are gradually being lifted in Russia – This gives us a good advantage in catching up on the losses of 2020.
The global vaccination campaign is underway – it is the only realistic way out of the horrendous impact of the novel coronavirus that struck the world 18 months ago. Fortunately, we have more than a handful of seemingly effective and safe vaccines from the US, UK, Europe, China and Russia. It is not possible to overstate the miracle that these have come along so quickly and effectively. Although some have had years of preparations, we are lucky not only that they exist but also that in many cases they seem to be able to be tweaked to deal with the continued emergence of new variants.
There are broadly two categories of countries that exist in today’s world: Those who have controlled the spread of the virus and essentially put up physical barriers and where track and trace systems can be effective (China, Singapore, Australia and New Zealand for example) and those who have lost control of the virus (pretty much every country on earth except a few like Tanzania and Turkmenistan where the governments continue to claim they have been untouched by the virus – despite the former recently losing its President to “Covid-like symptoms”).
There are of course subcategories in this situation – some countries are becoming overwhelmed (such as Brazil), while others are seeing local transmission but are managing to keep things seemingly under control. The Central Asian countries, for now, seem to be in this sub-category, even if the real case rates and mortality are likely being under-reported or mis-reported (there have been many more cases of “pneumonia” than usual). Of course, these governments are used to implementing strict measures that have enabled them to curtail the spread of the pandemic and avoid the tragic human tolls seen among many of their neighbours. But the economies of Central Asia have been significantly impacted. Nearby Russia and China have focused on their own problems first, which leaves Central Asia in a precarious economic position that may give rise to further unexpected social or political instability in the months and years to come.
The world faces a new problem though – vaccine nationalism and inequality are putting up barriers to an effective program to vaccinate the world. Leaders are being slow to recognise that until the world is vaccinated, new variants will emerge to haunt them. The Economist put out a haunting map showing that Central Asia will only be vaccinated from later 2022 to early 2023. COVAX is helping, but distribution is challenging – for example, Kyrgyzstan has stated a lack of funds for the cold storage chain required for Pfizer thereby limiting vaccine options it can employ.
With the US and EU being extremely protective on vaccines for their populations first, Russia and China have an eye to vaccine diplomacy and influence in Central Asia. Russia is constantly projecting the superiority of its vaccine, Sputnik V versus those of the West. China’s one dose, fridge temperature vaccine (Cansino) will be tempting, but countries like Kazakhstan are seeking to have alternatives, agreeing to produce Sputnik V locally as well as developing their own vaccine. If the UK/EU spat currently playing out teaches us anything, it is that security of supply comes from diversity of supply. But with diversity comes the risk that diplomacy will not shroud the disappointment from some actors to see that their product is being at best shared with and at worst shunned for a competitor. Central Asia is clearly emerging as a key arena for the continued Great Game of influence channelled through the barrel of a needle.
Hertfordshire Press, a leading British publishing house, in cooperation with the Embassy of the Republic of Kazakhstan in the Slovak Republic and the national company Kazakh Tourism, published one of the first books about Kazakhstan in the Slovak language called “101 zážitkov z Kazachstanu” (101 experiences from Kazakhstan). “101 zážitkov z Kazachstanu” is a vivid photo album and a kind of tourist guide that reveals in detail the origin and traditions of the country from ancient times to the present day, presenting people, architecture, interesting cities, amazing nature, mountains, and lakes full of beauty and numerous attractions.
For thousands of years, Kazakhstan has been a meeting place for civilizations, located in the very centre of the Great Silk Road. Today it is a country with a rapidly growing economy, a stable political system, and unique culture in the Eurasian region.
“The book was published at the height of the COVID-19 coronavirus pandemic when it had been strange even to think that humanity would ever be able to return to normal life again, an integral part of which is traveling, discovering unknown places, meeting new people, and gaining new experiences. Nevertheless, as more and more news pour in from different parts of the world about progress in the development of vaccines against coronavirus this gives us hope that, in fact, a possibility of returning to normality is not that far off. This colourful book is a symbol of this hope for a fast return to a normal future. The publication of this book, one of the first about our country in the beautiful Slovak language, provides inspiration, and with it would like to say to our friends from the bottom of our hearts: ‘Welcome to a huge and unique country in the heart of Eurasia!’”
Roman Vassilenko Ambassador of Kazakhstan to Slovakia
The book 101 zážitkov z Kazachstanu clearly proves that Kazakhstan is one of the richest countries in Central Asia in terms of natural beauty, which everyone should see with their own eyes. Famous places attract guests with emerald green pine forests and kilometres of stunning canyons, and the mountains are not only fascinating with their massiveness but also allow one to experience many adventures at any time of the year.
Having opened the book, the reader is instantly carried away to the land of the Great Steppe and with each “experience” one will find out more about the hospitable atmosphere of the largest country in Central Asia, learn about its architecture, monuments, nature, people, and cuisine. Of course, reading the book is only the first step towards experiencing a genuine experience, and the book’s publishers hope that it will encourage readers to visit Kazakhstan in person. The book “101 zážitkov z Kazachstanu” is part of the successful Discovery Digest book series, which already includes such books as “100 facts about Kyrgyzstan” “Cuisine of Central Asia”, “100 facts about Kazakhstan”. A unique new book, prepared by the Embassy of Kazakhstan in Slovakia, world-renowned experts and some of the best photographers, has been published in 1,000 copies and is distributed by the Embassy of Kazakhstan in Bratislava.
As I entered the hotel room in Windsor and turned on the TV, I was pleasantly surprised to see our handsome compatriot, Arthur Abraham, on the TV screen. Arthur Abraham (Avetik Abrahamyan) is an Armenian-German professional boxer, born in 1980 in Yerevan. The next day I visited Tate Modern, and when I saw “Garden in Sochi” by Arshile Gorky on the wall, I felt as if I was just greeted in Armenian. Gorky (Vostanik Adoian) moved to the US in 1920 and became one of the 20th century’s most outstanding American painters, and a seminal figure in Abstract Expressionism.
There aren’t that many Armenians in Britain. Still… a person like Calouste Sarkis Gulbenkian can reveal more about his nation than millions of other talented people. Gulbenkian (1869-1955) was a renowned Armenian businessman and philanthropist of British nationality. He played a major role in enabling access for Western companies to the petroleum reserves of the Middle East and is credited as the first person to exploit Iraqi oil.
Another example of a British person of Armenian descent is Andrew Clement Serkis, born in 1964, who is a prominent English actor and film director. His father, Clement Serkis (originally “Sarkisian”), was an Iraqi-born Armenian. Serkis has received many awards, including the BAFTA Award for Outstanding British Contribution to Cinema in 2020.
Sarkisian is a lucky surname for a film career! It was proved by Cherilyn Sarkisian, a Hollywood star and an American-Armenian singer, actress and television personality. She visited Yerevan in the 90s, when the country was in a dire economic situation, and her visit was cheering for us. Another superstar, Kim Kardashian, followed in her footsteps and, together with her husband and sister, visited Armenia in 2015 to commemorate the victims of the 1915 Armenian Genocide.
The USA has a vast Armenian Diaspora. William Saroyan, winner of the Pulitzer Prize and other prestigious awards, is a vivid example of an American-Armenian, born in 1908 in Fresno to immigrant parents. Saroyan wrote extensively about Armenian immigrant life in California. American-Armenians reside mainly in California, although there are large Armenian communities all over the country. Los Angeles is home to the largest and richest Armenian community in the world. There are Armenian neighborhoods around the city, an Armenian TV channel, newspapers and magazines, dozens of Armenian churches, and a couple of MPs officially representing their interests in the government.
Another outstanding American-Armenian is the legend of the world of business, «The Richest Man in California» Kirk Krikorian (1917-2015), who founded the Lincy Foundation in 1989 in response to the devastating Spitak earthquake.
As for Europe, there’s been an Armenian presence almost since the beginning of European civilization. The tragic opera «Poliuto» (based on Pierre Corneille’s play «Polyeucte») by Donizetti was performed in the world’s best opera houses for several centuries, and is dedicated to the life of an early Christian martyr, Armenian prince Saint Polyeuctus in circa 259 A.D.
There was a myriad of Armenian emperors and generals in Byzantium. One of the better known is Basil the Great (867–886), an emperor of Armenian origin, who established the Macedonian dynasty. As for Greece, Armenians have been “insiders” there since prehistoric times.
One of the major centers of Armenian culture in the world is Saint Lazarus Island, a small island in the Venetian Lagoon, which was founded by Armenian Catholic monk Mkhitar in 1717. The island was a favorite destination for Lord Byron, who frequently visited the island since 1816, and became acquainted with Armenian culture, studying the Armenian language there.
France became home for numerous refugees from Western Armenia after the 1915 Armenian Genocide. Those events are reflected in a thrilling film , “Mayrig”, directed by the talented Henri Verneui (Achod Malakian). The Armenian community in France is very active and well-organized, maintaining a genuine connection with Armenia. They include the prominent musician Charles Aznavour, talented artist Jean Carzou (Garnik Zulumyan), and Michel Legran (his mother was of Armenian descend): those people have become legends of world culture. Recently, we learned about new “Achievements of Armenians”: Anouch Toranian (Socialist Party) was elected the head of the 15th arrondissement of Paris, and Jeanne Barseghian (Green Party) was elected mayor of Strasbourg: both are ambitious and talented women with an impeccable reputation.
As for the Middle East, Armenians are considered almost indigenous there and traditionally enjoy great respect in Arab society. What about the Armenians in Turkey? The Armenian community in Turkey has survived, and they consider themselves as an indigenous people of the country, remaining devoted to their roots. A brilliant representative of the community is Garo Paylan, a Turkish politician of Armenian descent. He is a Member of the Grand National Assembly of Turkey for the Peoples’ Democratic Party representing Diyarbakir. He became one of the first Armenian members of Turkey’s parliament in decades.
Armenians in Russia form part of a unique epoch in the history of Armenian nation. The incorporation of Eastern Armenia into the Russian Empire in 1828, after a long Persian rule, gave a powerful impetus to the development of the nation, and underpinned the formation of an independent Republic of Armenia. By the decree of Catherine the Second, Armenians from the Crimea were resettled to the Don steppes in the southern borders of the Russian Empire, still undeveloped at that time. Since then, Armenians of Rostov and Krasnodar Krais and the North Caucasus have been considered an indigenous ethnic group. They’ve preserved their language, traditions, and links with their historical homeland Armenia. Ivan Aivazovsky – the legend of Russian Fine Arts, Agrippina Vaganova – the legend of Russian ballet, and Alexander Mantashyan – the legend of Russian oil business among other Armenian oil tycoons.
Time will not permit a mention of all famous and renowned Armenians of the Soviet Union. But a few are worthy of recognition:
Anastas Mikoyan was the second person in the USSR government with his indisputable contribution to the resolution of the Caribbean crisis in 1962. Gevork Vartanian was a Soviet intelligence officer. He and his wife Goar Vartanian were among those in charge of thwarting the notorious Long Jump Operation, concocted by Adolf Hitler and led by Otto Skorzeny, which attempted to assassinate Stalin, Churchill, and Roosevelt at the Tehran conference in 1943. Ivan Bagramyan was a prominent military figure, a Marshal of the Soviet Union. Armenian academician Abram Alikhanov (1904 -1970) was one of the creators of the first Soviet atomic bomb, and his brother Artem Alikhanian, alsonuclear physicist, academician (1908-1978), was the founder of Yerevan Physics Institute. Aram Khachaturyan was a renowned Armenian composer and Viktor Ambartsumian was one of the 20th century’s top astronomers.
Apart from the stars listed above, there is an actual star in the sky with an Armenian name. Itis Asteroid 3027 that was named «Shavarsh» after Shavarsh Karapetyan – a multiple medallist of diving championships and a genuine Prometheus of the late 20th century, who saved dozens of lives from certain death three times in his lifetime. Today he resides in Moscow.
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Text by Yelena Aslanyan, translated by Astghik Melik-Karamyan
In Moldova the term Divin (distilled wine) is used to denote a local cognac made by the classical French production process (a method of double distillation of wine in Charentais pot-stills) with obligatory ageing in oak barrels. Since the term cognac is copyrighted by the French, no other nation has a legal right to call its product by this name, so the word divin has become a Moldovan synonym for cognac. The word divin has double meaning: in Romanian and French languages it means divine. Yes, the pun is intended, but how did this product end up so far from its ancestral home?
Wine Origin
Moldova sits in the South-East of Europe, its shape on the map ironically resembles a bunch of grapes, and, suitably, it has over 100 thousand hectares of vineyards with more than 50 grape varieties growing there.
The viticulture and the winemaking on the lush banks of the Dniester exist from immemorial times. It is not possible to know who was the first to bring the vine onto this fertile soil, but the historical mentions of grapes being frown in this region can be found in many sources. Legendary Odysseus, setting off on his journey, had taken good wines with him. In the same poem by Homer an eleven-year-old vine is mentioned. But where had Odysseus headed? In one of his voyages he reached the banks of the river Tiras (which the ancient Greeks called the Dniester).
It was probably then when the vine and the wine first made it onto the territory of present -day Moldova, approximately in the 8th to 6th centuries B.C. At that time, the left-bank of Transdniestria was partly under Greek colonization, and was coupled with an intense settling of handicraftsmen. However, the Greeks had not come into an empty place. Before the settlement in the Black Sea coast area they had already known the local territory – in the second millennium B.C. they mentioned them in their myths.
By the time Odysseus arrived at the Black Sea coast area, the Scythians had already established their empire. Ancient Greeks used to dilute wine with 2/3 parts of water, but having become acquainted with the Scythians, they were surprised that the latter drank undiluted wine. After that some Greeks began to adopt the Scythian custom at home.
After the formation of the Moldavian Principality in 1359, new European varieties of grapes were introduced, autochthonous varieties, and high quality wines were created in landlord and monastery estates. Wine became part of the Holy Communion and a religious symbol.
At the beginning of the 19th century, Russian aristocrats made a fashion out of cultivating vineyards, where they grew the best foreign and indigenous varieties of grapes with the help of experienced specialists from France and Germany. Several wine microzones with remarkable potential were developed: Camenca, Purcari, Lapusna, Bulboaca, and Romanesti. Moldovan wine turned out to be prestigious at the Tsar’s residence, as well as in Europe, which at that time was short of wine because of the aftermaths of the phylloxera epidemic.
One of the best known winemakers of the left bank of the river Dniester was the Russian Field-Marshal-General of the second half of the 18th – early 19th centuries, Prince Peter Wittgenstein, Count Zey von Berleburg. Having settled in Camenca (Transdniestria), he created an industrial vineyard there – the best European vines were brought from France and from the banks of the Rhine and planted on the terraces on the slopes of the surrounding hills. The success of Prince Wittgenstein, who was the first in the region to successfully develop viticulture and winemaking on a scientific basis, found followers among the large farmers and landowners of Moldova.
Wine Spirit
At the end of the 19th century several industrial enterprises specializing in the production of wine-distilled spirits were established. These were six major distilleries in Calarasi, Lapusna, Chisinau and Tiraspol, and a few small houses. During the WWI and the Civil War only three distilleries remained. Factories were plundered, deserted and burned to the ground. The restoration of the main plants of the industry took decades.
In 1937 in the magazine “Red Basarabia” there was an article, “Winemaking in Moldavia in the third five-year-plan”, which read: “In 1934 in Moldavia an independent wine trust is founded… A large part of Moldvintrest products are taken out far beyond Moldavia… A large conveyor is put into operation at the Tiraspol winery & distillery…”
But the updated and reconstructed factories were not given the opportunity to put their plans into practice. WWII erupted and after the War Moldovan manufacturers focused their efforts on increasing production of varietal wine-distilled spirits in order to improve the quality of their young and fine divins.
By 1970s four distilleries in Tiraspol, Chisinau, Balti, and Calarasi were producing approximately 10 million liters of divins in total, thus giving Moldova the status of one of the leaders in industry among the Soviet republics.
Since 1996 Moldovan brandy has officially been named divin – it is not just a product name, but also a national brand, a Protected Geographical Indication. Nowadays there are over a dozen manufacturers of divins, made by a classical production process from wine-distilled spirits aged from 3 to 60 years.
What attracts amateurs and connoisseurs of noble drinks the most? Divins feature a golden to amber color, a complex and refined flavor with floral and fruity vibes, and a velvety and rounded palate. What makes these beverages so special is that each blend contains spirits made both from French varieties of grapes and local Moldovan grapes. Divins are inimitable masterpieces with a subtle national trait so valued by consumers in the countries of the CIS, EU, Africa, America, and Asia.
Text by Oleg M. Baev, D.Sc., professor, is the Director General of the Tiraspol Winery & Distillery KVINT. He started his career at this factory in 1967 as an ordinary worker in the wine-blending cellar. Oleg Baev is the author of divins “Tiras”, “Victoria”, “Tiraspol”, “Suvorov”, “Prince Wittgenstein” and more than a dozen other strong alcoholic beverages. He wrote several books on oenology and viticulture.
250km/h, speed of Uzbekistan’s finest train, the Afrosiyob
The early morning sun shone definitively through the dust-covered, weathered window pane, as our train trundled through a landscape of hillside foliage. We were on a journey from Uzbekistan’s capital, Tashkent towards the great Silk Road city of Kokand, now the perfect introduction to the Fergana Valley region.
Spending time on the rails in Uzbekistan uncovers simple, pleasurable rides through unoccupied desert, vast plains and perky greenery (once you’ve arrived deep in the eastern parts anyway). An opportunity outside of bazaars, cafes and parks to experience the thoughtfulness, generosity and humour within the country. A relaxed approach to reaching your destination, mixed with the unique hustle, liveliness and charm which Uzbekistan so often offers.
To travel by train in this landlocked region is to follow the route passed by caravan camels of bygone days. Evoking a sense of nostalgia from adventurous travellers and entrepreneurs riding to the rhythm of the land in search of trade and triumph. It’s easy for your imagination to drift to such scenes, especially when on a journey between two ancient cities, such as Khiva and Bukhara, where the vast terrain still dictates so much. Even with modern day travel, this delightful trip across the Kyzylkum Desert takes almost 7 hours, plenty of time to daydream over the spirit of the Silk Road.
Whilst most corners of Uzbekistan are accessed by the more traditional style trains, technology is advancing with the triumphant Afrosiyob, a Spanish-built beauty invigorating train travel through the country at speeds of 250 kilometres per hour. A journey on-board will whisk you between Tashkent and Samarkand in an impressive 2 hours, bringing capital city and cultural charmer closer than ever before.
Being reminiscent of travel and trade is embedded within the region, and such that journeys of 2 or 7 hours may not be enough for your adventurous soul once your feet are firmly on this historical ground. The answer is a sleeper train experience, whether that’s across the entire country with Tashkent to Khiva, or even a border-crossing venture between the capital cities of Uzbekistan and Kazakhstan (a wondrous 16 hours overnight journey).
Rolling forward, they’ll be more sun-drenched journeys through Uzbekistan; unforgettable window views, long chats in the dining car, private cabins with stretched out naps, and new cities awaiting our enthusiastic arrival. If you’re in the mood for more transport tales, then do read our Tashkent Metro article.
Text by The Central Collective (https://www.cencollective.com/)
Kazakh literature has been presented to British audiences for almost two centuries, but only recently is it really starting to get noticed. Great literature, old and new is coming to the surface of the literary world and with it bringing renewed interest and engagement. One such famous writer is Abai, and many researchers have dedicated their life’s work to his broader recognition.
British people started to learn about the existence of the Kazakh state thanks to the efforts of the first Kazakh scientist, historian, ethnographer, folklore, geographer, and artist, Chokan Valikhanov in 1865. As one of the authors who presented such information, Valikhanov opened the door to the wider world and his works can today be found in the British library.
The valuable contribution into the introduction of the Kazakh Culture to the British people was the house of Abai that opened in 1995 in London, thanks to the efforts of talented Kazakh writer, Rollan Seisenbayev. This year is the 131st studying period (1889-2020) of Abai and the Kazakhs are naturally very proud of Abai Kunanbaiuly.
I consider, Abai to be unique with his specific peculiarities as a coach and tutor of all humans and the ideas of the group of “Abaeologists” help us accept him more confidently as he deserves to be distinguished among world celebrities. While surveying the long discovery thoughts on Abai’s works, I have found revolutionary attempts to portrait him as a phenomenon, but five such researchers stand out.
First, Mukhtar Auezov, a well-known writer, whose novel “The Path of Abai” has been translated into 114 languages. Although he had discovered the philosophy of Abai’s “Holistic man”, he was not able to share his ideas properly because of the politics during those years. As we know from history, the earlier efforts of Mukhtar Auezov, who did try to open our eyes to the nature of Abai’s world, the poet’s East was richer than his West.The Eurasian Creative Guild (the UK) have made a significant contribution into the development and popularization of Mukhtar Auezov’s works to the European platform, especially during the cultural week of the ECG dedicated to the 120th anniversary of this great Kazakh writer in October 2017 in London. The ECG literature festival event in Brussels in 2019 was also full of content with cultural programs dedicated to the 175th anniversary of Abai Kunanbayev.
Second, one of the strongest researchers, Professor Mekemtas Myrzakhmet is disappointed with the fact that researchers misunderstood Abai’s ideas for a long time during soviet period. The absence of a system work between Abai research institutions in the country today makes him sad. He has contributed a lot to the opening up of Abai. Professor Myrzakhmet points to the rude mistakes in the old Kazakh history books under the influence of the colonizers and he believes more in the written history of the Turkic people. He explains the meanings of Abai’s poems, as the main goal of Abai to have an “intellectual nation”. While reading Abai, we should pay attention to the deep meaning of every line in his poems and sayings. This is in contract to the large number of “parrots” who just recite Abai without efforts to understand. According to his consideration, the ministries of education and science, culture and sport should collaborate to prepare textbooks on Abai’s “holistic man” and introduce Shakerim’s ideas to encourage students to value them as our national heritage and accept them as spiritual food. Professor Myrzakhmet says that obsession and addiction to power and wealth make the people spoilt, forgetting their cultural upbringing and traditions.
Third, another serious researcher, philosopher, Professor Garifolla Esim insists on analyzing Abai’s ideas through Islamic Philosophy. There clearly pointed directions of Sufism by Yassaui presented in Abai’s “Book of words” are an essential legacy of a nation and it should be valued as an eternal will.
Fourth, a hardworking researcher, Asan Omarov defines Abai as a reformer of Sufism and he presents Abai’s literary period with the correct order. This year, a new edition of Abai’s works by Asan Omarov is seeking a publisher. He proved the correctness of the efforts of the historic Alkei Margulan, connected with 34 poems of “New law” and the collection of Abai added with 20 more newly discovered poems from Omsk archives.
Fifth, the years of independence in Kazakhstan have allowed anyone to obtain sources from Abai and create their own understanding in his philosophy. Well-known economist, Professor Orazaly Sabden, has presented an exclusive program with the right instruments on how to use the “Holistic man” in his book, “The mechanisms of Abai’s edifications realization in the XXI century”. Professor Sabden suggests that the East Kazakhstan oblast should be given the name of a poet, none other than Abai Kunanbayev.
Text by Bakhtygul Makhanbetova
Author’s Note
I have tried to mention some important ideas from the Kazakh literary world to give a general picture. Popular British poet, translator, and composer John Farndon, is currently working on translating the opera “Abai” into English and we hope to enjoy a performance in London in 2021. John Farndon has collaborated with Central Asian authors fruitfully for a long time and his creative tandem with Rollan Seisenbayev presented beautiful results in 2019. I would like to thank other British authors, very talented people such as David William Parry, Caroline Walton, Steven Bland, Nick Rowan, Laura Hamilton, and many others. Big respect and many thanks to the vice–president of the ECG, Marat Akhmedjanov, who has made significant efforts to build the bridge between East and West. I would like to recommend you Herold Belger’s book “Goethe and Abai” edited by David William Parry, to get the full information of the relations of Titans’ spiritual connection through the time like Goethe (1780), Lermontov (1840), and Abai (1892) based on the poem, “ Wanderer’s Night Song”.
Georgia is a land of contradictions, of plenty and of poverty, looking to propel itself into the future by delving into the past. Lingering spectres of the Soviet-era continue to clash against the pressures of modernity as this unique place attempts to shape its identity in the 21st century. As the birthplace of Stalin, an abiding cult of personality centred on the nation’s erstwhile son endures. When officials attempted to remove a statue of Uncle Joe from outside the Stalin Museum in his hometown of Gori in 2010, they met with stiff resistance. When I first travelled to this hospitable, mountainous country in 2014, it was meant to be a one off trip. This flying visit turned into an obsession, though, and over the next six years I’d return nine more times.
The Georgian creation myth encapsulates the nation’s great obsessions: when God was divvying up the world between different peoples, the Georgians were sleeping off a particularly nasty hangover. When they finally awoke, everything was allotted except for a piece of Earth called ‘Paradise,’ which God had set aside for himself. The Georgians beseeched God for a home, saying they were only unconscious because they’d held a supra – the feast literally translated as ‘tablecloth’ – in his honour. Thus, they were given a slice of paradise which others have coveted ever since, forcing them into factional alliances with would be conquerors in order to survive.
Georgia became the second Christian kingdom on Earth after being converted by St. Nino. Born in the year 280AD, according to most accounts, Nino hailed from Cappadocia and was a relative of St. George, the patron saint of Georgia. Legend tells how the Virgin Mary appeared to her, handing her a cross made from a grapevine and telling her to go to what the Ancient Greeks called Iberia and spread the good word. Travelling through Armenia, Nino was the sole survivor of a party of 35 virgins beheaded at the hands of King Tiridates III before he converted to Christianity, and the unfortunate nuns were canonised en masse.
Nino crossed into Georgia in around the year 320, purportedly curing Queen Nana of a severe illness and gaining disciples. The queen converted and was baptised by Nino, which so infuriated her husband he threatened to divorce her if she did not renounce her faith. Shortly thereafter, the king was struck blind whilst on a hunting trip, and lost and alone in desperation he beseeched his wife’s God for help. As soon as he mouthed his prayer, a light appeared which guided him back to the palace. Georgia was duly declared a Christian kingdom in the year 327. Nino remains by far the most popular name for Georgian women.
Today, looking over the moss green Mtkvari River in Tbilisi, the new three-thousand square metre Tsminda Sameba (Holy Trinity) Cathedral sits perched upon Elia Hill. A symbol of religious revival, young and old alike engage in kissing the walls and murmuring their approval. With Christianity once more a central facet in the make-up of the national psyche, worshippers flock to sermons throughout the city. At the sixth century Sioni Cathedral, babushkas in long black dresses and knee-length black socks perform the sign of the cross with fervour.
In 2002, Orthodox Christianity was granted special status above all other religions and the church took on a consultative role in government. With 83.4% of Georgians identifying as Eastern Orthodox, in many ways religion has replaced communism as schools increasingly become places of indoctrination. Certainly, inter-religious violence is on the increase. In 2018, the Public Defender’s Office reported receiving nineteen cases of violence based on religious intolerance; this was compared to five the previous year.
Georgia is also the land of wine, the likely birthplace of the holy beverage historically buried to ferment in the clay-rich soil. The nation with the largest diversity of wine in the world, the tradition of the tamada – the toastmaster at feasts – dates back to time immemorial. With evidence of wine consumption dating back to 6,000BC, medieval monasteries were veritable temples to viticulture. A key part of the heritage of Sakartvelo – as the natives call the country – Georgians never took to vodka as the other republics of the former Soviet Union did, preferring their own traditional brew which comes in a multitude of varieties.
From the Gori Region, there is Kartli, from Central Georgia, Tavkeveri rosé fermented with the skin, a sweet and mellow experience. From Kakheti, there is the amber Rkatsiteli, and from Khevsureti, Khevsery wines. According to the proprietor of the Okro Winery in Sighnaghi, there are 537 varieties of grape in Georgia, and for many, it has become their dream. As Manana Zanderashvili, the friendly and accommodating silver-haired doyenne behind her family’s guest house in Sighnaghi told me: ‘Now, we have five vines, but I want to make a great garden, to make a vineyard. I want to see my wine in bottles.’
Since independence, Georgia has seen troubled times: an economic meltdown, revolution and wars both with Russia and separatist enclaves backed by their former overlord, in part caused by rampant nationalism. Despite this, Georgia remains by far the most ethnically diverse nation in the Caucasus. Sometimes referred to as the ‘Mountain of Languages,’ there are a vast multitude of tongues extant in the country, one of which has eight genders, another seventy-six consonants. As Noe Zhordania, the leader of independent Georgia from 1918 to 1921 before it disappeared behind the ‘iron curtain’ asked: ‘What do we have to offer to the cultural treasure of the European nations? A 2,000 year-old national culture, democratic system and natural wealth. Soviet Russia offered us a military alliance, which we rejected. We have taken different paths; they are heading for the East, and we for the West.’ At the time, his entreaties fell on deaf ears, but now, with tourist numbers racking up 31% of the GDP, interest from the West in this fascinating nation is finally on the increase.
The Turkic peoples of Asia are scattered across the continent, but, being 140 million people strong, hold a potentially powerful latent strength. Turkey, as the most formidable of Turkic nations, has a potentially commanding role in any pan-Turkic co-operation. Such Pan-Turkism is not a new idea; indeed, it has its origins in the final decades of the Ottoman Empire. But Pan-Turkism has risen once again in the past thirty years, and now, with Turkey increasingly isolated, Central Asia and the promise of Pan-Turkic friendship may lead to increased Turkish activity in Central Asia in the near future.
Turkey’s affinity with the nations of Central Asia began well before the twentieth century. Their shared ancestors are the Turkic tribes of the Central Asian steppe, who first burst onto the world stage centuries ago. The medieval Seljuk Empire would briefly rule both the modern Turkey and Central Asia during the eleventh century. But perhaps the most important precedent is the Pan-Turkism movement in the final decades of the Ottoman Empire.
Ottoman sultans earlier in the nineteenth century had tried to promote Pan-Ottomanism, using the Ottoman identity as the rallying cry of unity for its diverse population. When the Ottoman Empire continued to decline, a new ruling cadre, the Committee of Union and Progress (CUP), took over during a coup in 1908. The CUP was a strong proponent of Turkish nationalism and Pan-Turkism. In part this was due to the Ottoman Empire being pushed back from Europe, Africa, and the Middle East, and now looking to the final frontier for possible expansion, Central Asia, to establish a great “Turanian” empire.
Yet the Ottoman Empire was a pale shadow of its former self by 1908, and Russia was firmly in control of Central Asia. Pan-Turkism was a potentially powerful ideology, but it failed to gain any serious political success due to Russia’s control and the collapse of the Ottoman Empire in the aftermath of World War I. The new president of Turkey, Mustafa Kemal Atatürk, realized that it was an impracticable idea, and during the long period of Soviet rule in Central Asia it was effectively abandoned.
But when the Central Asian states regained their independence in 1991, Pan-Turkic cooperation and friendship became a possibility again. Undoubtedly, Russian influence in the Central Asian republics remains powerful, and Turkey has readily accepted that situation. Turkey is a significant trading partner and investor with the Central Asian republics, but its economic involvement is far outshadowed by China’s vast Belt and Road Initiative.
Nonetheless, Turkey has silently become one of the most influential states in the region. In addition to its economic trade and aid, Turkey has established cultural and education institutions in Azerbaijan, Kazakhstan, Uzbekistan, Kyrgyzstan, and Turkmenistan. Turkey has promoted the Middle Corridor Initiative, a system of roads running from Kazakhstan through Azerbaijan and Georgia to Turkey, as a modern day Silk Road that China could use to transport its goods to Europe. Overall, there are growing connections between Turkey and the Central Asian republics. The Turkic Council, consisting of Turkey, Azerbaijan, Kazakhstan, Kyrgyzstan, and Uzbekistan, is emblematic of this, as its goal is to foster cooperation between the Turkic states. Central Asia has even offered political assistance to Turkey, such as when the then Kazakh President Nursultan Nazarbayev helped resolve the Turkey-Russia jet crisis in 2015-2016.
But while Turkey has been growing closer to Central Asia since 1991, now is an especially critical time for Turkey to look to the Central Asian republics, sharing many parallels with the CUP looking to Central Asia back in 1908. For most of the twentieth century, Turkey drew closer to Europe, becoming a member of NATO and applying to become a member of the European Union. For almost the last decade, the Turkish President, Recep Tayyip Erdoğan, and his ruling AK Party have pulled away from Europe and Western alliances, instead embarking on ambitious foreign ventures in former Ottoman lands. Turkey has been heavily involved in the Syrian Civil War for the past few years, having Turkish ground troops cross Syria’s borders and fight. Starting in 2019, Turkey became heavily invested in Libya, negotiating a generous (and illegal) maritime agreement with the current Libyan government in Tripoli that nominally grants Turkey broad maritime rights while ignoring Greece’s much stronger claims to the area. Most recently, Erdoğan has been warmongering with Greece. Needless to say, all of these actions, among others, have severely isolated Turkey in the West.
This is why Central Asia is so important for Turkey at this critical juncture. Isolated from its historical allies (and most of the world), Turkey could turn to its Turkic relatives in Central Asia as potential political allies during this period of international isolation. Much like its Ottoman ancestors, who turned to Central Asia when lands closer to home were effectively blocked, Turkey could potentially break the stalemate and its run of damaging foreign adventures in the Eastern Mediterranean through cultural and political engagement in Central Asia.
The original Pan-Turkism died in 1918, but Turkey’s attempts to gain a greater foothold in Central Asia in 2020 have a much better chance of success. The republics are independent, not ruled by Russia. Turkey has actually had close relations with these countries for the past thirty years, rather than simply striking upon the idea. Finally, and perhaps most importantly, whatever modern form Pan-Turkism has taken, it is unlikely to be one premised on actual political union, like the original. Because of its non-political unification approach, this modern Pan-Turkism is perhaps more likely to gain sympathy and support among Turkic peoples in Central Asia.
The potential strength of modern Pan-Turkism has been underestimated, but it has been steadily growing for the past three decades. Now that Turkey is hemmed in politically to the West, it is likely that in the near future Turkish influence will continue to expand in Central Asia and the region will become of increasing significance to the Turkish government.
Text by Michael Goodyear
Michael Goodyear has a J.D. from the University of Michigan Law School and an A.B. in History and Near Eastern Languages and Civilizations from the University of Chicago. He has been published in a variety of academic and general-interest publications on history and law, including Le Monde Diplomatique, The Medieval Magazine, and the Harvard Journal of Sports and Entertainment Law.
[1] Carter Vaughn Findley, The Turks in World History 21-55 (Oxford University Press, 2004).
[2] Id. at 69-70.
[3] Şükrü Hanioğlu, A Brief History of the Late Ottoman Empire 76 (Princeton University Press, 2010).
[4] Id. at 147.
[5] Id. at 147, 179.
[6] Id. at 179.
[7] See Jacob M. Landau, Pan-Turkism: From Irredentism to Cooperation 55-56 (Indiana University Press, 1995).
[8] Id. at 74-75.
[9] Seçkin Köstem, “The Power of the Quiet? Turkey’s Central Asia Strategy,” Italian Institute for International Political Studies (Oct. 3, 2019), https://www.ispionline.it/en/pubblicazione/power-quiet-turkeys-central-asia-strategy-24069.
[10] Alexander Kruglov, “Ankara to Central Asia: ‘We’re All Turks,’” Asia Times (Nov. 21, 2019), https://asiatimes.com/2019/11/central-asia-ankara-seeks-turkic-primacy.
[11] Andrew Chatzky & James McBride, “China’s Massive Belt and Road Initiative,” Council on Foreign Relations (Jan. 28, 2020), https://www.cfr.org/backgrounder/chinas-massive-belt-and-road-initiative. Hanioğlu, A Brief History of the Late Ottoman Empire 76 (Princeton University Press, 2010).
[12] Id. at 147.
[13] Id. at 147, 179.
[14] Id. at 179.
[15] See Jacob M. Landau, Pan-Turkism: From Irredentism to Cooperation 55-56 (Indiana University Press, 1995).
[16] Id. at 74-75.
[17] Seçkin Köstem, “The
[18] See generally Seçkin Köstem, “When Can Idea Entreprenuers Influence Foreign Policy? Explaining the Rise of the ‘Turkic World’ in Turkish Foreign Policy,” 13(3) Foreign Policy Analysis 722-740 (2017).
[19] Bayram Balci & Thomas Liles, “Turkey’s Comeback to Central Asia,” Insight Turkey 11-26, 18 (Fall 2018).
[20] “Turkey’s Multilateral Transportation Policy,” Republic of Turkey: Ministry of Foreign Affairs, http://www.mfa.gov.tr/turkey_s-multilateral-transportation-policy.en.mfa (last visited June 28, 2020).
[22] Murat Yetkin, “Story of Secret Diplomacy That Ended Russia-Turkey Jet Crisis,” Hürriyet Daily News (Aug. 9, 2016), https://www.hurriyetdailynews.com/opinion/murat-yetkin/story-of-secret-diplomacy-that-ended-russia-turkey-jet-crisis-102629.
[23] See Selim Kuneralp, “Turkey-EU Relations: Past, Present – and Future?,” Heinrich Böll Stiftung (May 2, 2017), https://eu.boell.org/en/2017/05/02/turkey-eu-relations-past-present-and-future.
[24] Marc Pierini, “Can Turkey’s Prickly Relationship with the EU Be Repaired?,” Carnegie Europe (Nov. 7, 2019), https://carnegieeurope.eu/2019/11/07/can-turkey-s-prickly-relationship-with-eu-be-repaired-pub-80296.
[26] “Turkey Wades into Libya’s Troubled Waters,” International Crisis Group (Apr. 30, 2020), https://www.crisisgroup.org/europe-central-asia/western-europemediterranean/turkey/257-turkey-wades-libyas-troubled-waters.
[27] “Turkish-Greek Relations Tense Amid Fears of Military Showdown,” Arab News (June 13, 2020), https://www.arabnews.com/node/1689421/middle-east.
AlthoughKazakhstan’s Ambassador to the United Kingdom, H.E. Erlan Idrissov, came from a creative and academic background (his father was a renowned Kazakh journalist, writer, and academic), he chose a very different career path. His father instilled in him the belief in the power of words, spoken, written or expressed otherwise. And words, or rather the art of mastering them, are an essential element of diplomacy. This belief guided Idrissov to where he is today. Educated at the Moscow State Institute of International Relations, which at the time was the cradle of Soviet diplomacy, so started his path of diplomacy. OCA Magazine finds out more about how this particular ambassador is forging ahead despite the global headwinds.
OCA Magazine: Based on your experience, what have been the most successful projects that have strengthened the relationship between the UK and Kazakhstan?
Erlan Idrissov:The two states have been developing their partnership ever since Kazakhstan gained its independence in 1991. The UK was among the first states to recognise Kazakhstan as an independent country and has been our partner ever since. Throughout the years, our main focus has been on commercial and investment co-operation. Today, the UK is one of Kazakhstan’s ten largest trading partners and one of the six largest foreign investors. Over the past 14 years, the inflow of direct investment from the UK to Kazakhstan has exceeded £10 billion.
The Joint Statement on the Strategic Partnership, adopted by the leaders of the two states in 2013, has helped solidify the Kazakh-British relationship even further, including our current work on a new strategic partnership agreement. The state of our partnership is being reviewed annually on a senior political level through the sessions of the Kazakhstan-UK Strategic Dialogue.
The Kazakh-British Intergovernmental Economic Commission is yet another important mechanism that helped institutionalise our bilateral economic dialogue and cooperation. Six meetings of the Commission have been held so far, with the next one scheduled for the end of this year.
There is also the bilateral Business Council co-chaired by Akhmetzhan Yessimov, Chairman of the Board of Samruk-Kazyna National Welfare Fund, and Baroness Emma Nicholson, UK Prime Minister’s Trade Envoy for Kazakhstan. It is an additional effective tool of forging trade and economic cooperation between our two countries.
A great example of our joint success is the Astana International Financial Centre (AIFC) – an unprecedented hub of English common law and best international business practices built in the heart of Eurasia with the help of our friends from the City of London. It has become an important platform for attracting investment, with a full range of relevant world-class financial instruments and services. Investors operate in favourable conditions and with the support of effective institutions, including an independent regulatory mechanism, the AIFC Court and the International Arbitration Centre – all chaired by esteemed British lawyers.
Our cultural cooperation has also been bearing ripe fruit throughout these years. The most recent project was the translation and printing of the two anthologies of contemporary Kazakh literature (poetry and prose). The project was implemented by Kazakhstan’s National Bureau of Translations and Cambridge University Press, which is both the oldest printing and publishing house and the oldest university press in the world.
OCA: What are the main areas of co-operation and relationships that you see between the United Kingdom and Kazakhstan?
EI: As I mentioned earlier, economic and investment cooperation has always been our core focus, but our exchange is not limited to that. We intend to enhance our long-term strategic partnership, spanning the whole spectrum of our relations, including but not limited to trade, investment, digitalisation, education, science and art.
In light of the UK’s vision of a new Global Britain, the goal of developing stronger economic ties with new promising destinations outside Europe is an important priority. Kazakhstan has the potential to become that kind of a partner, with its stable economic and political system, strategic positioning between Europe and Asia, and eagerness to embrace British investment and expertise. We do look forward to seeing our relationship grow from strength to strength in the post-Brexit era.
OCA: How do you think the world will change after the COVID-19 pandemic? What will that mean for your role as an ambassador?
EI: The pandemic has already changed our lives dramatically. Hundreds of thousands of people have sadly died, millions have lost their jobs, homes, or businesses, economies are aching, reserves are drained, and social inequalities have become striking. We have gotten used to the new normal of social distancing, face coverings and working remotely.
It is a completely different world we are living in compared to what it was just seven months ago. COVID-19 has forced decision makers around the globe to re-evaluate everything. In the face of this unprecedented threat, the natural instinct of any government would be to focus on protecting its own economy, healthcare system, supply chains etc. However, the global challenge calls, first and foremost, for a global response. Today, international co-operation and co-ordination, mutual understanding and support are more important than ever. In this new world, diplomats globally need to think of innovative ways to build new bridges and enforce the existing ones, and that is what we are all currently doing.
OCA: The most famous figures in Kazakh culture – Abai Kunanbaiuly and Abu Nasr al-Farabi – celebrate their anniversary this year. What has been planned in terms of events and recognition for them in the UK?
EI: We have already hosted several exciting events to mark the 175th anniversary of Abai Kunanbaiuly and the 1,150th anniversary of Abu Nasr al-Farabi, the great philosopher and scholar of the East. For example, in July the Oxford Centre for Islamic Studies was kind enough to co-host with us an international online symposium on al-Farabi and his legacy. The event gathered scholars from the UK, the US, Germany and Kazakhstan who presented their research on the legacy of al-Farabi.
In a similar vein, Cambridge University Press (CUP) and the Kazakh Embassy have recently co-hosted an online conference, where poets, writers and experts from the UK, Kazakhstan and the US joined a fascinating discussion on Abai’s wisdom. CUP is also working with Kazakhstan’s National Bureau of Translations to translate and publish Abai’s poems and Words of Edification. The project is unique in that for the first time in history, Abai’s writings are being translated directly from Kazakh into English and adapted by Sean O’Brien and John Burnside, both celebrated British poets, to create a very authentic translation. The project is now in full swing, and we are expecting the publication and the official launch later this year.
Abai’s legacy also includes several dozens of songs, which sound dear to every Kazakh heart. So, we decided to introduce the music of the Great Steppe to the English-speaking audience by publishing a separate book of Abai’s songs in English. The verses will be adapted to the music and accompanied by musical scores and QR codes linked to recordings of Kazakh-language performances.
Finally, to commemorate Abai’s anniversary, we also launched The Power of Abai’s Poetry World Challenge, featuring prominent British figures reciting Abai’s poetry, while an online concert later this year will include performances of Abai’s songs by Kazakh and British singers.
According to The Statistical Committee of the Republic of Azerbaijan, the non-oil sector in Azerbaijan accounted for 36.84 % of GDP in 2019. The traditional reliance on oil and gas has triggered the government to invest heavily in non-oil sectors, including transportation & logistics, tourism and agriculture. In the meantime, priorities and tasks were set out by the government in the Strategic Road Map developed by the Center for Analysis of Economic Reforms and Communication of Azerbaijan Republic with the support of McKinsey & Company in 2016.
First change – Oil boom
The first structural change in the labour market was observed after the ratification of the “Contract of the Century” in 1994. In the shadow of entering into a market economy, the world’s major oil companies invested in Azerbaijan in a relatively short time. Oil & Gas (O&G) companies’ high working standards resulted in top down improvement in service quality of contractors, joint-ventures and other entities considering that O&G sector was the core player of Azerbaijan’s economy at the time. A high standard business culture in the upstream contributed to local businesses’ culture positively, and accordingly affected leadership development in every sector. This first cycle of change that Azerbaijan experienced is largely explained by external factors.
Second change – External factors with internal motivation
Azerbaijan’s economy “scored” the maximum points that can be reached with “easy money” based on natural resources. The post-oil era economic conditions made Azerbaijan start the change process once more through external factors, however, this time combined them with internal motivation. This time change occurred bottom up – now change is wanted by individuals and entities which is much more complicated and painful. This cycle of change needs a methodological approach in every dimension of governance and is associated with effectiveness, sustainability, productivity and competitiveness. In this stage, it is observed that organizations start to limit foreign labour to minimum numbers and start to develop national leaders – this was taking place in 2013. Especially the O&G sector approved nationalization strategies and developed leaders who now work both in local and international labour markets. However, it failed to show the same results in other sectors, which is a “red flag” for sustainable labour market development.
Transformation of the governmental leadership
The devaluation of the national currency against US dollar caused by the recent oil price collapse and more recently the COVID-19 pandemic period has once again showed that Azerbaijan is only in the preliminary stage of diversification of its economy. This has forced Azerbaijan to experience a “rejuvenation” in the government sector, which has resulted in more sustainability, diversity, transparency, adequacy, and participation in the decision-making process. On 4th June 2019, the Cabinet of Ministers of Azerbaijan approved a procedure for evaluating the effectiveness of the activities of legal entities where the controlling stock belongs to the state. The Yukselish competition (“Career growth”) was established by the order of President Ilham Aliyev, and signed on 26 July 2019, with the aim of identifying and supporting promising highly intellectual executives with managerial qualities and ensuring the creation of a reserve pool of personnel resources in the country. Very recently, on 20 August 2020, the President of Azerbaijan Republic appointed the Head of Board of recently founded Azerbaijan Investment Holding to manage the state-owned companies more effectively under one umbrella – this is another indicator for adequate mindset and leadership competencies needed in the country.
How the executive market in the private sector was affected
It is crucial for all type of organizations to assemble the right combination of talent, especially to strategic and leadership positions, since vision comes from top down. On the contrary, a significantly important portion of Azerbaijan’s businesses consists of family businesses or businesses constructed on politically exposed persons that resulted in poor leadership competencies. These businesses struggle with empowerment of managers on key strategic roles usually without any relevant competencies. According to the Harvard Business Review, 90% of family businesses fail by the third generation. To escape from this, businesses need to raise productivity, which means accordingly having the right set of competencies in leadership positions.
As an executive search company operating in Azerbaijan we see many educational examples over time. A recent client requested a chief executive from Turkey to win over competitors. This allowed them to bring the accumulated industry knowledge, localize it rapidly and implement it in the market with ready strategies without “trial and error”. In 2017, a local digital company also could not find a General Director in Azerbaijan with 20+ years’ experience, leadership skills and industry knowledge in the digital sector, therefore they changed their mind to search non-local executives. The same trend is being observed in many production areas. The most recent client needed an interim manager from a European country because of the 200 years’ tradition of the target country whereas Azerbaijan doesn’t have enough experienced leaders. All the mentioned examples indicate to the lack of either experience, industry knowledge in scale or leadership skills.
Conclusion
This article is not constructed on the opinion that, Azerbaijan does not have world-class executives. The author also would not deny that, Azerbaijani executives especially in telecommunication sector, O&G industry, or financial professionals who worked in international audit companies, are very competent in both local and international markets. The idea of this article is to point out that Azerbaijan is experiencing change, however, the executive labour market is not developing according to the speed of this change to meet the demand. The government of Azerbaijan is aware of this gap coming from Azerbaijan’s rapid transformation to real competition, but the main agenda of the government is to diversify the economy. Private sector tends to request local headhunting services or bringing executives from abroad which comes from their nature to react with agility.
The main point of this article is to stress the fact that, government of Azerbaijan should take serious actions to focus on local leadership development strategies, which will take the country to the “next level”.
Text by Dayanat Ahmadov, Boyden Azerbaijan, Partner PhD Candidate
This year marks 30 years since the establishment of twinning relations between the cities of Shymkent and Stevenage. As part of the strengthening of educational and cultural relationships, as well as the development of bilateral cooperation between cities, at the initiative of the publishing house “Hertfordshire Press” the book “City Blooming for 2200 Years”was published this year. The book is about the history and formation of the third megapolis of Kazakhstan – the city of Shymkent. This book, in chronological order, tells the story of the formation and development of a modern metropolis from the heart of true patriots, historians and ethnographers who are in love with their homeland.That’s why this year Hertfordshire Press in cooperation with the city of Shymkent released the first English edition of the book “City Blooming for 2200 Years”, which was presented on the Zoom platform this Monday.
The presentation was attended by: the Mayor of Stevenage – Jim Brown, Deputy Akim of Shymkent – Maksut Pernebaevich Isakhov, Head of the Tourism Department of Shymkent – Olzhas Maratovich Shintayev, Head of the Marketing Department of the Tourism Department of Shymkent – Zhanar Sharipovna Makhazhanova, Chairman of the International Information Committee of the Ministry of Foreign Affairs of the Republic of Kazakhstan – Askar Sauytbekuly Abdrakhmanov, First Secretary of the Embassy of the Republic of Kazakhstan in the United Kingdom of Great Britain and Northern Ireland -Rustam Amankeldyuly Tazhenov and director of the publishing house “Hertfordshire Press” in Great Britain – Marat Ismailovich Akhmedzhanov.
At the meeting, warm words were said from both the Stevenage City Hall and the Shymkent City Hall, and the book was presented by Marat Ismailovich, Maksut Pernebayevich and Olzhas Maratovich. The Shymkent City Council highly appreciates the close relationship with Stevenage and has always remembered the 30th anniversary since the company was founded back in 1990. Shymkent City Hall always fondly recalls the
visit to Stevenage in 2015, during which the city celebrated its 25th anniversary. Taking into account the huge potential of both cities, the two sides of the mayor’s office consider it essential to continue work on the formation of cooperation in the field of education and culture in order to enhance the sustainable development of the twin cities.
A young artist working in partnership with the publishing-house, Hertfordshire Press (UK), has published the “Elish and the Wicker Tale” comic book, intended to support children with autism. ISBN: 978-1-913356-19-4
What unites people from all over the world in spite of the nationality, religion and the language? The fact that we all were children and we all have some memories from childhood, that will be in our hearts forever. Maybe that is the reason why we say “Children are flowers sown by god in the garden of life”, because children always take and will take important places in our lives. And it doesn’t matter whether the child is a little bit different. The comic book “Elish and the Wicker Tale” was created by a student from the London Film Academy, Timur Akhmedjanov. It is based on the original book of Azerbaijanian writer and child psychiatrist, Kamran Salayev. The main feature of the comic, as well as the book, is that it is dedicated to children with autism and highlights their social problems.
“For many suffering ASD, the biggest problems are often not being understood – and not understanding yourself. That’s why ‘Elish’ is such an amazing project. This series of comics, based on the children’s book, ‘Elish and the Wicker Tales’ by Kamran Salayev, uses the simplicity and visual impact of cartoons to break through the barriers that often confront autistic children when faced with a sea of words” – the 12th Earl of Portland, actor, Tim Bentinck. The project’s main aim is to attract the community’s attention to children with autism. The publishing of the comic became possible due to a crowdfunding campaign on Indiegogo. More than 220 people from 25 countries supported the project, among these people are musicians, writers, public figures, diplomats from Kazakhstan, Belarus, Russia, Turkmenistan, Uzbekistan, Kyrgyzstan and other kind hearted people.
The comic book is now available for pre-orders on the online bookshop. A part of the proceeds from book sales will go to support organizations, which help children with autism. “And so we bring you to the story of Elish, a boy who spends all his spare time making wickerwork baskets. He is an artisan in the true original sense of the word, yet not always appreciated by the wider society. It is always important for your life to serve a higher purpose as you grow up. And I hope that more people continue to adopt the ways of Elish as the world continues to change and these skills are needed more than ever”- jazz musician Matt Savage. To gain more readers and supporters, during upcoming months there will be roadshow in different countries and online-presentations of the comic and the original book as well. One of the presentations will be on November 29th 2020. As well as this, the Hertfordshire Press publishing house is now working on the translation of the comic to Russian, Kyrgyz, Kazakh and Azerbaijanian languages to introduce more people to the work and to important social problems.
pre-order on Discovery Bookshop Timur Akhmedjanov is a student of London Film Academy, originally from Uzbekistan. Currently he lives with his family in Rugby, Warwickshire. Growing up in a creative and well-travelled family has inspired him to become a member of the Eurasian Creative Guild (London), as well as a volunteer for the Open Eurasia Literature Festival and Book Forum. Timur graduated from Rugby School Thailand as a Visual Arts Fellow. The biggest influence on his creative life is owed to his grandmother, Maria Akhmedjanova (Shevel), who was a prominent architect in Uzbekistan. Timur also translated other books, including the children’s tale “Menik” by the Yakut writer Ogdo, “A Hundred Years on the Steppe” by the Kazakh writer Bayangali Alimzhanov and “Mouse Leia” by the Russian writer Arina Chunaeva.
Hertfordshire Press (UK) – Since 2002 it is specializing in the publication of modern popular science literature by Eurasian authors, and also in the reprint of important works of the past, which, despite their continuing relevance, are currently not available in English. Eurasian Creative Guild – is a non-profit initiative that, since 2015, has been promoting and uniting creative people of all spheres and forms of art. The Guild has brought together thousands of cultural figures from all over the world and was created as a community of writers, musicians, dancers, illustrators, designers, sculptors, poets, as well as of anyone who considers himself a creative person.
The fact that numerous erected buildings in Ashgabat city have become award-winning architectural competitions held at the international level, serves as clear evidence of the huge progress achieved in the development of the Turkmen capital.
From far away you can see a monument in honour of the famous “Yanardag” horse and next to it is a foal depicted on the national emblem of the country, famous for its beauty, speed and our national pride, which means the continuation of the heritage located at the intersection of Kopetdag Avenue and N.Andalyp street.
The height of the “Arkadag“ monument, together with a stone pedestal in the form of a rock on Bagtyyarlyk street in Ashgabat city, is 21 metres, and the height of the statue is 6.20 metres. The monument “Arkadag” symbolizes that Turkmenistan is moving at great speed, as the birthplace of peace and happiness.
The monument represents hope for today and the future, through development with the speed of a fast horse and the love of the people for the hero Arkadag. This is a wonderful building, reviving the spiritual aspirations of the people in the art of sculpture and architecture.
The “Bagt Koshgi”, was designed to unite loving hearts and create new families. It is located in the southwestern part of the Turkmen capital, blending into the architectural ensemble of this part of the city, where comfortable residential buildings, the Constitution Monument, the Congress Palace, and a complex of administrative buildings have risen in recent years. From the hill on which the original building was built, a beautiful panorama opens up on the renewed Turkmen capital and the picturesque foothills of Kopetdag. Architectural image of the Palace is also beautiful. The building consists of eleven floors, and three steps, a total area of 38,000 square metres, each side of which is built in the form of an octagonal star. The cube, visible from the height of its large pillar, forms the upper step, and the 32-metre globe contains the symbol of the globe, where a map of Turkmenistan is drawn. Here, it denotes the unity of trust and the strength of family relationships. The palace is surrounded by fountains and in the evenings they are lit with colorful lights. In the multidisciplinary centre there are six halls intended for the solemn registration of weddings, each of the halls has its own name. In addition, there are 3 wedding halls for 500 and 1000 people. On the ninth floor there is the largest wedding hall – the “Golden” hall.
The most solemn landmark of the capital is the “Garashsyzlyk” (Independence) Monument, reaching a height of 118 metres. The monument is surrounded by sculptures of statesmen, philosophers and poets who lived their lives in the Middle Ages of Turkmenistan. Inside the building is a museum whose exhibits tell the history of Turkmenistan and the origins of independence. Near the building there is a beautiful park, decorated with exotic species of trees and fountains.
The monument of “Bitaraplyk” (Neutrality) – is a modern architectural marvel. This lighthouse, visible day and night, surprises with its unusual appearance and size. The idea of creating this amazing building is associated with a very important event for the country, held on December 12, 1995 in the city of New York. On that day, at a meeting of the UN General Assembly, representatives of 185 states unanimously voted for the adoption of a special resolution on the “Permanent Neutrality of Turkmenistan”.
A monument to the Constitution, erected in honor of the 20th anniversary of the country’s fundamental law, located in the south of the Turkmen capital, is one of the main attractions of the city. Being a major historical museum, the architectural and art complex is considered not only a landmark of Ashgabat, but also a cultural and educational centre. This means the continuous connection of eras and generations, the unfading unity and solidarity of the Turkmen people, the constant pursuit of the great humane values of peace and creativity.
The “Yyldyz” construction is an embodiment of development and prosperity. The hotel was built at the intersection of Oguzhan and Bagtyarlyk streets. The height of the structure is 36 metres. Each of the five columns is decorated with Turkmen eight–pointed stars. The columns representing the crescent moon, join together into one structure. If you look at the monument from the side, you can see a crescent moon, a star above it, and in general, this design is a satellite flying into space.
On June 29, 2008, the grand opening of one of the beautiful buildings included in the Guinness World Records Book took place, located in the center of a major road junction at the entrance to International Airport of Ashgabat. This is a fountain complex with sculptures of “Oguzhan and his sons“. Ashgabat was added to this authoritative list as “Cities with the largest number of fountains pools in a public place”.
Among other accolades, on May 25, 2013, Ashgabat was listed in the Guinness World Records Book as the city with the highest concentration of white marble buildings in the world. The International Airport also received a Guinness Record in 2016. This complex covers an area of almost 1200 hectares and includes more than 100 structures. It has the largest image of a “göl” (the Turkmen national ornament) on the surface of the main passenger terminal.
The Water Sports Centre of the Olympic city of Ashgabat, hosts the image of the Ahalteke horse another Guinness World Record as the world’s largest architectural image of the horse. The sculpture of the “paradise” horse is testimony to the ancient traditions of the Turkmen people.
All in all these architectural marvels, along with many others, always make for an impressive visit and discovery of a city that so few from outside the region have had the chance to visit.
Text and photos byEMBASSY OF TURKMENISTAN IN THE UNITED KINGDOM OF GREAT BRITAIN AND NORTHERN IRELAND
The Second World War is still one of the darkest pages of human history. There remain a lot of secrets, rumours, mistakes and past grievances driving international discussions about who won the war. It wouldn’t be wise to say that there were no political ambitions and economic reasons to start the war. No excuses, just facts. But would it be wise to say that someone had won this war?
We still don’t know the true count of victims. We’re still trying to recreate the whole picture of the battle years searching for even the smallest pieces of past. And we still have political ambitions and economic reasons to argue about the outcome of the war at the governmental level. But I’m not an expert in policy and economy. So, what can I say about the annual Victory Day celebrations from this point of view?
I’m a regular person. My family members were involved in those tragic things happened in 1940s. My great-grandfather died from combat injuries several years after the 9th of May, 1945 (yes, Russian celebrate the Victory Day at May 9 unlike British due to the time-zone differences at the time the declaration was signed). My great-grandmother lived much longer and she told me a lot of stories about peoples’ lives from the past. Often veterans don’t like to talk about frontline life though. And do you know what? I’ve never heard about policy and economy.
My great-grandparents didn’t fight against Germany. And they definitely didn’t compare with Uzbek, Armenian, Tajik, Georgian, Ukrainian, Belarusian, American and others for the title of the winner. Usually they would say, “We were fighting for…”, followed by personal reasons. For their own freedom so as not to not become prisoners or slaves in their own homeland. For saving innocent people from concentration camps because nobody deserved such destiny. For people they loved to see them alive and happy no matter what. Regular people – soldiers, doctors, factories workers and many others – didn’t fight against states and nations. They’ve been fighting against the fascism. Can you see the difference?
Here is another important question. As well as for politicians the question is who became the true winner, for regular people the question is if it was the victory? It sounds too idealistic maybe, but let it be so. I mean, ask any family that lost one of its members if the feeling of victory can replace someone dear in their hearts. You already know the answer. And it doesn’t matter your age, gender or nationality. Today we can feel it with our own skin once again because of the current pandemic. It’s hard to celebrate the victory if you lose someone. Uzbek, Armenian, Tajik, Georgian, Ukrainian, Belarusian, American, German, Italian, Polish and many other people suffered. That’s why when talking about winners and losers it’s so important to focus not only at global policy outcome of the war, but also the meaning of the psychologic, social and cultural changes it brought. There was no one winner for me. We did it together.
Today we should be grateful to all the regular people – soldiers, doctors, factories workers and many others – from all of the countries who gave us that chance to enjoy today’s life, fighting for us. That’s what I remember from my childhood. That’s what I want my future children to know about the Second World War.
