FROM “HACKING EDUCATION” TO POST-PLAGIARISM PEDAGOGY IN THE AGE OF AI

The rise of generative artificial intelligence in education has revived an old spectre: plagiarism. Written assignments displaying unexpected fluency, correct answers produced in seconds, and outputs that are difficult to trace have led many educators to question once again whether they are assessing genuine learning or merely the efficient use of a tool.

Yet remaining focused on this concern may itself be a flawed approach. In an environment where copying, reformulating, or generating content is technically trivial, copying is no longer the central problem. The deeper pedagogical challenge is to redefine what we mean by learning, authorship, and assessment in a world permeated by intelligent technologies.

It is within this scenario that what is known as post-plagiarism pedagogy begins to take shape.


WHAT POST-PLAGIARISM PEDAGOGY
IS – AND IS NOT

Post-plagiarism pedagogy is an emerging educational approach that proposes moving beyond detection and punishment, shifting focus instead to students’ thinking, processes, and decision-making.

It does not claim that “anything goes,” nor does it suggest that copying is no longer a problem. It does not seek to eliminate authorship or relativize academic ethics. Rather, it questions the pedagogical effectiveness of a model that continues to assess learning as if the produced text were sufficient evidence of understanding.

From this perspective, the guiding question shifts from “Did the student copy?” to “What intellectual work did the student perform with what was taken?”


Post-plagiarism pedagogy draws on established traditions: authentic assessment, metacognition, process-based learning, and open education. AI did not create these ideas, but it has made them urgent.

WHY THE ANTI-PLAGIARISM MODEL IS NO LONGER ENOUGH

At the start of the 21st century, the idea of “hacking education” gained traction — not referring to illegal practices, but to using educational systems in unexpected ways: learning beyond the classroom, reusing content, sharing knowledge through networks, bypassing structures designed for a different era.

In that context, copying, remixing, and sharing were often viewed as legitimate learning strategies. Post-plagiarism pedagogy can be understood as a mature evolution of that perspective. If twenty years ago the challenge was learning despite the limitations of education systems, today it is transforming those systems to still assess thinking, judgment, and understanding — now that AI has made many traditional tasks effortless.

The focus is no longer on how to “outsmart” assessment, but on how to redesign it. Post-plagiarism pedagogy does not propose abandoning educational institutions. Rather, it proposes revisiting them from within, integrating technology without losing pedagogical meaning.

Generative AI has undermined several assumptions that long underpinned educational assessment: that submitted texts necessarily reflect what students know; that individual production can be clearly distinguished from external contributions; and that avoiding copying is equivalent to learning.

None of these assumptions fully holds today. A technically original text can demonstrate no understanding whatsoever. Conversely, a text developed with AI support may reflect deep intellectual engagement if it involves reflection, selection, transformation, and critical thinking.

AI has exposed the limitations of a model centred on surveillance and detection. Post-plagiarism pedagogy begins with a simple but uncomfortable acknowledgment: surveillance does not educate — and in the age of AI, it is no longer sufficient.

FROM “DID THEY WRITE IT?”
TO “DID THEY THINK IT?”

The central shift is conceptual. The question moves from “Did the student write this?” to “Was this thought through, understood, and worked on by the student?”

Learning today does not mean producing from scratch. It means knowing how to interact intelligently with tools — to evaluate, revise, contrast, and contextualise. AI does not eliminate thinking; it puts thinking to the test.

Post-plagiarism pedagogy therefore shifts attention to the process: how the result was achieved, what decisions were made, what was accepted or discarded. Copying without understanding remains problematic. Using AI without judgment is equally so. But employing AI in support of better thinking is not only legitimate — it is a key contemporary competence.

Consider a common scenario: an instructor assigns a written paper and receives coherent, polished texts. From a traditional anti-plagiarism perspective, suspicion falls immediately on AI. From a post-plagiarism perspective, the question is different.

The instructor asks students to explain their process: which sources were consulted, whether AI was used, for what purpose, and what was revised and why. A brief oral defence may follow.

Clear differences emerge. Some students cannot explain what they submitted or justify the ideas within it — the problem here is not technology but the delegation of thinking. Others explain clearly how they used AI to organise ideas, improve their writing, and refine their arguments, demonstrating genuine understanding and judgment.

From a post-plagiarism standpoint, only the first case is problematic. In the second, AI functioned as a cognitive support rather than a substitute for thought.

AUTHORSHIP, ASSESSMENT,
AND LEARNING IN THE AGE OF AI

Another contribution of this approach is the redefinition of authorship. In digital culture — and now with AI — no one produces knowledge in isolation. All production builds on prior ideas, existing texts, and external contributions.

Within post-plagiarism pedagogy, being an author does not mean avoiding assistance. It means taking intellectual responsibility for what is presented.

Making AI use transparent does not weaken academic work — it can demonstrate critical thinking and ethical awareness. Authorship becomes a matter of decision-making, not purity.

AI does not require abandoning evaluation, but it does require reconsidering what is being evaluated. Attempts to design “AI-proof” tasks often produce artificial assignments that prioritise control over learning.

Assessment shifts attention from the final product to the student’s cognitive process. Process explanations, successive drafts, decision reflections, and brief oral discussions reveal how a problem was approached. AI may generate responses, but it cannot justify personal decisions or explain individual criteria.

Assessing differently does not mean lowering standards. It means evaluating better. In the age of AI, what ultimately matters is not the answer, but the judgment through which one arrives at it.

Post-plagiarism pedagogy is neither a fad nor a concession. It is a necessary response to a world in which copying has ceased to be an exception and has become a structural condition.

The educational challenge in the age of AI is not to prevent tool use, but to teach how to use tools without delegating thinking. When genuine thinking is present, plagiarism ceases to be the central problem.

by Jorge Rey Valzacchi

FROM PENCIL TO PROMPT: PRESERVING HUMAN COGNITION IN THE AGE OF COGNITIVE OUTSOURCING

Higher education was once built around libraries, dependent on lecture halls filled with the lecturer’s voice, and handwritten notes, and the slow discipline of understanding. Today, when almost everything has shifted online, students increasingly move between screens, prompts, instant summaries, and AI-generated responses, reflecting not merely a technological transition, but a deeper transformation in how human learning itself is being experienced.

Artificial Intelligence has almost taken over higher education at large. The channel of communication from black board to white board, to Projectors, TV screen have upgraded the classroom setting in around twenty years, though the AI’s rapid acceptance is visible in students learning. Students swiftly integrated AI support in the classroom starting from recording lectures, notes then writing assignments and reflective learning. This has completely transformed the education system.
Ministries to monasteries are moving towards the AI’s verdict of success and growth. The Universities have been forerunner in adapting and training students with the recent technologies to match industry’s prime requirement of Artificial Intelligence based skillset.

Higher Education is advancing with generative artificial intelligence, and Simulations. Students have adapted technology quickly by devising solutions for assignments through intelligent prompts, reading books through instant summaries, and preparing presentations with automated reflections.

For generations, affluent societies have always outsourced physically demanding and time-consuming tasks in pursuit of convenience and efficiency. Similarly, Nowadays, students have enhanced their convenience gradually by outsourcing their cognition to Artificial Intelligence.
In the Higher education environment, the ever-changing technology has rampantly dominated the utilization of physical books, boards and teaching pedagogies, with its increasingly optimized speed, convenience, and instantly generated accurate outputs.

Technology is empowering us with multiple tools to acquire more in less time. However, with the overutilization of such supportive AI tools, the learners may slowly become unfamiliar with the real-world challenges and intellectual discomfort through which deep cognition, creativity, independent thought, and reflective maturity are developed.

Emerging concern is not about the successful implementation and precise application of AI in classrooms, but the deeper question of whether, in the current age of cognitive outsourcing are we gradually losing the very cognitive struggle through which the learning, reflection, and individual thought were developed. In the race toward technological growth and adaptation are we optimizing learning while weakening cognition by losing the space of reflective struggle? If education is to be seen only as an output driven process, then the duration of degrees may eventually become merely a process to delay employment rather than a meaningful journey of intellectual and human growth.

The utmost modernization of higher education is no longer optional but industry’s global strategic necessity. The rapid expansion of technology-enabled education is the reflection of how institution and nations are preparing for the future. This can be seen from the strategic vision of smart education and innovation ecosystems of United Arab Emirates to Europe’s emphasis on digital transformation and intercultural learning, and India’s rapid expansion of technology-enabled learning ecosystems.

The uncertainties within the real conversations remain a necessary part of developing cognitive maturity. This is closely associated with emotional intelligence, disagreement, observation, teamwork, failure, cultural immersion, and human discomfort. This is where experiential learning becomes critically important for future readiness.

Immersion within varied cultural environments, industry interactions, community engagement, collaborative problem-solving, and human-to-human experiences continue to shape qualities such as empathy, adaptability, ethical judgment, emotional intelligence, and reflective maturity which no prompt may assist us with. While technology may accelerate access to information and bring the world closer through our devices, authentic human experiences continue to shape real cognition.

by Dr. Amit Verma,
Ph.D., IIM-A,
Assistant Professor,
Symbiosis International University, Dubai, UAE
Symbiosis International (Deemed University), Pune, India

100 YEARS OF LITERACY: EVER-LASTING COMPETENCE

During a recent visit to a book fair, some unusual covers caught my eye — familiar authors, but unfamiliar editions. They turned out to be reprints of landmark Qazaq scientific texts written in «tote jazu» (the «new spelling» devised by A. Baitursynuly based on Arabic script) in the early twentieth century. Baitursynuly understood that the progress of society, science, and culture rests on the written word. His contribution had a profound impact not only on Qazaq education and culture, but on the broader history of enlightenment among Turkic-speaking peoples.

Among them is «Be Literate» (1926) by M. Zhumabayev, published exactly one hundred years ago. The book served a vital educational purpose in its time, and its ideas of teaching and mentorship remain compelling today. Preserved in the manuscript collection, it stands as a testament to one educator’s devotion to eliminating illiteracy and raising the cultural standing of the Qazaq people. Such efforts belong to what we now call human capital — an intangible but critical driver of economic growth.

With this in mind I’d like to dwell upon existing the attitude towards the basic concept like educational assessment: the challenges around the participation in large-scale international assessments (ILSA hereinafter). Worldwide education system is valued at macro level through regular monitoring of educational achievements of students. In this sense the main aim of ILSA is to develop an empirically based foundation of knowledge for improvement of educational policy and practice. For instance, PISA is the world’s most important test in changing education globally; I believe that participating in ILSA offers value, if the results are enforced to reform the curriculum and to develop teacher training programs. Besides, its results are included as constituent part of Global Innovation Index and IMD World Talent Ranking. Among plethora of potential benefits are the capacity building in item development, fair assessment practices and educational accountability and policymaking. As a result, an annual national assessment of the quality of secondary education in Kazakhstan Monitoring of Educational Achievements of Students (aka MODO) received international accreditation of RCEC (Research Centre for Examination and Certification) and was recently awarded a quality mark.

Analysis of ILSA results (PIRLS, PISA, ICILS, TIMSS) points to moderate achievements in primary and secondary education quality: digital literacy remains insufficient among most students; significant difficulties persist in mathematics and reading; educational quality is uneven; and regional disparities in school infrastructure are pronounced. This underlines the need for targeted regional support, stronger teacher training, modernised infrastructure, and expanded digital and functional literacy programmes.

As team lead for the national report on the state of the education system and as a researcher in this field, I have explored the localisation quality of test materials, teachers’ experiences and preparedness, and L1 teachers’ familiarity with the rigorous methodology and reading literacy instruments of PISA and PIRLS.

ILSA continues to attract global attention as a source of comparative data and a mechanism for transnational accountability. Yet its results are sometimes wielded as a disciplinary tool rather than a constructive resource. Despite bespoke translation workflows designed by organisations such as cApStAn, linguistic reviews have identified translation errors and semantic discrepancies between language versions of reading passages, item instructions, and open-ended questions. As translation theory reminds us, the problem is not only errors in translating tests but errors in the translated tests themselves. Teachers also struggle to align international standards with competency-based education without adequate professional support — and language barriers further limit access to available frameworks and data.

In conclusion, educational change demands clear communication. Key ideas from international educational discourse must be articulated in the relevant vernacular. New concepts need proper explanation; test materials require expert translation; and everything must be expressed in the language of the classroom — without creating additional barriers for students already under examination pressure.

Educational reforms require negotiation, and the readership of OCA spans countries with much in common. The central message is this: literacy is an ever-lasting competence because it forms the foundation for learning, communication, participation in society, and adaptation throughout life.

Literacy continuously supports a person’s ability to acquire new knowledge and respond to changing social, economic, and technological conditions. Literacy as a timelessly skill is a true understanding of, not documentary or instrumental, the importance of education for progress towards social, cultural and economic goals.

by Bilimgul Baekesh

LINKING WORLD CLASS SPORT TO EDUCATION

A unique educational project came to fruition in 2012 through collaboration between a UK school and sport governing bodies.

Sports participation improves physical and mental health and develops social and teamwork skills. But can sport act as a catalyst for educational advancement in a different way — one that does not require direct involvement as an athlete?

Yes it can. In 2012 Harewood College, a Bournemouth boys’ secondary school, assisted by Avonbourne College for Girls, collaborated with the British Kurash Association to host the World Junior and Cadet Kurash Championships.

Kurash, an ancient Uzbek wrestling sport, made its international debut in 1998 following Uzbekistan’s independence. By 2012 the International Kurash Association had around 100 member countries, including the UK. The British Kurash Association, formed in 1999, had been participating in international tournaments and organising UK events ever since.


The Department of Education granted Harewood Sports College status in 2006, and in 2011 Sport England funding enabled completion of the Roy Moore Sports Hall — 1,200m² of floor space, sufficient for major competitions. Global adult Kurash events fill stadiums, but junior internationals are more modest in scale. Hosting a junior world championship seemed a realistic ambition.

With 1,800 students and 150 staff skilled in IT, performing arts, and languages, the foundations were in place. Students could design the logo, mascot, and medals, take part in the opening ceremony, and volunteer as language interpreters — both schools had students fluent in major world languages as well as less common ones such as Thai and Urdu. A Kurash championship would also give students a chance to discover Uzbekistan’s culture and history.

With the school partnership in place, BKA officials met IKA President Komil Yusupov — a former Uzbekistan Youth Minister — in London in April 2011 to discuss the World Championships idea. Mr Yusupov was enthusiastic about the educational opportunities offered by the first global Kurash championship in Western Europe.

The venue was decided at the IKA Congress in Tashkent in November. Bids from Brazil, Poland, Mongolia, and Chinese Taipei were also considered, but the presentation emphasising wide-ranging educational benefits clinched the selection.

Preparation began in partnership with the Mayor, Bournemouth Borough Council, Bournemouth Tourism, and the Uzbekistan Embassy in London. Students submitted logo and mascot designs, helped with pre-event tasks, applied for day-of roles, and rehearsed diligently for the opening ceremony.

During assemblies, the schools’ “Olympic Values” of Respect, Excellence, Friendship, Courage, Determination, Inspiration and Equality were intertwined with Kurash and Uzbek culture.

In July, Ambassador Otabek Akbarov and Cultural Secretary Fahriddin Nabiev from the Uzbekistan Embassy visited to see the sports hall in use, hosting the Dorset School Games Table Tennis Finals — entirely officiated by Harewood students. “Where are the adults?” asked Mr Akbarov, impressed by the young volunteers’ professionalism. “There he is,” came the reply, pointing to the sole adult official. They left confident that the students would make excellent World Championships gamesmakers.

An IKA inspection team led by Komil Yusupov, including General Secretary Umid Yakubov and former Uzbek Ambassador to China Ismatulla Irgashev, were equally delighted to see students taking active roles and engaging with Uzbek culture.

The IKA delegation were treated to a performance of the schools’ production of Ben Elton’s “We Will Rock You”, leaving them in no doubt about the quality of opening ceremony they could expect.

Three club members qualified for the British team: fifteen-year-olds Jacob Grant and Oliver Jones, and seventeen-year-old Daniel Grant, a recent Harewood graduate — enthusiastic support for the tournament guaranteed.
Sponsors and more than 100 school volunteers were in place, along with student interns from the Anglo European Chiropractic College providing physiotherapy. Twenty-five nations from every continent entered, including France, Greece, Ukraine, South Africa, New Zealand, Mongolia, South Korea, Chinese Taipei, and a strong Uzbek team.

As a curtain-raiser, the Uzbekistan Embassy and IKA organised a Cultural Evening at Harewood. Highlights included an art masterclass by Distinguished Artist of Uzbekistan Ortikali Kozokov, a cookery class by an Uzbek chef, a language lesson from an Embassy official, a folk band, a photography exhibition, and Kurash demonstrations by World Championships contestants. Traditional food including plov was flown from Tashkent, cooked at a London Uzbek restaurant that afternoon, and transported to Bournemouth for the evening.

The championships were a resounding success. Uzbekistan dominated, but the British team performed admirably, winning 13 medals including gold for Victoria Cleevely from St Albans and bronzes for the Grant brothers.

Student volunteers were magnificent. Volunteer Manager Amanda Kelly said: “Like the Olympics, students and staff were our gamesmakers. Having students fluent in a diverse range of languages meant all teams were assigned interpreters. We introduced the language and culture of Uzbekistan to the curriculum through assemblies and lessons. The World Championships provided a unique and inspirational setting for students to gain new skills, experience, and confidence.”

Harewood College successfully hosted a world-class tournament described as “organised at the Olympic level” by Uzbekistan Today, and received the UK Youth Sports Trust Innovation in Sport 2012 commendation. The BKA was awarded the IKA’s Best Championship 2012.

by Paul Sawyer,
Harewood College, Bournemouth,
former international competitor in Judo,
Sambo and the Uzbek national wrestling sport of Kurash

KAZAKHSTAN’S EDUCATION SYSTEM AT A DIGITAL TURNING POINT

KAZAKHSTAN’S EDUCATION SYSTEM
AT A DIGITAL TURNING POINT

Kazakhstan’s education system is undergoing one of the most significant transformations in Central Asia. The key drivers of this process are digitalization, demographic pressure, and the country’s evolving geoeconomic position. Kazakhstan aims to establish itself as a regional hub for training digital talent. However, this transition remains uneven, combining notable achievements with persistent structural challenges.

DIGITALISATION AS A STRATEGIC PRIORITY

The digital transformation of Kazakhstan’s education system forms the foundation of the country’s broader strategy to modernize the economy and develop human capital. Guided by the objectives of the national Digital Kazakhstan program, the country has moved from the fragmented adoption of IT tools to a comprehensive e-learning ecosystem, achieving 100% coverage of secondary schools with digital textbooks.

Key achievements at secondary level include the integration of unified analytical platforms such as Kundelik and BilimLand, and raising the population’s basic digital literacy rate to 87.3%.

The government has also launched large-scale lifelong learning and retraining initiatives. More than 412,000 teachers work within the secondary system, and a partnership with OpenAI has provided ChatGPT Edu licences to 165,000 Kazakhstani teachers, accelerating the development of practical AI competencies.

Kazakhstan has also made its mark in global higher education rankings, with five universities included in the Times Higher Education World University Rankings 2026. Across the country, 30 universities have introduced 42 specialised programmes — from applied AI to robotics — with more than 2,800 students now enrolled.

Leading research universities are at the heart of these reforms. Nazarbayev University is advancing AI research through its Institute of Smart Systems and Artificial Intelligence (ISSAI) and has launched the Irgetas supercomputer. Al-Farabi Kazakh National University continues to climb global rankings while expanding its digital learning platforms. Satbayev University connects digital science with industry through more than 200 applied technology projects commissioned by business partners.

ADVANTAGES OF THE KAZAKHSTANI MODEL

The strong central role of the state remains the primary driver of Kazakhstan’s educational model, enabling rapid nationwide scaling of technological solutions.

Practical initiatives such as the AI-Sana educational programme — designed to engage up to 100,000 students in IT development — alongside the legislative recognition of citizens’ “digital rights”, have helped create a stable, technologically advanced regulatory environment that is unique within the region.

Kazakhstan also demonstrates a high level of educational internationalisation, through strategic partnerships with global technology companies and the establishment of branches of leading foreign universities.

A notable example is the partnership with Coursera, involving 93 universities. Over three years, Kazakhstani students earned more than 503,000 international certificates, completing courses from Stanford University and Google in both Kazakh and Russian.

Kazakhstan ranked 37th globally in the Global Skills Report 2025 and has established itself as a key destination for international students and a Central Asian hub for educational technology and EdTech innovation.

STRUCTURAL WEAKNESSES AND RISKS

Despite substantial progress, one of the most significant vulnerabilities remains the digital divide between urban centres and rural schools. Recent government initiatives have contributed to gradual improvements, but the gap persists.

Limited bandwidth and unstable connectivity in remote settlements continue to restrict access to digital platforms, increasing educational inequality and affecting students’ performance in national assessments.

This is compounded by a shortage of qualified personnel in the regions. While city educators actively adopt AI tools and digital methods, many rural teachers — particularly older generations — continue to struggle with hybrid formats, sometimes experiencing digitalisation as an additional administrative burden rather than a professional benefit.

GLOBAL CONTEXT: BETWEEN DEVELOPED AND DEVELOPING MODELS

Within the global educational landscape, Kazakhstan still lags behind leading OECD countries in several areas, including average PISA scores, university academic freedom, and the commercialisation of scientific patents.

On the other hand, in digital infrastructure deployment and citizen engagement with electronic platforms, Kazakhstan significantly outperforms many developing countries, having rapidly leapfrogged outdated analogue stages through mobile and cloud technologies.

Kazakhstan’s EdTech strategy shares similarities with the national models of the United Arab Emirates, Malaysia, and Singapore, where direct government investment in digital infrastructure, the establishment of branches of leading international universities, and the digitalization of administrative processes also play central roles.

This approach allows Kazakhstan to compensate for traditional academic limitations through rapid adaptation to the demands of Industry 4.0 and artificial intelligence — making digital transformation a central instrument of global competitiveness.

CONCLUSION

The principal strength of Kazakhstan’s educational model lies in its ability to mobilise resources and rapidly scale technological solutions.

Within Central Asia, Kazakhstan has already secured a leading position. Its future success, however, will depend not only on the pace of technological adoption but also on the system’s ability to improve quality, reduce digital inequality, and prepare specialists for a rapidly evolving, AI-driven economy.

In the medium term, education may become one of Kazakhstan’s most important instruments of global competitiveness — and one of its most compelling stories.

by Timur Serikuly
Lead Editor at the Open World Center for Analysis and Forecasting Foundation (Astana),
expert in international conflict studies and geopolitics

THE DIPLOMA IS DEAD. LONG LIVE THE DIPLOMA: LIFELONG LEARNING LEADS THE WAY IN CENTRAL ASIA

THE DIPLOMA IS DEAD. LONG LIVE THE DIPLOMA: LIFELONG LEARNING LEADS THE WAY IN CENTRAL ASIA

Just twenty years ago, the educational trajectory of most people was fairly predictable: school, university, employment. A diploma served as a gateway into a profession, and a career was built within a single field — sometimes a single organisation.

Today, this model is rapidly losing relevance.

The labour market is evolving faster than educational programmes can adapt. New professions are emerging, old ones are disappearing, and many professionals change fields several times during their working lives. Artificial intelligence, automation, and global competition are making professional stability an increasingly fragile concept.

Against this backdrop, micro-learning, short-term programmes, and professional micro-credentials are gaining rapid popularity. People are no longer willing to spend years on a new qualification when specific competencies can be acquired within weeks or months. This is especially evident in marketing, digital communications, design, data analytics, project management, AI, and entrepreneurship.

Yet here lies a major misconception that many educational institutions still share. They continue to sell education as a product, while employers are not looking for certificates — they are looking for experience. A person may accumulate dozens of online courses and certificates, but if they have never delivered a project or demonstrated tangible results, the value of that education drops dramatically.

This is why internships are becoming increasingly important.

Today, a short-term internship often reads better on a CV than another training certificate. For many young professionals, an internship proves more valuable than their first full-time job. HR specialists increasingly see candidates who change jobs every three to five months — a pattern employers view with caution, uncertain whether it reflects professional growth or an inability to adapt.

Internships are different. By definition, they involve learning through practice and participating in real projects — a stage of professional development that employers understand and value.

Even more important is the portfolio. Increasingly, hiring decisions are made not on the basis of a diploma, but on a candidate’s actual work — what they have created, what problems they have solved, what results they have delivered. These questions are gradually becoming more important than a formal list of qualifications.

These changes are clearly visible in practice. Since 2015, Silk Road Media has operated an international internship programme for university students and graduates from Central Asia and the CIS in publishing, media, marketing, and the creative industries.

In its early years, the programme addressed a rather unusual challenge. Many of the professions that seem commonplace today effectively did not exist in the region as distinct career paths. There was no clear professional route for publishers (not to be confused with printing-house staff), international event managers, or cultural project managers. For many participants, the internship became their first opportunity to explore a field that had not yet emerged as a recognised profession in Central Asia.

The results have been remarkable. Within just a few years, many graduates of the programme advanced to leadership positions in publishing houses, media outlets, marketing agencies, and event companies, began working in international markets, or launched their own businesses.

The market continues to evolve rapidly. New professions are emerging that would have been unrecognisable in Central Asia only a few years ago: literary agents, AI editors, specialists in packaging intellectual products for global markets, experts in digital content and international communications. Yet alongside these opportunities come significant challenges.

Paradoxically, each year brings a noticeable decline in young professionals’ willingness to invest time in acquiring new skills. More and more students gravitate towards jobs offering immediate, if modest, income — roles where earnings begin at once, even if growth prospects are limited.

At first glance, this looks like a motivation problem. In reality, it runs much deeper.

Such behaviour reflects a growing distrust in the labour market. Many young people no longer see a clear link between effort, new competencies, and long-term career growth — particularly in Central Asia, where personal connections and informal hiring practices remain influential. Many doubt that existing corporate structures will fairly reward professional development.

There are also structural issues: the uneven quality of mass higher education, the tendency to academicise applied professions, and the graduation of specialists equipped with theoretical rather than practical knowledge — who are then unwilling to start from scratch on low salaries.

This is precisely why internships continue to gain importance. They allow participants not only to acquire skills but to immerse themselves in a professional environment, explore real career pathways, and build their first business connections. An internship becomes more than an educational tool — it becomes a mechanism for professional socialisation.

All of this connects to the broader concept of lifelong learning. Education is no longer a stage of life — it is an ongoing process. A person may earn a degree at 22, master a new profession at 30, complete development programmes at 40, and reinvent their career at 50. This is becoming the new normal.

Fundamental education is not losing its value — nobody wants to be treated by a doctor who completed a three-month online course. But even professionals in traditional fields must now update their knowledge regularly and master new tools.

This raises an important question for universities across Central Asia: should they continue focusing on issuing diplomas, or is their mission expanding to include supporting individuals throughout their entire professional lives?

The future of education lies not in competition between universities and short-term courses, but in their integration. Universities provide fundamental knowledge; businesses offer real-world projects and internships; private platforms respond rapidly to market needs. This model opens new opportunities for international cooperation.

Central Asia possesses enormous human potential, but it remains constrained by the national boundaries of its educational systems. International internships, joint programmes, cross-border micro-credentials, and digital platforms could significantly increase professional mobility both within the region and beyond.

by Taina Kaunis,
Advisor to Silk Road Media

SEEDS OF CHANGE: KAZAKHSTAN’S BET ON SMART FARMING

SEEDS OF CHANG: KAZAKHSTAN’S BET
ON SMART FARMING

Over the past decade, Kazakhstan has accelerated the modernisation of its agricultural sector and higher education system in response to climate change, water scarcity, and rapid technological change. Its agro-education system is emerging as one of Central Asia’s leading AgriTech and innovation drivers. By integrating artificial intelligence, digital agriculture, smart irrigation, and international scientific cooperation, Kazakhstan is positioning itself as a regional hub for sustainable agricultural transformation and climate-resilient farming.

TRANSFORMATION
OF AGRICULTURAL EDUCATION

Agriculture in Central Asia is entering a new phase. Climate change, population growth, land degradation, and pressure on water resources are forcing governments and universities to rethink traditional agricultural models. In Kazakhstan, where agriculture remains a strategic sector, modernisation increasingly depends on integrating science, innovation, and digital technology into rural development.

Kazakhstan’s agro-education system is becoming one of the key tools driving this transition. Many agro universities are rethinking their roles and transforming themselves into regional AgriTech hubs connecting science, technology, education, and business.

This reflects a global trend in which universities evolve from teaching institutions into innovation ecosystems. In Central Asia, the shift is especially significant because agriculture underpins food security, employment, water management, and regional stability.

Kazakhstan possesses enormous agricultural potential — more than 200 million hectares of agricultural land — but faces serious structural challenges. Agriculture consumes 60–70% of Central Asia’s freshwater resources, while inefficient irrigation systems generate substantial losses. In some areas, those losses reach 40% due to ageing canals and outdated management.
These challenges have strengthened Kazakhstan’s focus on smart agriculture, water-saving technologies, digital monitoring systems, and climate adaptation strategies. All major agro-universities actively integrate artificial intelligence, GIS technologies, drones, AI, and IoT-based solutions into educational and research programs aimed at preparing specialists for the agriculture of the future.

SCIENCE, SMART IRRIGATION,
AND EXTENSION SERVICES

One of the strongest examples of Kazakhstan’s growing regional leadership is its work in water management and climate-resilient agriculture. Water scarcity is becoming one of the most critical challenges for Central Asia. Regional forecasts indicate that shrinking glaciers and rising temperatures may significantly affect the Syr Darya and Ili river basins in the coming decades.

Efficient irrigation is no longer solely an agricultural concern — it has become a matter of national economic security. Only around 20–25% of farms currently use precision agriculture tools such as GPS, GIS, and remote sensing, and Kazakh scientists are increasingly focused on applied solutions that improve water efficiency and help farmers adapt to climate change.

Universities actively promote precision agriculture and digital irrigation. Pilot projects using smart irrigation systems, GIS monitoring, and sensor technologies help producers optimise water use and raise productivity, with research teams working directly with farming communities to demonstrate practical results.

An important area is the Extension 4.0 model, partly inspired by cooperation with American and European universities. Extension centres — including one developed jointly with the University of Nebraska-Lincoln — increasingly serve as bridges between academic science and rural communities, ensuring that practical innovations reach farmers directly.

Pilot initiatives have already delivered measurable results: demonstration projects using satellite monitoring and modern irrigation systems have achieved water-use efficiency improvements of 20–30% compared to traditional methods.

Pasture management is another priority. Kazakhstan has some of the world’s largest pasturelands, yet many face degradation due to poor management and climate stress. Geospatial technologies and digital platforms are increasingly being used to monitor pasture conditions and optimise grazing, while AI-driven analytics help forecast water demand, assess soil conditions, and improve planting strategies.

Overall, Kazakhstan’s activities are increasingly attracting international partnerships. Cooperation with FAO, ADB, UN agencies, ERASMUS program, and European universities strengthens research capacity and supports the university’s ambition to become a regional platform for agricultural innovation and knowledge exchange.

FORMATION OF A REGIONAL AGRITECH HUB
FOR CENTRAL ASIA

Kazakhstan’s agro-education system ambitions increasingly extend beyond Kazakhstan. The university is positioning itself as a regional center for agricultural innovation, sustainable education, and scientific diplomacy in Central Asia, Afghanistan, and the Caucasus.

This reflects a clear recognition that water management, climate adaptation, food security, and sustainable land use are inherently transboundary issues requiring regional solutions.

Work is under way to establish a Regional Centre for Green Agriculture (RCGA) in collaboration with ADB, Wageningen University, and CAREC, creating a network for AI-driven research and education across the region.

A strategic priority is preparing graduates for the green and digital economy. Modern agriculture requires specialists who can combine agronomy with engineering, climate science, and data analysis, and Kazakhstan’s agro-universities are increasingly building exactly these interdisciplinary competencies.

The future of agriculture in Central Asia will depend on knowledge, innovation, and technological adaptation. What Kazakhstan’s experience demonstrates is that universities can be active drivers of economic modernisation and sustainable development — not just training grounds, but genuine engines of regional transformation.

In this context, Kazakhstan’s agro-universities are emerging as one of the region’s leading AgriTech and innovation hubs. Through smart irrigation, artificial intelligence, digital agriculture, extension services, and international cooperation, they demonstrate how universities can become active drivers of economic modernization and sustainable development.
The university’s transformation reflects a broader shift in higher education. Universities are increasingly becoming innovation ecosystems connecting science, business, government, and local communities.

For Kazakhstan, strengthening institutions such as KazNARU is strategically important not only for agricultural development but also for strengthening regional leadership in sustainability and technological innovation. As environmental and economic challenges intensify in Central Asia, universities capable of generating practical solutions and promoting regional cooperation will play an increasingly important role.

Kazakhstan’s experience demonstrates that the future of agricultural education lies at the intersection of science, technology, sustainability, and international collaboration. In this emerging landscape, the university is positioning itself not simply as a national institution, but as a regional platform shaping the future of smart agriculture across Central Asia.

by Akhylbek Kajigulovich Kurishbayev
Chairman of the Board – Rector
President of the National Academy of Sciences
of the Republic of Kazakhstan
Doctor of Agricultural Sciences, Professor, Academician
of the National Academy of Sciences
of the Republic of Kazakhstan

¿HABLAS KAZAKH?WHY ARE PEOPLE IN LATIN AMERICA BEGINNING TO LEARN THE LANGUAGES OF CENTRAL ASIA?

¿HABLAS KAZAKH?
WHY ARE PEOPLE IN LATIN AMERICA BEGINNING TO LEARN THE LANGUAGES OF CENTRAL ASIA?

Until recently, Central Asia remained one of the least familiar regions of the world for most people in Latin America. If the names Kazakhstan, Kyrgyzstan, or Uzbekistan were known at all, they were usually associated with geography, sports, or occasional news headlines. Today, that is beginning to change.

Growing trade and economic ties, new international transport corridors, expanding diplomatic contacts, and deeper cultural cooperation are raising Central Asia’s profile on the global stage. Alongside these developments, interest in the region is slowly growing across Latin America.

For businesses, this creates access to new markets and opportunities for cooperation. For universities, it opens prospects for academic exchanges and joint research projects. For the tourism industry, it introduces new destinations and travel experiences. And for young professionals, knowledge of the languages and cultures of Central Asia may gradually become a valuable competitive advantage.

At present, this interest remains at an early stage, expressed primarily through cultural initiatives. There is no large-scale demand for Central Asian or Turkic languages in Latin America yet. Current efforts are centred on individual enthusiasts, researchers, students, and diaspora communities seeking a deeper understanding of the region’s history, literature, and traditions.

One example can be found in Rosario, Argentina, where Kazakh language classes have been offered for several years using a methodology developed specifically for Spanish-speaking learners. The program was created by Irina Vagner, a native of Almaty, Director of the Kazakhstan Cultural Center in Rosario, and Ambassador of Friendship of the Assembly of the People of Kazakhstan. The courses are conducted primarily on an individual basis or in very small groups and are aimed at people with a personal interest in Kazakhstan and Central Asia.

A similar pattern can be observed with Turkish. The Yunus Emre Institute actively promotes Turkish language and culture across Latin America, though again enrolment is limited to small groups whose motivation is rooted in cultural curiosity rather than professional need. For many participants, Turkish becomes a first step toward discovering the wider Turkic world and, eventually, Central Asia itself.

Although modest in scale, such initiatives often serve as the starting point for something larger. As economic, educational, and cultural ties between Latin America and Central Asia continue to grow, so too will demand for professionals who can work across both regions — not only translators and language teachers, but specialists in international business, tourism, diplomacy, and intercultural communication.

As a result, there may soon be increasing demand for modern textbooks, digital educational resources, and teaching methodologies tailored specifically to Spanish-speaking learners interested in Kazakh, Kyrgyz, Uzbek, and other Central Asian languages.

Today, these processes remain in their infancy. Yet educational initiatives are often the earliest indicators of future change. Lasting international relationships rarely begin with trade or politics alone. More often, they start with curiosity — about language, culture, and a desire for mutual understanding.

The first steps may be small, but they often lay the foundations for lasting cooperation between regions, institutions, and people.

by Veronique Pavloff

SMALL NATION, BIG AMBITION: KYRGYZSTAN’S HIGHER EDUCATION PROSPECTS IN A GLOBAL DIGITAL ERA

SMALL NATION, BIG AMBITION: KYRGYZSTAN’S HIGHER EDUCATION PROSPECTS IN A GLOBAL DIGITAL ERA

A SMALL COUNTRY WITH A LARGE
EDUCATIONAL AMBITION

Kyrgyzstan, a mountainous republic at the heart of Central Asia, is emerging as one of the region’s most dynamic higher education markets. With a population of 7.4 million, a growing economy, and expanding international enrolment, the country is beginning to position higher education not merely as a social sector but as a strategic economic industry.

At first glance, Kyrgyzstan would not seem an obvious candidate for becoming an educational hub. It lacks the large financial resources, research budgets, and globally ranked universities of bigger states. Yet it has an asset increasingly valuable in the twenty-first century: a young population. Roughly one third of Kyrgyz citizens are under fifteen, and more than 1.5 million pupils are enrolled across 2,394 schools — cohorts that will create substantial demand for higher education in the early 2030s.

KYRGYZSTAN’S HIGHER EDUCATION SYSTEM
IS EXPANDING RAPIDLY

Kyrgyzstan currently has approximately 88 higher education institutions — public and private — with total university enrolment exceeding 220,000 students and more than 130,000 enrolled in secondary vocational education.

Internationalisation has been one of the most striking developments of the past decade. In the 2024–2025 academic year, more than 55,000 international students studied in Kyrgyz universities — nearly one in seven students comes from abroad, a remarkable ratio for a country of this size. The largest groups arrive from Uzbekistan, India, and Pakistan, with Chinese enrolment growing rapidly.

Growth is driven by affordable tuition, recognized medical degrees and expanding English-language programmes.

Several Kyrgyz universities are now included in QS Asia rankings, while partnerships with institutions from Europe, Asia and the Middle East continue to expand.

REFORM MOMENTUM IS ACCELERATING

The reform agenda in higher education has intensified considerably in recent years. In 2025, the Ministry of Education and Science was divided into two separate bodies, including the newly established Ministry of Higher Education, Science and Innovation. State investment in access and modernisation has also increased: government-funded undergraduate places rose to approximately 10,000 for the 2024–2025 academic year. World Bank-supported programmes are financing applied research and innovation infrastructure, while new legislation on technoparks provides a legal framework for university-based innovation ecosystems.

Another important initiative is the Presidential “El Ümütü” scholarship programme, which finances Master’s and PhD studies for highly talented Kyrgyz students admitted to globally leading universities ranked within the top tiers of QS and Times Higher Education rankings. .

UNIVERSITIES ARE ENTERING
A COMPLETELY NEW ERA

Kyrgyzstan’s higher education transformation is unfolding at the same moment that the global university model itself is being fundamentally redefined. Knowledge is no longer concentrated within campuses and lecture halls; it is distributed through digital platforms, AI systems, online certifications and global educational networks. As a result, universities can no longer compete merely by transmitting information. Their role is increasingly shifting toward developing critical thinking, validating real competencies, conducting applied research and helping learners navigate an increasingly complex information environment.

Universities now compete not only with each other but with technology companies, digital platforms, and alternative credential providers. The most successful institutions will be those that combine academic quality with flexibility, lifelong learning, micro-credentials, and close alignment with the evolving labour market.

DIGITALIZATION MAY BECOME KYRGYZSTAN’S
STRATEGIC ADVANTAGE

For Kyrgyzstan, this transformation may represent not a threat but a historic opportunity.

Countries with established university systems often struggle to reform large bureaucratic structures and expensive legacy infrastructure. Kyrgyzstan, by contrast, still has the flexibility to adapt quickly — moving directly towards hybrid, digital, and internationally networked institutions rather than replicating an outdated industrial model.

Distance education is now formally recognised within the national system, and universities have gained greater autonomy in curriculum design — flexibility that may allow Kyrgyz institutions to move quickly into blended learning, virtual laboratories, AI-assisted tutoring, and international joint programmes.

THE CHALLENGES REMAIN SERIOUS

Important structural challenges remain, however.

Research expenditure remains very low by international standards — approximately 0.08% of GDP — and infrastructure quality is uneven across the sector. Many universities still operate under administrative models inherited from the Soviet era, and a persistent gap exists between academic programmes and labour-market needs, particularly in AI, engineering, and digital technologies.

A further vulnerability is dependence on a narrow range of educational exports, particularly medical education. Impressive as international student growth has been, long-term sustainability requires diversification into IT, engineering, business analytics, cybersecurity, and lifelong professional education.

The brain drain remains a significant challenge. Many talented graduates in medicine and technology continue to seek opportunities abroad, creating a difficult paradox: the country invests in human capital, but a share of that talent ultimately benefits foreign economies.

A STRATEGIC WINDOW IS OPEN

The next decade will be decisive. The future of Kyrgyz higher education will not be determined by the number of universities or the volume of enrolments, but by whether institutions can become more international, more technologically adaptive, more research-oriented, and more closely connected to the real economy.

In the age of AI and global digital learning, the most successful universities may no longer be the largest or the richest — but the most flexible, networked, and capable of adapting to change.

For Kyrgyzstan, that possibility creates a rare strategic window — one that could allow a small Central Asian country to build a higher education system far more globally connected and influential than its size alone would suggest.

by Amangeldi Zhumadilov, Ph.D.
President of Salymbekov University, Bishkek

THE NUMBERS DON’T LIE: IS ASIA WINNING THE EDUCATION RACE?

THE NUMBERS DON’T LIE: IS ASIA WINNING THE EDUCATION RACE?

Is this the Asian century in higher education? On the numbers alone, it may well be. More than half of the world’s university students are already in Asia, and that share is set to grow as ageing industrialised democracies give way demographically to younger populations in countries such as India, Indonesia, and across Central Asia.

But Asia’s ascendancy is not simply the result of demography. It is being actively shaped by national strategies designed to expand access, raise quality, and align universities more closely with economic transformation. Nowhere is this more evident than in Central Asia, where Kazakhstan and Uzbekistan are rapidly scaling their systems while working to ensure that growth translates into real gains in capability and opportunity.

The challenge is real. Expanding higher education at speed is difficult; doing so while improving quality and relevance is harder still. The experience of these countries suggests that while governments can create conditions for growth through new institutions, international partnerships, and research investment, what ultimately determines success is whether universities develop a clear sense of purpose — guiding what they teach, how they operate, and whom they serve.

The national strategies are driven by the rising aspirations of families across both countries. The goals are demanding: increase the supply of places, raise quality, and improve economic relevance — all at once. Both nations have adopted broadly similar paths: creating model universities, attracting international partners, reinforcing national research universities, and promoting quality across the system.

MODEL UNIVERSITIES

Kazakhstan’s and Uzbekistan’s governments have concentrated their resources in model universities, Nazarbayev University, where we are trustees, and the New University of Uzbekistan. These greenfield universities are exemplars to others in how to organize teaching and learning, how to combine teaching and research and how to lead and respond to changes in the economy. Nazarbayev University (NU) has emerged in the global rankings entering the top 500 in the 2026 Times Higher Education global rankings, a considerable achievement for a young university and it is the top of the research focused Leiden rankings for Central Asia with very strong Biomedical and Health Sciences. The New University of Uzbekistan established in 2021, ten years after NU with the task of ‘training highly qualified, globally competitive, and patriotic specialists’. While it has strong Presidential backing it is more modestly resourced than NU and its location in the heart of Tashkent is more constrained.

INTERNATIONAL PROVIDERS

Before establishing the New University, Uzbekistan moved to attract international providers, beginning with Westminster International University in Tashkent and Plekhanov Russian Economics University in 2002. Steady expansion followed, and by 2024 more than 30 international branch campuses were operating — driven by financial incentives including tax breaks and access to land, as well as a large pool of unmet student demand. Among these are Russian university campuses, valued for the opportunities open to Russian-language graduates in regional economies, as well as four campuses linked to the Ministry of Digital Technology — part of Uzbekistan’s ambition to become the regional hub for IT.

Kazakhstan’s efforts to recruit international branches are more recent but just as ambitious. Its goal is to have about 40 forty branch campuses operating by the end of 2029, all with a significant cadre of foreign faculty. The Minister for Science and Higher Education, Sayasat Nurbek hopes to leverage these branch campuses to make Kazakhstan a “recognised centre of knowledge creation, innovation and educational diplomacy” Kazakhstan’s internationalization efforts align with its efforts to diversify the nation’s economic base by prioritizing partnerships which have a basis in science and information technology.
RESEARCH INTENSIVE
NATIONAL UNIVERSITIES

Both countries have strengthened their leading public universities by pushing them to focus on research productivity. Kazakhstan’s approach has evolved from designating six national universities in 2001 to now inviting twenty into a Centres of Academic Excellence programme covering teaching, research, community engagement, and governance. Uzbekistan takes a more targeted approach through its “U-10” strategy, concentrating resources on ten leading research clusters and connecting them with international partners and local enterprises. Priority areas include renewable energy, water management, and the digital sector — building towards an R&D and commercialisation ecosystem to underpin an innovative economy.

LIFTING THE QUALITY
OF ALL UNIVERSITIES

These ambitious strategies are driven by profound demographic and economic change. New institutions will have opportunities to innovate and respond to rapid technological shifts, including the rise of AI. Growing participation will encourage new approaches to teaching and the creation of programmes in emerging fields. Demand will likely outstrip public resources, leading to further private provision — though structural change and private growth alone cannot guarantee quality.

Over two decades of studying higher education, we have consistently found that the most successful institutions define clear purposes — identifying the specific contributions they seek to make. Rather than focusing solely on rankings or research outputs, they reward efforts that address community challenges and improve student success, particularly for first-generation learners.

The experience of Central Asia highlights both the promise and the risks of rapid expansion. Growth and ambition can increase access and stimulate innovation, but they do not automatically ensure quality or impact. What distinguishes the best institutions is a clear sense of purpose, aligned across their teaching, research, and community engagement.

As higher education systems confront demographic change, technological disruption, and rising expectations, the lesson is clear: expansion must be matched by intention. Growth without purpose risks creating larger systems that deliver less. For universities in Central Asia, the path to excellence begins with a clear mission and the commitment to fulfil it.

by Alan Ruby and Mathew Hartley,
members of the Alliance for Higher Education and Democracy
at the University of Pennsylvania,
Trustees at Nazarbayev University
authors of ‘Pursuing Institutional Purpose: Profiles of Excellence’

SUSTAINABLE DEVELOPMENT AFTER THE END OF THE FAMILIAR WORLD: WHAT UNIVERSITIES MUST LEARN AGAIN

SUSTAINABLE DEVELOPMENT AFTER THE END OF THE FAMILIAR WORLD: WHAT UNIVERSITIES MUST LEARN AGAIN

In the spring of 2026, I attended two international conferences on sustainable development and the role of universities. The first was the GREEN.DIGITAL.SMART Forum 2026 in Dushanbe, organised by the International University of Tourism and Entrepreneurship of Tajikistan. The second was SOCIAL WORK IN ACTION: Interdisciplinary and Global-Informed Strategies for Sustainable Development in Central Asia, hosted by Al-Farabi Kazakh National University in Almaty.

Though both events shared the same overarching theme, they differed in atmosphere. The Almaty conference followed a traditional academic format, focused on research and scholarly findings. The Dushanbe forum was considerably more diverse and interdisciplinary, extending beyond education and science into technology, digitalisation, tourism, environmental issues, and human capital development — with open discussions that were willing to address difficult and uncomfortable questions.

The most significant outcome of both conferences was not any individual presentation, but the questions they raised — questions increasingly heard across the professional community.

Virtually all participants agreed on one point: universities are attempting to integrate the UN Sustainable Development Goals into their operations — but in a world radically different from the one for which those goals were designed.

The SDGs were adopted in 2015 — a world before COVID-19, before widespread AI, before today’s level of geopolitical tension and institutional crisis. Digital transformation was only beginning to accelerate, and most people had no daily interaction with AI.

That world no longer exists. Yet paradoxically, the goals themselves have become more important than ever.

Humanity finds itself in a state of growing fragility. Social polarisation is increasing, labour markets are changing, new forms of inequality are emerging, and technology is advancing faster than society can fully comprehend its consequences. The question is no longer whether the SDGs remain relevant. The question is how they should be reinterpreted for a new reality — and it is here that universities bear a particular responsibility.

Traditionally, a university was an institution for generating knowledge and preparing qualified professionals. In the twenty-first century, that is no longer sufficient. The modern university has become a complex ecosystem that must engage simultaneously with students, parents, employers, government bodies, international organisations, and local communities. Society increasingly expects universities not merely to produce trained specialists but to nurture individuals capable of adapting to uncertainty, using AI without abandoning critical thinking, and navigating a rapidly changing world. Over the next decade, this expectation will largely determine which universities survive and which thrive.

Universities can no longer exist in isolation. Engagement with society has moved from a secondary activity to a fundamental condition of institutional survival.

A second challenge is the erosion of boundaries between the physical and digital worlds. Artificial intelligence, generative technologies, and deepfakes are reshaping our understanding of reality. Anxiety disorders and burnout are rising, in part because trust in institutions — schools, governments, media — is declining. Universities face an urgent version of this challenge: not just how to integrate AI into education, but why, and on what terms.

We now consume more information in a day than previous generations encountered in decades. Simply informing an audience is no longer enough — motivating it has become nearly impossible. What is required instead is the communication of meaning. Why does this university exist? Why should a student choose to study here? Why should society continue to fund science? These questions demand genuine answers, not institutional boilerplate.

The challenge for many universities is that they confuse improvement with impact. A well-designed campus, modern equipment, and new laboratories are valuable — but they are improvements, not transformations.

True impact begins when a university’s activities visibly and tangibly improve people’s lives. The history of science offers countless examples. Students are often taught that Al-Khwarizmi is the father of algebra. Far less frequently mentioned is that his famous work, Al-Kitāb al-Mukhtaṣar fī Ḥisāb al-Jabr wa al-Muqābala, was largely devoted to legal and spiritual matters and focused on a highly practical issue: the distribution of inheritance. The complexity of legal and property relations at the time required the development of entirely new mathematical tools.

Society expects universities to solve concrete problems. But for that to translate into respect and trust, a handful of publications and a formal media presence are not enough. Trust is built through long-term cultural practices: sustained participation in public discourse, active alumni communities, and ongoing engagement with business, government, and civil society.

In essence, universities must create their own ecosystems of trust.

This is why public communication is no longer optional — it is a strategic resource. The university of the future will compete not only for students and grants, but for attention, trust, and the right to help shape the future. That requires continuous, meaningful dialogue with society.

The most important lesson from the sustainable development discussions of 2026 may be this: sustainability does not begin with reports or rankings. It begins with the ability to create meaning, bring people together, and explain to society — convincingly, compellingly — why education remains one of its most vital institutions.

by Taina Kaunis,
Advisor to Silk Road Media

A NEW-GENERATION UNIVERSITY: THE TRANSFORMATION OF SCIENCE AT KAZNU

A NEW-GENERATION UNIVERSITY:
THE TRANSFORMATION OF SCIENCE AT KAZNU

In today’s era of global change, universities are no longer merely institutions for the transmission of knowledge. The world’s leading universities are transforming into intellectual hubs where breakthrough technologies emerge, digital agendas are shaped, and the foundations of economic resilience are established. Kazakh National University named after Al-Farabi, ranked 166th in the QS World University Rankings, clearly demonstrates how the country’s oldest university can become a leader in technological modernization.

Under Rector Zhanseit Tuimebayev, KazNU has undergone a profound transformation, responding to the national agenda to strengthen human capital and integrate artificial intelligence into all spheres of life.

RESEARCH UNIVERSITY

The university’s designation as a research university in 2022 marked the starting point of a major transformation. Today, KazNU’s scientific ecosystem includes eight research institutes, thirty-nine research centres, and more than 140 laboratories. Together, they host approximately 400 research projects, creating a highly concentrated environment for scientific inquiry and applied innovation.

Investment has been central to this growth. In preparation for the university’s 90th anniversary, approximately USD 110 million was directed into scientific infrastructure, enabling the creation of more than fifty state-of-the-art laboratories and innovation platforms.

A central component of this ecosystem is the Farabi Hub High Technology Centre, one of the university’s largest innovation clusters, covering nearly 7,000 square meters and supported by investments totaling USD 20.55 million. The centre hosts joint projects with global technology leaders, including ZTE, Ericsson, CNRS, Huawei, Samsung, NVIDIA, and BASF.
KazNU also established the FARABI ROBOTICS Engineering Competence Centre, specializing in industrial robotics and Industry 4.0 technologies. Supported by a USD 1 million World Bank grant, the centre focuses on training and retraining highly qualified specialists. The platform provides opportunities for studying, testing, and demonstrating robotic solutions for industrial processes and startup projects.

To strengthen international integration in robotics and digital technologies, KazNU established the International Institute of Digital Technologies and Robotics. The decision to create the institute was made during the Kazakhstan–China Business Council meeting in Beijing with the participation of President Kassym-Jomart Tokayev. The institute includes educational and research laboratories, multimedia classrooms, and experimental facilities equipped with industrial and service robots.

Another strategic initiative is the Innovative Unmanned Aviation Centre, established jointly with Chinese partners from Aerial Solutions LLC and Northwestern Polytechnical University (Xi’an). This is the first facility of its kind in Central Asia, dedicated to the development of unmanned aerial vehicles (UAVs), aerospace technologies, testing infrastructure, and dual education programs.

The Scientific Centre for Sustainable Development and Rational Environmental Management conducts comprehensive research on the natural-resource, socio-economic, and environmental systems of Western Kazakhstan. The centre operates within the framework of the Ministry of Science and Higher Education’s program “Sustainable Development of the Natural-Economic and Socio-Economic Systems of Western Kazakhstan in the Context of Green Growth.” In late 2023, geographers from the faculty secured a mega-grant from the Science Committee worth USD 7.6 million.

KazNU is also home to the PolyU-KazNU Centre for Sustainable Development of Central Asia, which systematically implements interdisciplinary research projects focused on regional sustainability, social processes, and tourism development. The research is conducted through joint teams from Al-Farabi Kazakh National University and The Hong Kong Polytechnic University (PolyU).

In 2024, the Kazakhstan–China Joint Laboratory of Remote Sensing Technologies and Their Applications was established as part of the implementation of President Tokayev’s directives on strengthening university science and research infrastructure. The project attracted an almost USD 2 million grant from the Xinjiang Institute of Ecology and Geography of the Chinese Academy of Sciences. The laboratory focuses on climate change, droughts, land degradation, and water scarcity in Central Asia.

Researchers at the laboratory currently conduct comprehensive assessments of environmental and natural hazards using remote sensing data, unmanned aerial vehicles, high-precision LiDAR surveys, and artificial intelligence methods. Among its achievements is the development and testing of an integrated scientific approach to assessing and managing landslide risks in foothill regions.

Another strategic initiative is the Farabi Chem Science cluster, supported by investments of USD 6.5 million. The cluster comprises nine laboratories conducting research in ecology, energy, medical chemistry, petrochemistry, and materials science. Research ranges from analytical chemistry to electrochemical production technologies, nanomaterials, polymeric and inorganic materials, pharmaceuticals, and medical equipment. Scientists are developing innovative products, from fire-resistant coatings for metal and wooden structures to medical hydrogels and advanced wound dressings based on synthetic and plant-derived materials.

The International Research Centre for Central Asian Studies “ZooStan” at KazNU was established in May 2024. The agreement to create the laboratory was signed between France’s leading scientific organization, the National Centre for Scientific Research (CNRS), and Al-Farabi Kazakh National University. The French government allocated USD 1.05 million to support the initiative.

Recent research conducted by the international ZooStan laboratory has significantly expanded our understanding of the early historical development of Central Asia. One of the most notable achievements of the 2025 field season was the discovery of fourteen additional archaeological sites featuring ancient rock art.

Another key institution is the Brain Institute, established with USD 5.7 million in investment. It advances both fundamental and applied neuroscience, with a focus on translating findings into practice — particularly in the early diagnosis and prevention of neuropsychiatric disorders.

In partnership with the Ministry of Energy, KazNU has also established an Industry Technology Competence Centre bringing together twelve R&D divisions, covering areas from hydrocarbon processing and hydrogen energy to cybersecurity and AI.
At the same time, KazNU is moving to the forefront of next-generation science. In 2026, the university initiated the establishment of the Kazakhstan–Singapore Centre for Quantum Technologies. Its activities encompass quantum computing, quantum communications, sensing technologies, and advanced materials—key areas in the emerging global technological competition.

INTERNATIONAL INTEGRATION
AND A GLOBAL ACADEMIC NETWORK

Internationalisation has become a strategic priority. KazNU has built partnerships with more than 700 universities worldwide and has evolved into a major educational hub for Central Asia. Today, more than 7,000 international students from 54 countries study at Al-Farabi Kazakh National University, creating a multicultural academic environment and strengthening the global competitiveness of its graduates.

KazNU is expanding its international presence through educational centres in Bishkek, Istanbul, and Omsk, and hosts branches of leading institutions including the National Research Nuclear University MEPhI and China’s Northwestern Polytechnical University — enabling specialist training across fields from nuclear physics to advanced materials science.

ARTIFICIAL INTELLIGENCE
AND DIGITAL TRANSFORMATION

Digitalisation has become a key driver of the university’s modernisation. At KazNU, artificial intelligence has evolved from a standalone subject into a foundation of both teaching and research.

Programmes in Big Data, intelligent systems, robotics, and analytics are now offered across all levels of study, from undergraduate to doctoral. AI courses run across all faculties, from introductory modules to advanced topics such as neural networks and deep learning.

At the heart of this transformation is Central Asia’s most powerful supercomputer — a USD 23 million investment delivering 2,000 TFLOPS of performance, supported by 400 CPU servers and 30 GPU servers.

The supercomputer is being used to develop a large Kazakh-language model (LLM) — a step toward digital sovereignty — and supports climate modelling in collaboration with Kazhydromet, reducing calculations that once took weeks to a matter of hours.

Generative AI technologies, online proctoring systems, and intelligent digital assistants have also been integrated into the educational process.

Al-Farabi Kazakh National University is demonstrating a sustainable model that combines academic tradition, cutting-edge technology, and global ambition.

The university is not merely adapting to change — it is shaping the future of science and education across the region. Its focus on artificial intelligence, digital transformation, international cooperation, and research commercialisation continues to strengthen its position as one of Eurasia’s leading intellectual centres.

In an era of rapid global transformation, universities like KazNU are key drivers of economic, scientific, and social progress — and KazNU is moving confidently in that direction.

HELPING EVERY CHILD THRIVE: MONTESSORI, INCLUSION AND THE SCHOOL OF THE FUTURE

HELPING EVERY CHILD THRIVE: MONTESSORI, INCLUSION AND THE SCHOOL OF THE FUTURE

Teaching and medicine have been part of Lidia Belozerova-Solonovich’s family heritage for generations, inspiring a lifelong commitment to education and child development. Her professional journey began at the Rostov College of Arts, where she trained as a violinist and music educator, before continuing her studies at New York University and completing Montessori teacher training at the West Side Montessori School.

Her deep interest in how children learn led her to study Neuroscience and Psycholinguistics at St. Petersburg State University under Professor Tatyana Chernigovskaya, shaping her understanding of language acquisition, cognition, and the needs of diverse learners.

Today, she brings together expertise in music, Montessori education, neuroscience, and child psychology in her work at Idyllwild Montessori School. Passionate about nurturing each child’s unique potential, she believes that education is not only about academic success but also about building confidence, resilience, and a lifelong love of learning.

OCA Magazine: Why has inclusive education become such a priority globally? What changes have you seen in the United States?

Lidia Belozerova-Solonovich: Inclusive education has become a global priority because modern societies increasingly recognise that diversity is not an exception but the norm. Schools are expected not only to provide academic knowledge but also to prepare children to live and work in diverse communities. At its core, inclusion is about equal opportunity and human dignity.

In the US, there has been significant progress over the past decade. Awareness of neurodiversity and individualised learning needs has grown, and schools are increasingly moving away from deficit-based thinking towards identifying students’ strengths. We see broader adoption of differentiated instruction, Universal Design for Learning (UDL), and collaborative support systems involving teachers, specialists, and families. The conversation has shifted from whether children with diverse needs belong in mainstream settings to how schools can best support their success.

OCA: Montessori schools are traditionally associated with an individual approach to each child. How does the Montessori philosophy help create a truly inclusive educational environment for children with different needs and developmental backgrounds?

LBS: In many ways, inclusion is built into the Montessori philosophy. Maria Montessori believed that every child develops on their own timeline and has unique strengths. Montessori environments are designed to accommodate individual differences naturally, rather than expecting all students to learn the same thing at the same pace.

Mixed-age classrooms, self-paced learning, hands-on materials, and freedom within clear boundaries allow children to engage in ways that suit their developmental stage — benefiting all students, not only those with identified learning differences. Montessori classrooms encourage peer support, cooperation, and mutual respect, helping children see diversity as a natural part of everyday life.

OCA: In your view, what are the main mistakes educational systems in the post-Soviet space make when it comes to inclusion? What aspects of the American experience could be adopted?

LBS: One of the main challenges in many post-Soviet educational systems is that inclusion is sometimes treated as a formal policy rather than a genuine cultural transformation. Physical placement of children with diverse needs into mainstream classrooms matters, but true inclusion also requires changes in teaching practice, assessment, teacher training, and public attitudes.

Another challenge is the persistence of highly standardised education, where success is measured by uniform academic outcomes — making it difficult to accommodate different learning styles and developmental paths.
From the American experience, several practices stand out: stronger collaboration between educators, specialists, and families; individualised educational planning; investment in teacher training; and a strengths-based approach. Crucially, inclusion should be seen not as a special initiative for certain children but as a framework that improves education for everyone.

OCA: Today, there is increasing discussion about the importance not only of academic knowledge but also of emotional intelligence, empathy, and interpersonal skills. How does an inclusive environment influence the development of these qualities in children?

LBS: An inclusive environment gives children daily opportunities to interact with peers who think, communicate, and learn differently. These experiences build empathy, patience, and effective communication.
When children learn alongside peers with different abilities and backgrounds, they understand that everyone faces challenges and has something to contribute. Research and practice both show that inclusive settings build stronger social-emotional competencies — increasingly recognised as essential for success in modern society.

OCA: How prepared is modern society – including parents, teachers, and state institutions – for genuine inclusion? In your opinion, where is the main dividing line today between declarations of inclusivity and real change?

LBS: Awareness has grown significantly, but readiness varies widely. Most parents, educators, and policymakers support inclusion in principle. Translating that commitment into practice, however, requires resources, training, leadership, and sustained effort.
The main dividing line between declarations and real change is the gap between access and participation. It is relatively easy to say all children are welcome. It is far harder to create environments where every child can meaningfully participate and feel a genuine sense of belonging.

True inclusion requires investment in teacher preparation, specialist support, adaptive environments, and strong family partnerships — and above all, a cultural shift from viewing difference as a problem to embracing it as part of human diversity.

OCA: How do you envision the school of the future? What role will inclusion, personalised learning, and new technologies play in education over the next 10-15 years?

LBS: The school of the future will be more personalised, flexible, and learner-centred. Advances in technology — including AI and adaptive learning platforms — will make it easier to tailor instruction to individual strengths and needs.

But technology alone will not transform education. The most successful schools will combine innovation with strong human relationships. Teachers will increasingly act as mentors and guides rather than simply providers of information.

Inclusion will become a foundational principle, not a separate initiative. Personalised learning pathways will allow students with different abilities and aspirations to learn together while pursuing individual goals, with greater emphasis on creativity, critical thinking, emotional intelligence, and global citizenship.

Ultimately, the future of education is not about treating everyone the same. It is about creating systems that help every child thrive, contribute, and belong.

OCA#59 EDUCATION

OCA#59 EDUCATION WELCOME WORD

Dear Reader,

I was talking recently with a hiring manager at one of Astana’s energy companies in March who told me something that has stayed with me. “I stopped reading cover letters six months ago,” he said. “I can’t tell if I’m reading the applicant or ChatGPT.” He paused, then added something I found even more striking. “And honestly, for some of the roles we’re recruiting for now, I’m not sure it matters — because in two years, the role itself will probably be done by AI anyway.” He wasn’t complaining. He was simply describing a new reality — one that has arrived faster than most universities, schools, and policymakers were prepared to handle.

The degree paradox has been building for years. A university qualification has never been more common, more expensive, or more questioned. Across Central Asia and beyond, millions of young people invest years of their lives — and considerable sums of money — into credentials that were designed for a world that no longer quite exists. The industrial-age university was built on a simple contract: absorb knowledge, demonstrate it in writing, receive a certificate that signals to employers you are trainable and you will get a job. That promise is now fracturing.

Artificial intelligence has accelerated the fracture in two directions at once. On one side, it has made the traditional written assignment — the essay, or the report — almost impossible to verify as a genuine demonstration of a student’s own thinking. On the other, it is rapidly reshaping the very jobs that graduates are hoping to walk into. The entry-level roles that once absorbed new graduates — research tasks, first drafts, data processing, basic analysis — are precisely the roles most exposed to automation. A degree that trained you for those jobs is beginning to look like a wasteful preparation for positions that may not exist.

Yet here is where I think the conversation needs to shift. The answer is not to fight AI in education, but to teach with it. The students who will thrive in the next decade are not those who avoided AI tools, but those who learned to think alongside them — to interrogate outputs, to know when to trust and when to question. They will be the ones who bring judgment, context, and genuine human understanding to problems that a language model can only approximate. This is a new kind of literacy, and most institutions are only beginning to understand what it demands of them. The energy sector in Kazakhstan knows this already — it is actively looking for graduates who can work with AI-driven modelling and simulation tools, not graduates who have simply memorised the theory behind them. Education must catch up with that reality.

For Central Asia, this is both a moment of challenge and a genuine opportunity. The region’s universities are not weighed down by centuries of entrenched tradition. They have the flexibility to adapt, to experiment, and to design programmes that place AI fluency at their core rather than as an afterthought. The question is whether the will and the vision exist to match that flexibility.

This OCA issue explores many of these tensions in rich and sometimes surprising detail. Andrew Wachtel sets out six scenarios for the future of the university in the age of AI — none of them comfortable, all of them worth reading. Jorge Rey Valzacchi reframes the plagiarism debate entirely, arguing that the real question is no longer “did the student write this?” but “did the student think this?” Our cover interview with Lidia Belozerova-Solonovich is a timely reminder that truly transformative education has always begun with something simpler — the commitment to see each child as an individual. And from across the region, contributors from Kazakhstan, Kyrgyzstan, and beyond explore what smart agriculture, vocational training, and the rise of micro-credentials mean for a generation that will need to keep learning long after they leave the classroom.

As ever, there are no easy answers in these pages. But there are some very good questions. I hope you find them as absorbing as I have.

Yours,
Nick Rowan
Editor-in-Chief
Open Central Asia Magazine

CARDS REMIXED FOR THE NEW ‘GREAT GAME’

CARDS REMIXED FOR THE NEW ‘GREAT GAME’

THE SILK ROAD’S NEW REALITY

In 2013, China’s newly nominated President Xi Jinping gave a much-heeded speech in Astana, Kazakhstan’s brushed-up capital. His main concern focused on nothing less than how to invigorate the ancient Silk Roads, „in order to promote people-to-people friendship“. – After eleven years, in 2024, jointly with Kazakhstan’s President Tokayev, Xi Jinping inaugurated the China-Europe Trans-Caspian Express Route.

Xi’s (geo-)strategically planted “One Belt, One Road policy (OBOR)“ was targeted at building “an Economic Belt and a Maritime Silk Road“ that would soon be renamed as “Belt and Road Initiative (BRI)“, reaching out far beyond the ‘Eurasian’ continent, into Africa, the Americas, the Arctic – even to outer space and cyberspace. “The mantra of the Silk Roads supersedes all division: all should follow the ‘Silk Road spirit of peace and cooperation, openness and inclusiveness, mutual learning and mutual benefit and seek greater synergy’ in pursuit of ‘national renewal’“, analyses Peter Frankopan in his blockbuster book ‘The New Silk Roads – the Present and Future of the World’ (2018), quoting China’s Foreign Minister Wang Yi.

Xi Jinping calls for investments in roads, rails, harbours, energy and global trade – and a great deal of ideology and political and economic power. From this angle, the cooperation acronym of ‘BRICS’ for Brazil, Russia, India, China and South Africa looks like an extension of ‘BRI’ – the Belt and Road Initiative – China’s geo-economic configuration of the multi-polar world.

A GLANCE TO THE REARVIEW MIRROR

Overindulging past experiences has a strong tendency to block a somewhat balanced viewpoint to perceived mainstream fads. The Silk Road topic, broaching the issue of the vast Eurasian trade network as the ‘crossroads of cultures’, has always provided the ideal carpet woven with narratives of adventure and bravado, venture and exploration, boldness and perseverence, tragedy and serendipity, fate and destiny and – war and peace.

Over the centuries, the Silk Roads have evolved, linking an area of rich ethnic diversity, dramatic landscapes, and a cultural heritage of colourful traditions and awesome architectural highlights. The Silk Roads remind us of an example of early globalization, as traders, philosophers, missionaries, envoys took off to either direction, powerful armies fought their battles, and a network of spies kept an eye on the area and on one another.

The notorious ‘Great Game’ of the 19th and early 20th centuries saw a competition of both political intervention and archaeological exploration. They tell the history of exploration, including the destinies of outstanding European and Asian players of the ‘Great Game’, weaving the fabric storytelling lives from. Today, the revival of the ‘Great Game’ is in full swing – under different auguries, though, and with different political and commercial actors.

The old Silk Roads were multicultural, but, rather than being absorbed in a ‘melting pot’, they largely kept identities like the ingredients of a ‘salad bowl’. Watchtowers alongside the routes were not ivory towers for scholars in splendid isolation, often they served as lighthouses to show caravans the direction – caravans and voyagers, spearheaded by the likes of Marco Polo the merchant, Ibn Batuta the pilgrim, Xuanzang the monk, Zheng He the admiral.

Since the break-up of the Soviet Union, Silk Road Tourism was on a constant rise – despite chaotic conditions in the earlier years of the awkward age of the young ‘-stan’-countries, with civil war in Tadjikistan and Afghanistan, terrorist attacks in the Ferghana Valley, exacerbating effects of climate change, and an emerging US-Russian rivalry in ‘near-abroad’ countries, as Russia would refer to the Community of Independent States – still considering them as its geostrategic front court. There were a lot of opportunities given in those times, to build a ‘European common house’, but they were fatefully missed.

RAILWAYS CRISSCROSSING THE SILK ROADS

Following a period of stagnation, including the standstill caused by the Covid-19 pandemic, China identified the Central Asian states as first-hand clients to share the idea of rejuvenating the Great Silk Roads, with a focus on revamping and installing a network of road and railway connections unheard-of. Politicians could scarcely resist China’s proposition to build a commercial network (road, rail, sea, air) that is meant to connect places and people, towns and cities, airports and harbours, countries and continents.

Today over 3,600 high-speed trains connect 550 cities in China, keeping the world’s largest high-speed rail network covering over 46,000 kilometres of length (Wikipedia). And trains are gaining momentum in Central Asia: As part of BRI, a new railway connection is under construction between China, the Kyrgyz Republic and Uzbekistan (CKU), linking land-locked Kyrgyzstan with the Eurasian rail transport system – and cutting the transit line China-Europe short of almost 900 kms, with eight days less duration.
Another example: Uzbekistan’s „Central Asia Regional Economic Cooperation Corridor 2 (Bukhara-Miskin-Urgench-Khiva) Railway Electrification Project“ – CAREC adds “electrification, signalling and telecommunication, and traction power management systems to the recently built railway line between Bukhara, Miskin, Urgench, and Khiva. In terms of tourism development, CAREC will promote a regional approach to sustainable tourism development to maximize economic opportunities and to safeguard ecosystems.

Travelling the Silk Roads has always been demanding. Whoever today is lured by the tales of bold fearnoughts, yet who appreciates the comfort of guided tours have turned into travellers’ highlights: The Orient Silk Road Express links Tashkent – Dushanbe – Samarkand – Bishkek – Almaty, including Kyrgyzstan’s Lake Issyk-Kuls. Luxury accommodation is also growing providing all-inclusive luxury and services.

THE DELUSION OF HEAVENLY PEACE

There is a basic misunderstanding about a kind of automatism between trade and peace: The Silk Roads were by far not always peaceful, although they formed the arteries of trading goods, exchanging ideas and news, and spreading religions. Admittedly, amongst criminals there were serious international scientists and explorers, ‘children of their time’, though, in search of strange civilizations and their remnants as part of our joint cultural heritage. They were eager to learn about former peoples’ lifestyles and their wisdom. The famous scientist and voyager Alexander von Humboldt who travelled throughout Russia, put education and formation (‘Bildung’) to the top-agenda of humanness, in order to create “the basis of a free and happy society“.

In 2018, China’s Foreign Minister Wang Yi evoked the ‘mantra of the Silk Roads’. All should follow the “Silk Road spirit of peace and cooperation, openness and inclusiveness, mutual learning and mutual benefit and seek greater synergy“ in pursuit of “national renewal“ (Peter Frankopan, The New Silk Roads). Properly speaking, this is no less than the shiny template of a win-win scenario – intriguing words for curious political audiences. How about the deeds? – In the meantime there is some concern about the perceived “dichotomy … of an empire being built by design or by default“ (Frankopan) – a renewed China whose aim is to be “the principal advisor to all humanity“ (Henry Kissinger).

Twelve years after the evocative address of China’s President Xi Jinping in Astana, in September, 2025, representatives of the world’s main religions gathered in Kazakhstan’s capital. Justice, dignity and equitable evolvement have been identified as basic factors to create human unfolding, consolidation of peace and interreligious cooperation.

These factors are human rights, universally understood and formed in common sense, though not man-made. Common sense has become rare in today’s world in turmoil. Is it not what people feel missing after having bought in to so many failed attempts of secular blessings? More and more people sense that the pivot of a sound cultural development is trusting in God. Everything else will be, rather than peace, a mere truce, ending up in a bitter delusion of ‘Heavenly Peace’ (Peter Scholl-Latour).

25 years ago, the Kyrgyz Republic propagated the country’s ‘Silk Road Doctrine – the Diplomacy of the Great Silk Roads’, based on the ideas of humanism and tolerance. It was the time, when the concept of “our common house” went viral in capital cities of Europe and Central Asia, as economic cooperation started to bloom, to the better and to the worse. Marlboro advertisements showed a Red Army officer’s smoky indulgence to “Test the West“, and thousands of used-cars – German, Japanese and French – were flocking overland, direction East. Today, the Russian Army tests the West, while brand-new Chinese BYD e-cars are crammed on huge cargo ships bound oversees, direction West. While tourists use the Silk Roads as the backdrop for selfies, the cards of the new ‘Great Game’ are remixed.

By Max Haberstroh, Senior Trainer MTC
(Meaningful Tourism Centre),
International Senior Consultant
on Sustainable Tourism

LA IMPORTANCIA DE LA RUTA DE LA SEDA PARA LA FUNDACIÓN DE AMÉRICA LATINA

LA IMPORTANCIA DE LA RUTA DE LA SEDA PARA LA FUNDACIÓN DE AMÉRICA LATINA

Un vínculo histórico intrigante entre Asia Central y América Latina radica en las influencias culturales y económicas compartidas de la antigua Ruta de la Seda; esta ruta facilitó la diseminación global de tecnologías, bienes e ideas desde Asia Central -particularmente innovaciones en la producción de seda y la sericultura (cría de gusanos de seda) -, que finalmente llegaron y enriquecieron a las sociedades latinoamericanas a través de las redes comerciales coloniales.

Asia Central, que abarca regiones como las actuales Uzbekistán, Tayikistán y Kazajstán, fue el epicentro de la Ruta de la Seda desde el siglo II a. C. en adelante. Esta vasta red de rutas terrestres y marítimas conectaba China a través de los oasis de Asia Central (como Samarcanda y Bujará) con el Mediterráneo, Persia, India y más allá, permitiendo el intercambio de seda, especias, piedras preciosas y conocimientos agrícolas. Los comerciantes sogdianos y turcos de Asia Central fueron fundamentales, no solo para el transporte de seda china hacia el oeste, sino también para el desarrollo de avanzadas técnicas de sericultura adaptadas a climas áridos; difundieron el budismo, el zoroastrismo y habilidades metalúrgicas a lo largo del camino.

Para el siglo XVI, cuando potencias europeas como España y Portugal colonizaron América Latina, estos legados de la Ruta de la Seda cruzaron el Pacífico a través del comercio del Galeón Manila-Acapulco (1565-1815). Los galeones españoles navegaban desde Acapulco (América Latina vía México) hasta Manila (Asia Central/China vía Filipinas), y regresaban cargados de mercancías asiáticas adquiridas a través de las extensiones marítimas de la Ruta de la Seda -sedas, porcelana y especias de puertos chinos que habían sido centros para las importaciones terrestres de Asia Central -. Estas mercancías inundaron los mercados latinoamericanos e influyeron en la moda, el arte y la economía de las élites. Por ejemplo, las cortes virreinales peruanas importaron grandes cantidades de tejidos de seda y algunos tejidos con técnicas refinadas de Asia Central, mientras que la plata mexicana (extraída en América Latina) fluía hacia el este para financiar más comercio asiático.

La integración del galeón con la Ruta de la Seda transformó Manila en un “nodo central” de la economía-mundo asiática, como la describen los estudiosos. Las alfombras de Asia Central, por ejemplo, se sumaron a las sedas chinas (hasta 800 toneladas anuales) y los algodones indios en las bodegas de los galeones, generando ganancias del 150-200% al llegar a México. El flujo de plata mexicana/latinoamericana -estimado en 55 toneladas métricas solo en el siglo XVII – circulaba de regreso a través de la Ruta de la Seda, y financió talleres persas y bazares centroasiáticos. La escala del comercio superó en volumen a la Ruta de la Seda tradicional, con galeones que desplazaban 2.000 toneladas y transportaban bienes por valor de millones de pesos. Más allá de lo económico, la conexión fomentó flujos culturales sutiles. Los motivos de Asia Central en las alfombras persas influyeron en los textiles mexicanos y las esculturas guatemaltecas, fusionándose con diseños de porcelana china. Marineros filipinos y “chinos” (esclavos asiáticos, a menudo de los márgenes de Asia Central a través de la Malaca portuguesa) tripulaban los galeones, llevando consigo huellas lingüísticas y culturales -por ejemplo, palabras del tagalo provenientes del náhuatl, que potencialmente reflejaban los pidgins de la Ruta de la Seda.

Los estudios genéticos revelan la mezcla asiática en las poblaciones mexicanas, incluidos rastros de redes euroasiáticas más amplias, que datan del siglo XVII. Esta conexión indirecta pero profunda subraya cómo el papel de Asia Central como encrucijada de la Ruta de la Seda dio forma a la cultura material colonial de América Latina. La evidencia arqueológica de sitios como las iglesias coloniales de Lima revela fragmentos de seda asiática con motivos de color centroasiáticos, lo que ilustra un hilo tangible a través de continentes. Hoy, los ecos persisten en las tradiciones textiles latinoamericanas y las cadenas de suministro globales, destacando los vínculos transpacíficos perdurables.

Por Bruce Gaston

THE SILK ROAD VIRTUAL MUSEUM BRINGS GLOBAL HISTORY ONLINE

THE SILK ROAD VIRTUAL MUSEUM
BRINGS GLOBAL HISTORY ONLINE

When we think of the Silk Road, we often picture camel caravans crossing deserts or traders carrying silks and spices along dusty mountain passes. Yet the Silk Road was never a single route. It was an extraordinary web of connections, stretching across continents and seas, linking civilisations from China to the Mediterranean.
The Silk Road Virtual Museum was launched in September 2024 by Professor Richard Griffiths, a retired long-time lecturer at Leiden University and pioneer of digital learning on Coursera. His vision was simple but ambitious: to create a digital museum that could open this rich history to the world, freely, beautifully, and without borders.

Unlike traditional museums limited by geography or building space, the Silk Road Virtual Museum is entirely accessible online. It brings together over 1,500 artefacts and stories from more than 200 collections across 50 countries, weaving them into immersive virtual exhibitions supported by extensive e-libraries. From Buddhist murals and Tang Dynasty porcelain to Viking silver and Persian manuscripts, the museum showcases the extraordinary cultural exchanges that shaped global history.

Too often, world history is told from a Western perspective, overlooking the roles of Asia, the Middle East, and Africa in shaping global trade and culture. By highlighting forgotten trade routes, religious encounters, and artistic traditions, the museum rebalances this view and shows a world that was always interconnected.

At the heart of the project is a commitment to accessibility. The museum is open to all, free of charge, ensuring that anyone with an internet connection can explore its galleries. The exhibitions make complex history understandable and relevant to a global audience, whether you are a scholar, a student, or simply curious about the past.

This September, the museum celebrates its first anniversary with 15 new exhibitions on the Maritime Silk Road—the sea routes that once connected Japan, China, Java, Calicut, Persia, and Venice.
For Professor Griffiths and his team, the mission is clear: to preserve cultural heritage, share it freely, and inspire curiosity about the ways our histories intertwine. As the museum grows, it invites us all to step inside and discover the stories that connect us across time and space.

Visit the museum at: silkroadvirtualmuseum.com.

by Richard Griffiths

TERRA INCOGNITA ACADÉMICA:

¿POR QUÉ LOS ESTUDIANTES Y
PROFESORES DE ASIA CENTRAL Y
AMÉRICA LATINA NO HACEN VIAJES DE INTERCAMBIO DE ESTUDIOS
ENTRE SUS RESPECTIVOS PAÍSES Y
QUÉ PIERDE EL MUNDO?

Mientras los vínculos económicos y culturales entre Asia Central y América Latina se fortalecen, la esfera del intercambio académico permanece en estado embrionario. No existen prácticamente programas estructurados a gran escala de movilidad estudiantil o de doble titulación entre las regiones. Sin embargo, es precisamente en este espacio no explorado donde yace un enorme potencial, y las principales universidades están comenzando a materializarlo. Un ejemplo claro es la Universidad Nacional Kazaja de al-Farabi (KazNU), que está trazando los primeros caminos en esta nueva dirección.
KazNU, buque insignia de la educación superior en Kazajstán, apostó hace tiempo por la internacionalización. Su cartera incluye más de 700 asociaciones en todo el mundo, y su foco de atención se dirige cada vez más hacia los países de América Latina, especialmente Brasil. El germen de la cooperación queda bien ilustrado con la participación de un profesor de KazNU en el seminario “Industria 4.0 y Desarrollo Sostenible” en la Universidad de la Amazonía. Este diálogo se tradujo en acuerdos concretos de colaboración con la Asociación Brasileña de Universidades, un simbólico primer paso de contactos esporádicos que pueden llevar hacia un trabajo sistemático.

INTERÉS MUTUO EN LA INTERSECCIÓN DE LOS DESAFÍOS GLOBALES

El interés de KazNU por la región no es en absoluto casual. Se basa en el beneficio mutuo y las prioridades comunes:

  1. Conocimiento estratégico: para Kazajstán, que está desarrollando activamente sus vínculos con LatAm, es extremadamente importante formar especialistas -economistas, politólogos, ecologistas – con una comprensión profunda de la región, sus idiomas y su entorno empresarial.
  2. Nichos de investigación comunes: las universidades de ambas regiones poseen experiencia única en áreas que se han convertido en tendencias globales: desarrollo sostenible, gestión de recursos hídricos y biológicos, energía “verde”, innovación social. La investigación conjunta aquí es el camino directo a resultados innovadores y a la obtención de subvenciones internacionales.
  3. Intercambio cultural y educativo: para los estudiantes latinoamericanos, Asia Central es una terra incognita con una historia riquísima y una experiencia única de transición postsoviética. El interés por estudiar este espacio es lógico.

La Universidad de al-Farabi ya ha elaborado una hoja de ruta concreta para convertir las perspectivas en realidad. Sus puntos clave no son deseos abstractos, sino proyectos viables:
Lanzamiento de programas “piloto” de movilidad centrados en maestría y doctorado (PhD) con universidades líderes en Brasil, Chile y México.
Desarrollo de programas de maestría conjuntos de doble titulación (double degree) en áreas de interés estratégico mutuo: gestión de recursos naturales, negocios internacionales, TI para el desarrollo sostenible.
Creación de colaboraciones científicas virtuales y presenciales para presentar solicitudes de subvención (por ejemplo, a programas de la UE o fondos de desarrollo de los BRICS).
Puesta en marcha de puentes lingüísticos y culturales: introducción de cursos de español/portugués en los planes de estudio de KazNU y promoción de cursos en línea sobre el idioma y la cultura kazajas en LatAm a través de los Centros al-Farabi.

Así, la historia de la colaboración de KazNU con Brasil es un modelo microscópico, pero muy ilustrativo, del futuro. Demuestra que, a pesar de la distancia geográfica y la falta de vínculos establecidos, un puente académico entre Asia Central y América Latina no solo es posible, sino extremadamente necesario. Las universidades solo tienen que dar el primer paso para que se produzca el encuentro, y descubrirán al otro lado del océano no solo a un socio, sino a un colega que se enfrenta a tareas globales similares. KazNU ya está dando ese paso.

WE ARE NOT GUESTS:

WHY UZBEKISTAN IS LOSING ITS PEOPLE AROUND THE WORLD

Nostalgia can become a source of strength, but it is time to stop pushing away those who have long acted as our unofficial ambassadors.

I am standing in the reception hall of the Uzbek embassy in a European capital. An inspiring speech is being delivered in Uzbek. There are nearly one hundred people in the room. At best, half of them understand it. Next to me is an architect who was born in Tashkent. Successful, well-known, with an extensive network of professional contacts. He leans toward me and whispers quietly: “I feel like a student who came to class unprepared.”

An hour later, a certificate “For Strengthening Friendship Between Nations” is awarded to a local professor who once visited Samarkand – as a tourist. My neighbour, who has spent decades promoting Uzbekistan in the media, business, and cultural life of this country, simply shrugs.
My name is Marat Akhmedjanov. I am not ethnically Uzbek. But Uzbekistan is my homeland. I have travelled to more than seventy countries giving lectures and presentations about the country and have participated in embassy events in seven different states. And almost everywhere I see the same pattern: a vast community of people for whom Uzbekistan is not just a point on the map but a part of their identity remains largely invisible to official structures. This is not an isolated case. It is a system.

THE NUMBERS WE PREFER NOT TO SEE

Millions of people who were born in Uzbekistan – or are tied to it through family and culture – now live abroad. A significant number of them are not ethnic Uzbeks. They are Russian-speaking Tashkent residents, Bukharan Jews, Koreans, Tatars, Tajiks, Armenians – people shaped by this land and its culture.

Even conservative estimates suggest several million individuals. If we include their families and children, the number grows into tens of millions. In effect, this is an entire country without borders. A community with capital, networks, knowledge, and reputation. A community that still calls Uzbekistan home.

And what do we do with this? At best, we allow them to feel nostalgic. At worst, we signal that they are not entirely our own. This problem is not unique to Uzbekistan – but for Uzbekistan it is especially consequential.

To be fair, similar dynamics exist across much of the post-Soviet space. The Soviet system conditioned societies to think in terms of bloodlines, language, and the nationality line in a passport. Russia, Ukraine, the countries of the Caucasus, and much of Central Asia still operate – consciously or not – within the framework of “correct” identity.

Yet for Uzbekistan the issue is both more acute and more promising than elsewhere, because historically Uzbekistan was a crossroads of civilizations. For centuries Turks and Persians, Jews and Russians, Koreans and Tatars, Armenians and many others lived and created here side by side. Today millions of people who grew up in Tashkent, Samarkand, or Bukhara live across the world in an era when a single individual can serve as a bridge between markets, cultures, and nations. At the same time, Uzbekistan itself stands at a moment of reset – when it is still possible to shape a different model of national belonging.

Many post-Soviet states have already missed this moment. Their diasporas have either drifted away entirely or integrated into the national narratives of other countries. Uzbekistan still stands at a crossroads. It can narrow the definition of “we” to an ethnic and linguistic framework. Or it can take a step that only confident nations take in the twenty-first century: recognising that a nation is not defined solely by blood and language, but also by memory, choice, and participation.

WHAT IS GOING WRONG

I am speaking not from theory but from experience. Language often becomes the first barrier. Presentations in Berlin, Paris, or New York are delivered exclusively in Uzbek – or in rigid, formal English. For whom? For the local audience? They do not understand. For the diaspora? Many of them primarily speak the language of the country where they live.
In the end, the key message reaches almost no one. Equally problematic is the closed circle of participants. Events rarely include the everyday but successful members of the diaspora – artists, entrepreneurs, filmmakers, bloggers. Instead, the same faces appear again and again: official guests, ethnic activists, formal partners. The atmosphere can feel almost caste-like. Meanwhile, the people who spend years organising exhibitions, writing articles, introducing investors to Uzbekistan – often without any compensation – remain invisible. Awards frequently go to visiting foreigners or to those who fit comfortable ethnic categories. In the process, the most dedicated advocates are overlooked.

Context is also lost. In Istanbul one might speak about Turkic roots. In Tel Aviv about the heritage of Bukharan Jews. In Seoul about the Korean diaspora. Yet too often the message becomes generic and impersonal. And it is precisely the local connection that makes a country feel alive and relevant.

WHAT COULD CHANGE?
THE SOLUTIONS ARE NOT COMPLICATED

Bilingual communication should become the norm. Every event abroad should be conducted in at least two languages: Uzbek and either the host country’s language or English. All materials should be prepared in multiple versions from the outset. This is not a concession—it is respect and effectiveness.
Participation should replace protocol. Culture is not transmitted through formal speeches alone but through experience: plov prepared by a diaspora chef, embroidery workshops for designers, dance for younger audiences. Culture enters through emotion, not through official statements.
Diplomacy of connection. Each country offers its own points of connection with Uzbekistan – historical, cultural, or human. These should be actively sought out.
Recognition of one’s own people. Diaspora activists of all backgrounds should receive systematic recognition. Advisory councils at embassies should include real community leaders rather than purely ceremonial figures.
An economic bridge. Dedicated programmes could connect the diaspora with the country’s development – investment tours, project support, legal assistance, and clear mechanisms for participation.
Uzbekistan stands at the threshold of a new stage. In the twenty-first century, strong nations are not defined by the size of their territory but by their ability to expand the circle of “we.” That strength already exists, it is embodied by millions of people across the world for whom Uzbekistan is not simply a memory but a living part of their identity. They do not need to prove their loyalty. They only need to hear something simple: you are ours, you matter, you are needed.

It is time to stop being guests in our own home – and to speak to our extended global family in a language everyone can understand.

by Marat Akhmedjanov

¡EL DEPORTE ES VIDA!

¡EL DEPORTE ES VIDA!

En la política y economía mundiales, las misiones diplomáticas construyen puentes. En la cultura, lo hacen los músicos y los escritores. Pero existe otra diplomacia, universal, donde las palabras son reemplazadas por golpes de guante, pases de balón y levantamientos récord de pesas. Es el deporte. Hoy, en su escenario global, nace una nueva, inesperada y aguda rivalidad que se transforma en respeto y un lenguaje común: entre los países de Asia Central y América Latina. Si antes sus caminos rara vez se cruzaban, ahora Kazajstán y Uzbekistán hablan cada vez más con Brasil, Argentina y Cuba en el idioma de los campeones.

BOXEO: LA BATALLA PRINCIPAL
DE LOS CONTINENTES
Fue precisamente en el ring de boxeo donde esta confrontación adquirió sus formas más vívidas y dramáticas. La historia de Gennady Golovkin ya no es solo una carrera deportiva, sino toda una epopeya de rivalidad transcontinental. Su famosa trilogía con el mexicano Saúl “Canelo” Álvarez se convirtió en el evento deportivo central de la década, y reunió frente a las pantallas a cientos de millones de espectadores desde Karagandá hasta Cancún.

La primera pelea en 2017, que terminó en un empate controvertido, fue una conmoción para el mundo del boxeo. El deportista kazajo de la escuela postsoviética no solo peleó de igual a igual con el icono del “estilo mexicano”, sino que, según la mayoría de los expertos, ganó. Los dos encuentros posteriores, ganados por Canelo, solo avivaron el fuego, creando una de las más grandes rivalidades en la historia del deporte. Fue más que la disputa entre dos luchadores. Fue un diálogo entre dos filosofías de pelea, escuchado por todo el mundo, y Kazajstán se afirmó como una potencia boxística.

Pero más allá de las transmisiones de pago, en los rings olímpicos se libra una lucha igualmente dura. La tradicionalmente inexpugnable escuela de boxeo cubana recibió un golpe palpable en Londres 2012. Los boxeadores kazajos, encabezados por Serik Sapiyev, lograron lo imposible: superaron a los cubanos en el medallero. Esta victoria fue una señal: había aparecido un nuevo y digno rival.

Hoy, Uzbekistán ha tomado el relevo de Kazajstán. En los últimos Juegos Olímpicos y campeonatos mundiales, los boxeadores uzbekos ya no solo participan, sino que dominan. En las peleas finales en Taskent o Tokio, cada vez se enfrentan a más atletas de Colombia, Brasil o República Dominicana, en lugar de europeos o asiáticos. La joven escuela uzbeka, agresiva y técnica, está desafiando a toda América Latina, y esta acepta el desafío.

FÚTBOL: LECCIONES DE LOS MAESTROS
En el campo de fútbol, la distancia entre las regiones aún es mayor, pero el proceso de aprendizaje está en pleno apogeo. Las selecciones de Kazajstán y Uzbekistán, en los años 2000 y 2010, obtuvieron una experiencia inestimable al enfrentarse a los futuros campeones del mundo. El equipo kazajo recibió un gol de Neymar en el partido contra Brasil (1:5) y otro de Messi en el partido con Argentina (0:3). Uzbekistán midió fuerzas con Bolivia y Venezuela.

Estos partidos, a menudo perdidos, no fueron derrotas, sino inversiones en el futuro. Mostraron a los jóvenes futbolistas de las estepas y las estribaciones de Tian Shan cómo se juega el fútbol con pasión, técnica y la famosa “magia brasileña”. Hoy, esta experiencia se materializa en que cada vez más jugadores de Asia Central participan en ligas fuertes, y los entrenadores estudian los desarrollos tácticos de Argentina y Brasil. El puente futbolístico está construido, y por él fluye un intenso intercambio; aún no de victorias, pero sí de ideas.

JUEGOS OLÍMPICOS: COMPETENCIA
GLOBAL POR MEDALLAS
Más allá del boxeo y el fútbol, el escenario de lucha se expande. En halterofilia, donde tradicionalmente son fuertes Colombia, Venezuela y Ecuador, los fuertes atletas de Uzbekistán y Kazajstán constituyen una poderosa competencia. En la lucha -tanto libre como grecorromana – la supremacía secular de Cuba ahora se disputa en cada campeonato. Un ejemplo brillante es la final olímpica en Tokio, en la que el uzbeko Yakub Sharipov venció a un luchador cubano. En el judo, las escuelas de Brasil y Asia Central cruzan regularmente sus kimonos en encuentros decisivos.

Esta competencia olímpica es única. Tanto América Latina como Asia Central son regiones que durante décadas han luchado por un lugar bajo el sol a la sombra de superpotencias deportivas como Estados Unidos, China o Rusia. Sus atletas a menudo provienen de condiciones sociales similares, sus victorias son historias de superación y su estilo combina una voluntad feroz de ganar con una técnica nacional única. Cuando se encuentran en una final, es una batalla no solo de atletas, sino de culturas deportivas enteras, cada una de las cuales demuestra que el deporte global ha dejado de ser el monopolio deldel “milmillonario de oro”.

La rivalidad deportiva entre Asia Central y América Latina es el espejo de un nuevo mundo multipolar. Los viejos ejes se desmoronan y surgen nuevos vínculos. El aficionado en Lima ahora se preocupa por el resultado de una pelea con un kazajo, y el seguidor en Taskent aprende cánticos en portugués mientras sigue al Corinthians.

Esta rivalidad, construida sobre el respeto mutuo y la comprensión común del valor del trabajo duro, se está convirtiendo en uno de los puentes más sólidos y sinceros entre nuestras regiones. Y mientras Golovkin y Canelo intercambian golpes, y los boxeadores uzbekos levantan sus puños en finales contra deportistas colombianos, este puente sigue haciéndose más fuerte. En un mundo donde tantas cosas nos dividen, el deporte nos recuerda una vez más una verdad simple: los diálogos más honestos se llevan a cabo en el lenguaje de la lucha limpia. Y en ese lenguaje, tanto el kazajo de la estepa como el brasileño de Copacabana se entienden sin traducción.
Por Veronique Pavloff

A LAND OF CHANCES, BEAUTY, AND PROMISE

A LAND OF CHANCES, BEAUTY, AND PROMISE

A few months ago, I had the privilege of visiting Uzbekistan — a land where every day seemed to offer me another chance. Another chance to see, to taste, to learn, to be humbled.

I boarded the sleek high-speed train from Tashkent to Samarkand, watching the landscape unfold at modern velocity. Not long after, I found myself in a very different setting — an old train, perhaps built in East Germany in the 1960s, rattling steadily towards its destination. This was not just a change in pace; it was a journey through time.

There were the monuments of Bukhara and Samarkand, standing like eternal witnesses to history. I walked their courtyards, climbed to the rooftop of a madrasah, and gazed at domes and minarets that seemed to touch the sky. In Bukhara’s bustling bazaar, I tasted the best plov of my life — fragrant, rich, accompanied by fresh vegetables and, in true Uzbek fashion, a small glass of vodka. That simple lunch, on the slow old train, remains one of my favourite memories. The train restaurant was alive with chatter, the view from the windows an ever-changing tapestry of fields and villages. Payment by card was not an option — a reminder that not all journeys are about convenience, but sometimes that is the charm.

One afternoon, on the train from Tashkent to Samarkand, I found myself seated with two Uzbek men. We began to talk in English. To my surprise, they had just arrived from New York — members of the executive board of the Uzbek Jewish community. Our conversation flowed easily, a mix of shared travel impressions and reflections on culture. It was a simple but profound reminder that Uzbekistan is a peaceful country where diversity is possible, and where respect and kindness are part of a legendary hospitality.

In Tashkent, I wandered into a bazaar and discovered a beautiful “Raketa” watch — a small treasure from another era. I also found one of the best cocktail bars I have ever visited, proof that Uzbekistan can mix tradition with cosmopolitan flair.

Uzbekistan is a land of wealth and contrasts — ancient cities and modern ambitions, deep traditions and youthful energy. It is a place that humbles you with its beauty and hospitality. And yet, beyond its monuments and markets, there is a bigger story unfolding.

Uzbekistan’s population is young, its future wide open. Soon, the country will join the World Trade Organization — a milestone that will bring new opportunities for trade, innovation, and cultural exchange. The people of Uzbekistan are already rich in heritage, even if they do not always fully realise it. Now, they stand on the threshold of a new kind of wealth: opportunity.

As an enthusiastic traveller and a cosmopolitan tradesman, I have seen how countries evolve when their people embrace both their roots and the wider world. To me it seems that the young people of Uzbekistan present a bright future, but there are a couple of humble suggestions I might make from my observations.

  1. Learn English. Not only for work in tourism, but as a gateway to global knowledge. News can be fleeting, but knowledge endures. English opens doors to science, culture, and opportunities that span continents.
  2. Study abroad. Uzbekistan has a tradition of welcoming and mingling with foreigners. Returning the gesture by venturing beyond your borders will enrich your perspective. The exchange of ideas, values, and skills will strengthen both you and your homeland.
  3. Master technology — especially AI. Artificial Intelligence is reshaping the world. It is powerful, but like any powerful tool, it must be handled wisely. Learn it, use it, but do not let it use you.
  4. Protect your culture and traditions. A tree that bears fruit does so because of its roots. Sever them, and you risk losing what makes you unique. Your history is not a weight holding you back — it is a foundation to build upon.
  5. Be daring. Only you can blend Uzbek tradition with modern innovation in a way that feels authentic. This is your competitive advantage — your “secret recipe” in a world that values both heritage and progress.

My journey in Uzbekistan was a journey through time, taste, and thought. From the turquoise domes of Samarkand to the laughter in a train carriage, from a bazaar watch to a crafted cocktail, every moment reminded me that this country holds infinite chances for those willing to see them.
To the people of Uzbekistan — thank you. Thank you for your kindness, your beauty, your hospitality. You live at the crossroads of history and the future. May you walk forward with confidence, holding your traditions in one hand and your opportunities in the other. The world is ready to discover you. And I, for one, am ready to return.

As for me, I am French, an enthusiastic traveller and a polyglot. I have a passion for participating in Uzbekistan’s growth and development, especially by working with young people — whether through coaching, teaching, or mentoring. As a 57 year-old, educated in France, Italy, and the United States, fluent in six languages, and active in the cosmetics industry I hope to meet the people, learn the culture and help where I can. That is why I am drawn to Uzbekistan — a land where giving and receiving knowledge feels like a shared journey.

by Damien Collignon

LOS ARMENIOS EN LOS PAÍSESDE AMÉRICA LATINA

LOS ARMENIOS EN LOS PAÍSES
DE AMÉRICA LATINA

En la película Mama de Henri Verneuil, que cuenta la historia de los armenios que encontraron refugio en Francia después del Genocidio de 1915, hay una escena en la que uno de estos armenios decide mudarse de Francia a Venezuela porque el nombre de ese país le parece inusualmente hermoso. Supongo que otros armenios que llegaron a Venezuela lo hicieron por motivos más pragmáticos.
Las primeras menciones históricas de armenios que viven en América Latina se remontan al siglo XVII. Gracias a los nuevos puestos de trabajo y los ricos recursos petroleros del país, muchos armenios de Chipre, Grecia, Francia y Argentina se establecieron en Venezuela a principios del siglo XX, y la comunidad se formó en la década de 1930. Actualmente, en Venezuela viven entre 3.500 y 4.000 armenios, la mayoría concentrados en Caracas. Los armenios se dedican principalmente al comercio y los negocios; hay industriales, empresarios, petroleros y joyeros, así como intelectuales. El centro espiritual de los armenios venezolanos es la iglesia de San Gregorio el Iluminador en Caracas.

La comunidad armenia de Uruguay es una de las más antiguas de Sudamérica. La población total actual es de entre 15.000 y 19.000 personas, la mayoría de las cuales viven en la capital, Montevideo. Muchos de los armenios son la tercera o incluso la cuarta generación de descendientes de la primera ola de inmigrantes que llegaron del Imperio Otomano después del genocidio armenio de 1915, y en mayo de 1965 Uruguay se convirtió en el primer país del mundo en reconocer el genocidio armenio. El parlamento del país ha apoyado invariablemente, a posteriori, varias resoluciones en defensa y apoyo de los armenios.

La comunidad de personas de etnia armenia que viven en Brasil es de aproximadamente 40.000 miembros. Los inmigrantes armenios se establecieron principalmente en São Paulo y sus alrededores. En la ciudad hay iglesias, centros culturales e, incluso, una estación de metro llamada “Armênia”. Fue en São Paulo donde vivió el editor más destacado de Brasil de finales del siglo XX: el político, escritor y luchador por la democracia Fernando Gasparian. También fue uno de los principales empresarios de la industria textil del país en la década de 1960 y propietario de la empresa América Fabril, con sede en Río de Janeiro, que empleaba a más de 5.000 personas. Además, dirigió la Federación de Industrias del Estado de São Paulo y fue profesor en la Universidad Mackenzie. Fernando Gasparian murió en su ciudad natal, São Paulo, en 2006, y la central eléctrica Nova Piratininga lleva su nombre.

En Argentina vive la diáspora armenia más grande de los países de América Latina. Su población alcanza 200.000 personas. En 1892 llegó a Argentina la primera ola de migrantes armenios, principalmente de Egipto y Siria. Argentina se convirtió en el segundo país de América Latina en reconocer el genocidio del pueblo armenio, y el 15 de septiembre de 2011 se firmó entre el Gobierno de la República de Armenia y el Gobierno de la República Argentina un acuerdo sobre el régimen sin visa para personas con pasaportes civiles.

Hoy en día, los armenios están activamente representados en prácticamente todas las esferas de la vida de este país, que tiene una población de más de 46 millones. Un vívido ejemplo es el mecenas, y una de las personas más ricas de Argentina, Eduardo Eurnekian. En 2001 se firmó un contrato entre su empresa Corporación América Airports, representada por la sociedad Aeropuertos Internacionales de Armenia, y el gobierno de Armenia para administrar el aeropuerto internacional Zvartnots por un período de 30 años. El aeropuerto internacional de la ciudad de Gyumri, Shirak, también fue otorgado a la empresa de Eurnekian. El 16 de septiembre de 2021 se inauguró una nueva sala de llegadas. Gracias al apoyo financiero de Eduardo Eurnekian, en septiembre de 2017 se abrió en Armenia una escuela para niños con altas capacidades. Por sus destacados servicios a Armenia, en 2017 se le otorgó el título de Héroe Nacional de Armenia.

También alcanzó fama mundial el tenista argentino de origen armenio-italiano David Pablo Nalbandian. En 2008, David Nalbandian se convirtió en ciudadano de la República de Armenia. Con los fondos de los mecenas armenios Eduardo Seferian y Adriné Seferian-Vardaparonyan, el 29 de noviembre de 2000 tuvo lugar en Buenos Aires la ceremonia de inauguración del nuevo edificio de la Embajada de la República de Armenia en la República Argentina. Desde 2019, Marcela Paola Vessvesian es diputada de la Cámara Baja del Congreso Nacional (parlamento) de Argentina. León Carlos Arslanián ocupó en diferentes años los cargos de juez de la Corte de Apelaciones y ministro de Justicia de Argentina, y entre 2004 y 2007 fue ministro de Seguridad de Buenos Aires. El economista armenio Carlos Alberto Melconian dirigió el Banco Central de la República Argentina entre 2015 y 2017.

La conexión entre Armenia y las diásporas armenias en Sudamérica está viva, y recuerda a la conexión de los países latinoamericanos con España y Portugal. Y eso es maravilloso, porque fomenta el acercamiento entre países y pueblos.

BIG PROJECTS, BIG FAILURES POST-SOVIET MEGAPROJECTS ARE NOW MONUMENTS TO AMBITION RATHER THAN DEVELOPMENT

BIG PROJECTS, BIG FAILURES
POST-SOVIET MEGAPROJECTS ARE NOW MONUMENTS
TO AMBITION RATHER THAN DEVELOPMENT

Over the past three decades, the post-Soviet space has embraced megaprojects with a fervour reminiscent of Soviet-era “gigantomania”. A new terminal, a new city, a new tech hub, a new railway – each presented as a leap into the future. Too many of these projects have turned out not to be engines of growth, but expensive monuments to poor planning, political vanity, and weak oversight. The pattern is familiar: governments promise a showcase of modernisation, costs and timelines escalate, caveats multiply, and eventually it becomes clear that economics, environmental constraints, or demand were never properly assessed.

One of the most illustrative examples is the Astana LRT. What began as a symbol of a modern capital became, by the mid-2020s, a textbook case of how not to build urban transport. According to City Transportation Systems, the total cost reached $1.9 billion. Earlier, more than 80 billion tenge became frozen in the failed Bank of Astana, Chinese contractors withdrew over financing issues, and the project itself became synonymous with corruption scandals. In a city that genuinely needs efficient public transport, the light rail system existed for years primarily as concrete pillars, political promises, and mounting expenses.

Belarus’s Great Stone Industrial Park is a subtler case. Formally, it is neither abandoned nor frozen. On the contrary, official data indicates up to 157 resident companies and declared investments of around $1.5 billion. Yet this is precisely where the gap between presentation and economic reality becomes visible. For years, the project has been promoted as a cornerstone of new industrialisation, but its actual contribution to the Belarusian economy remains far more modest than the rhetoric suggests. Great Stone appears more as a carefully curated showcase of Belarus–China cooperation than as a transformative industrial cluster. As a symbol, it may be effective, as a breakthrough, far less so.

Russia’s Skolkovo Innovation Centre is an even more complex case. It cannot be labelled a failure outright: according to official figures, resident companies generated revenues of 704 billion roubles in 2024, with over 5,000 start-ups and investments reaching 43 billion rubles. Yet the central question remains: if the project is so successful, why, after more than a decade, is it still perceived as a privileged enclave rather than a system that has fundamentally reshaped the country’s innovation landscape? Moreover, in 2025, the U.S. Treasury described the Skolkovo Foundation as a state-directed technological hub that has increasingly shifted its focus toward projects linked to defence and military development. This does not negate its achievements, but it highlights how post-Soviet megaprojects can change narratives while remaining structurally dependent on the state.

The Rogun Dam in Tajikistan represents a different category – not symbolic, but strategic. Yet strategic projects can be equally risky. The World Bank estimated in late 2024 that completing Rogun would cost $6.3 billion – a staggering figure for a low-income country. The rationale is compelling: energy independence, electricity exports, regional integration. But so are the risks: rising debt, environmental concerns, transboundary water tensions, and decades of delays. Rogun is not an absurdity; it is far more serious – a case where a national aspiration may simultaneously be a necessity and a potential “white elephant.”

Kyrgyzstan’s Asman City project currently exists more as a vision than a reality. That is precisely what makes it revealing. In 2023, authorities announced a $20 billion city on the shores of Issyk-Kul, covering 3,143 hectares and designed for 500,000–700,000 residents, reportedly to be built without state funds. By 2024, however, reports already indicated $480 million in financing being allocated. This reflects a familiar regional pattern: grand visions are presented as investment-driven futures, only for the state to begin underwriting them. For a country facing chronic infrastructure gaps, such contrasts resemble not strategy, but political speculation.

Against this backdrop, New Tashkent should be viewed not as a success, but as a test case. The first phase alone covers 6,000 hectares and is planned for 600,000 residents, with long-term projections reaching up to 2 million. Meanwhile, Tashkent itself already exceeds 3.1 million inhabitants, and its broader development programme includes projects worth $16 billion. The scale is striking – and precisely for that reason, concerning. In a region where megaprojects often substitute for deeper governance reform, the key risk is that the new city addresses political ambition rather than real urban needs. The question is not how impressive the renderings appear, but who will finance, manage, and maintain this urban vision over the coming decades.

All these cases share a common thread. Post-Soviet megaprojects are too often driven not by demand, but by the desire to impress. They are built as arguments – for leadership, for voters, for investors, for history. Yet infrastructure, unlike political rhetoric, requires less spectacle and more discipline: transparency, accountability, professional management, and rigorous cost assessment. These are precisely the elements most frequently missing. The core issue is not that the region builds too big – it is that it still too rarely calculates honestly why it builds at all.

by Taina Kaunis

KURASH: EL DEPORTE CENTROASIÁNICO QUE AVANZA EN PANAMÉRICA

KURASH: EL DEPORTE CENTROASIÁNICO
QUE AVANZA EN PANAMÉRICA

HISTORIA DEL KURASH
El kurash es un estilo de lucha con chaqueta procedente de Uzbekistán, cuyas raíces se remontan a unos 3.500 años. Hay muchas referencias al kurash a lo largo de la historia, incluidas las del antiguo filósofo griego Heródoto y Avicena, padre de la medicina moderna nacido en Bujará. Está bien documentado que Amir Timur, más conocido en el resto del mundo como Tamerlán, entrenaba a sus tropas en kurash cuando estableció su enorme imperio en Asia Central y Persia en el siglo XIV.

Hasta hace muy poco, el kurash estaba confinado a los límites de Asia Central, centrado en los territorios que ahora comprenden la Uzbekistán moderna. Sin embargo, desde la independencia de Uzbekistán en 1991, se ha extendido rápidamente por todo el mundo. En el momento de escribir estas líneas, más de 100 países son miembros de la Asociación Internacional de Kurash (IKA). A nivel continental, la Unión Panamericana de Kurash (PKU) cuenta con la membresía de 22 estados, incluidos Estados Unidos y Canadá en el norte de América, pasando por México, Panamá y la República Dominicana en Centroamérica, hasta Brasil, Argentina y Chile en el sur, lo que asegura una amplia difusión de naciones que participan activamente en eventos en toda la región.

VARIACIONES DEL KURASH Y SU SÍNTESIS EN UN DEPORTE INTERNACIONAL MODERNO
Antes de 1991, existían distintas variaciones regionales del kurash en Asia Central. El objetivo común de estos diferentes estilos era el mismo: ganar lanzando al oponente de espaldas. Las diferencias entre los estilos regionales podrían resumirse en la forma en que los luchadores podían agarrar a su oponente. Estos estilos se pueden subdividir generalmente en dos categorías: aquellos que permiten a los luchadores realizar agarres libre de la chaqueta y/o el cinturón, y las variaciones más restrictivas de “agarre por la espalda”, que limitan los agarres solo al cinturón del oponente.

Tras la independencia en 1991, el entonces presidente uzbeko, su excelencia Islam Karimov, estableció el objetivo de presentar el kurash como un deporte internacional, como parte de su iniciativa para promover la historia, la cultura y las tradiciones uzbekas en el mundo. El presidente Karimov pidió a Komil Yusupov, un famoso atleta uzbeko de kurash, judo y sambo, que desarrollara una forma internacional de kurash, sintetizada a partir de todos los estilos regionales, que luego pudiera lanzarse al escenario internacional. Yusupov se puso a trabajar y para 1992 había producido reglas estandarizadas basadas en la versión de agarre libre del kurash, al tiempo que conservaba inteligentemente elementos de las variaciones solo con cinturón. La adición de uniformes estándar, categorías de peso, protocolos de torneo y un sistema de puntuación sólido garantizó que el kurash cumpliera con los requisitos de un deporte internacional moderno.

EL KURASH LLEGA A PANAMÉRICA
Esta forma modernizada resultó ser inmensamente popular. Los torneos nacionales en Uzbekistán llenaron estadios de fútbol a medida que el país emergía de sus 70 años bajo el dominio soviético. No pasó mucho tiempo antes de que atletas internacionales de fuera de Uzbekistán que practicaban disciplinas relacionadas, como el judo y el sambo, fueran invitados a participar. El conjunto de reglas flexible del kurash, con su enfoque en tumbar al oponente, hizo que la transición desde estos deportes fuera sencilla.

El primer torneo internacional por el Premio del Presidente de Uzbekistán tuvo lugar en Taskent en septiembre de 1998, con la asistencia de varios países panamericanos. Tras el torneo, se formó la Asociación Internacional de Kurash (IKA), bajo la presidencia honoraria de su excelencia Islam Karimov, a partir de los 28 países presentes. Después del evento, la IKA buscó establecer federaciones continentales y en 2004 se formó la PKU.

En los primeros años de existencia de la IKA, Brasil demostró ser la nación panamericana más fuerte; dejó rápidamente su marca a nivel internacional al ganar varias medallas en campeonatos mundiales. El exmedallista de plata olímpico en judo, Carlos Honorato, resultó ser particularmente popular entre los aficionados uzbekos gracias a su estilo ofensivo y sus espectaculares habilidades de lanzamiento, y su imagen podía verse regularmente en carteles de torneos colgados de edificios y pilares en los días previos a los grandes eventos.

NUEVO PRESIDENTE DE LA PKU, NUEVOS EVENTOS
El dominicano Jaime Casanova, actual vicepresidente de la IKA, asumió la presidencia de la PKU en 2015 y hoy sigue siendo la principal fuerza impulsora del kurash panamericano. Casanova, exatleta olímpico de judo, posee muchos años de experiencia administrativa en el deporte. Bajo su liderazgo, la PKU organiza campeonatos continentales anuales, campeonatos nacionales, seminarios de entrenadores y otras actividades promocionales de base diseñadas para vincularse con eventos comunitarios locales y enseñar el kurash a nuevas audiencias, ayudando así a aumentar la participación.
Una iniciativa importante en la que la PKU ha estado marcando la norma para el resto del mundo es la organización de campeonatos continentales y nacionales de kurash playa. El kurash playa se basa en el kurash internacional estándar, pero, como indica el nombre, tiene lugar en un entorno de playa arenoso en lugar del tradicional gilam uzbeko, o tapiz, con reglas y uniformes ligeramente modificados para adaptarse a las condiciones de la superficie. La PKU ha organizado seis grandes torneos internacionales de kurash playa, con la promesa de organizar muchos más en el futuro. Gracias a la abundancia de hermosas playas en la región que proporcionan escenarios espectaculares para eventos deportivos, el kurash playa es un tipo de deporte en el que Panamérica puede tomar la iniciativa.

¡UN CAMPEÓN MUNDIAL PARA PANAMÉRICA!
El mejor momento del kurash panamericano hasta la fecha llegó en 2023, cuando el continente ganó su primer título mundial absoluto en Asjabad, Turkmenistán, gracias a Audrey Puello Pérez en la categoría femenina de más de 87 kg. La representante de la República Dominicana superó a las favoritas de Uzbekistán y Turkmenistán y se llevó una merecida medalla de oro y un lugar en los libros de historia.

EL FUTURO
En el campeonato panamericano de este año, la República Dominicana encabezó la tabla de medallas en su territorio, y este éxito se repitió en los campeonatos panamericanos de kurash playa también celebrados en Santo Domingo. ¡Esperamos una mayor participación panamericana junto con el fortalecimiento de los lazos culturales con Uzbekistán!

Por Paul Sawyer

DEMOGRAPHIC CHANGE AND SUSTAINABLE DEVELOPMENT IN CENTRAL ASIA

DEMOGRAPHIC CHANGE AND SUSTAINABLE
DEVELOPMENT IN CENTRAL ASIA

Central Asia is often defined by its oilfields, mountain ranges, and the revival of the Silk Road trade routes. Yet its most valuable resource, above all, is its people. Since the 1990s, Kazakhstan, Uzbekistan, Kyrgyzstan and their neighbours have undergone profound demographic shifts. Fertility rates, once among the highest in the world, have declined; life expectancy has risen; cities have expanded rapidly; and millions have sought opportunities abroad.

These changes are not abstract statistics. They are reshaping how societies function, how families adapt, and how governments plan for the future. The question is whether Central Asia can transform this demographic turbulence into the foundations of sustainable development, or whether today’s opportunities will harden into tomorrow’s constraints.

YOUTH: A WINDOW OF PROMISE

Walking through Tashkent’s bazaars or Almaty’s public squares, one fact is hard to miss: Central Asia is still young. Approximately forty percent of Uzbekistan’s population is under the age of 25. This youth bulge could power a “demographic dividend”, driving innovation, entrepreneurship, and growth.

But dividends are never guaranteed. Young people across the region struggle to find jobs that match their skills. Many leave for Moscow, St. Petersburg, or beyond, drawn by higher wages. Governments are responding; Kazakhstan and Uzbekistan have expanded universities and forged international partnerships to prepare graduates for the digital economy. Yet the mismatch between aspiration and opportunity remains stark.

The geography of opportunity is uneven too. Major cities attract talent and investment, while rural regions often lag, reinforcing cycles of outmigration. Unless employment keeps pace with education, the region risks squandering its youth dividend and exporting its most dynamic generation abroad.
FERTILITY, LONGEVITY, AND AGEING

Central Asia’s population story carries a striking paradox. Fertility has declined since the 1970s but remains high by global standards: around three children per woman in Uzbekistan and Kyrgyzstan, and even higher in Tajikistan. This keeps the population young and growing.

At the same time, life expectancy has climbed, particularly in Kazakhstan, where ageing is becoming visible. The first outlines of a demographic transition are emerging: large youth cohorts coexist with a rising share of older citizens.

Longer lives are a marker of progress, but they also stretch healthcare systems, pension schemes, and the family networks that shoulder the burden of care. Chronic conditions such as heart disease and diabetes are escalating. Kazakhstan’s experiments with telemedicine in rural areas show what innovation can offer, but scaling such initiatives will require sustained investment and political will.

MIGRATION LIFELINES AND DEPENDENCIES

Few demographic trends shape the region as visibly as migration. Each year, millions of Uzbeks, Kyrgyz, and Tajiks travel abroad, mainly to Russia, for seasonal or long-term work. The remittances they send home are lifelines, paying for education, healthcare and housing, and in some cases like that of Tajikistan, propping up national economies with sums that exceed a third of GDP.

However, dependence on migration creates vulnerabilities, familial absences and precarious local economies. Sanctions, recessions, or new migration policies in Moscow ripple instantly into Central Asian households.

Kazakhstan occupies a dual role: both a country of outmigration and an emerging destination for workers. Its relative prosperity and stability have drawn workers from Uzbekistan and Kyrgyzstan. Mishandled, it risks fuelling inequality and resentment.

For migration to serve development rather than dependency, rights must be protected, qualifications recognised, and returnees supported in reinvesting their skills and savings at home. Mobility, if guided by foresight, can be a two-way flow of knowledge, rather than a one-way ticket abroad.

GENDER AND GENERATIONS IN FLUX

Demographic change also intersects with social transformation. Across Central Asia, women are entering higher education in record numbers and taking on roles once dominated by men. In Almaty and Tashkent, it is increasingly common for women to delay marriage and childbirth to pursue careers. This expands economic participation, whilst also driving fertility decline, leaving policymakers torn between pro-natalist incentives and support for gender equality.

Generational divides are equally pronounced. Central Asia’s demographic shifts are mirrored by cultural ones. Older cohorts, shaped by Soviet norms, often prioritise stability and collective structures, while young people, raised in an era of globalisation and digital change, bring different expectations to work, politics, and daily life. In Kazakhstan, younger leaders are beginning to challenge inherited models of authority, introducing more ethical and participatory approaches.

Yet these differences are not absolute. Many older citizens adapt quickly to new technologies, while younger people in rural areas remain closely tied to tradition. The result is not a simple divide but a spectrum of perspectives. Intergenerational dialogue between youthful aspirations and established traditions will be crucial if societies are to turn demographic change into cohesion rather than fracture.

BEYOND STATISTICS: A CALL TO ACTION

Central Asia’s demographic future is not set in stone. It is shaped by an interplay of youth and ageing, migration and return, shifting gender roles and generational change. Each of these dynamics carry trade-offs that touch daily life as much as national policy.

What will determine the outcome is not demography alone but policy. Investment in education and job creation will decide whether youth become a source of progress or disillusionment. Health and social reforms will shape whether longer lives strengthen communities or strain them. Migration governance will dictate whether mobility builds development or dependency.

Demography is not destiny, but a map of possibilities. If governments place people at the centre of development – not as statistics but as citizens with aspirations and agency – demographic change can underpin a more inclusive and sustainable future. How Central Asia navigates these choices will determine not only its demographic trajectory, but the character of its societies for generations to come.

by Ece Canliel

JUGADA DE DAMAS

JUGADA DE DAMAS

Una vez acompañé a dos reinas a la vez. Al mismo tiempo. Una, natural, de sangre: Sofía, la esposa del rey español Juan Carlos. La otra, no de sangre, hija de un simple ferroviario soviético, pero también en aquellos años todavía toda una reina: Raísa Gorbachova.

Ambas tenían una auténtica apostura real, aristocrática: esbeltas, delgadas, con movimientos pausados y lentos. Ambas, conocedoras de su valor. Fue, si no me equivoco, el año 1990. Sofía llegó a Moscú – muy probablemente en el marco de la visita de su augusto esposo – y, además, pidió que se le concediera un tiempo adicional para una excursión no protocolaria, casi privada (incluso íntima), por el Kremlin. Y Raísa Gorbachova le hizo compañía, era la parte anfitriona. La dueña.
La reina.

El guía, eso sí, muy parco en palabras, pero atento y cortés, era el propio Mijaíl Barsukov, creo que el último comandante soviético del Kremlin; más tarde se convertiría prácticamente en el primer director del FSB, ya con Yeltsin. Yo entonces trabajaba en el Kremlin, en el equipo de Mijaíl Gorbachov, y por alguna razón también me tocó esa tarea inesperada: acompañar a las reinas.

Yo no era un experto ni en los interiores del Kremlin (en aquel entonces aún no tan pomposamente restaurados, no tan relucientes como ahora) ni en sus secretos, así que mi papel en este caso fue casi mudo. Las grandes damas se comunicaban con toda naturalidad: las mujeres siguen siendo mujeres, incluso si son reinas. A veces, creo, incluso prescindían del intérprete: Raísa Gorbachova también se expresaba bastante bien en inglés.

La excursión fue muy femenina. Recuerdo una merienda moderadamente mundana: las finísimas tazas de porcelana del Kremlin brillaban en los dedos elegantes como capullos abiertos de amapolas calmucas. Pero lo que más recuerdo es que no visitamos el museo-apartamento de Lenin y, por cierto, tampoco el Fondo de Diamantes. En cambio, sí estuvimos, e incluso nos detuvimos, en el dormitorio real conmemorativo del Kremlin (yo no sabía que había tal cosa en el Kremlin). Me pareció que a la reina Sofía le despertó un interés especial: seguramente en su momento le habrían sugerido que una de las esposas de nuestro Iván el Terrible también se llamaba Sofía. Y también era griega (la reina española, como se sabe, tiene sangre griega). Parece que eso fue lo que más atrajo su atención sobre el Kremlin, y a eso debió su visita.

Las damas se despidieron cálidamente en el patio interior del Kremlin. Me había tocado observar la comunicación de Raísa con Nancy Reagan, y en ese momento me pareció que, a pesar del estatus de mayor alcurnia de su actual invitada, Raísa Gorbachova se sentía más relajada con Sofía.

Sí, casi lo olvido. Esta visita fue de reciprocidad: aproximadamente un año antes, los Gorbachov habían estado en Madrid. Raísa se preparó para ese viaje con mucho esmero, especialmente para la visita al legendario museo del Prado, y se rodeó de álbumes y guías. Y luego en el museo, mucho antes de encontrarse frente a la siguiente obra maestra, se adelantaba a las explicaciones del guía: “¡Goya! ¡Velázquez!…”

Y, satisfecha consigo misma, miraba hacia nosotros, los acompañantes. Nosotros, por supuesto, confirmábamos al unísono: “¡Goya, Velázquez!” De ese viaje a Madrid también recuerdo la visita al museo de Picasso y cómo nos acompañó desde Madrid hasta Barcelona el joven príncipe Felipe, hoy rey; entonces era un muchacho alto, frágil, hermoso, casi un niño. Llevaba un uniforme que no sabía si era de cadete o de estudiante; era tímido y sonreía en silencio (su sonrisa es igual a la de su majestuosa madre). Mostró a la pareja Gorbachov el estadio Olímpico, que entonces estaba en construcción y hoy es famoso.

Cuando veo ahora en la pantalla del televisor o de algún dispositivo a este monarca canoso, delgado, contenido y ya sabio, pienso: ¡cómo vuela el tiempo!

Por Guiorgui Priajin, escritor,
director de la editorial Vostochny Ekspress
(“Expreso del Este”)

MOUNTAIN CROSSROADS: WHY CENTRAL ASIA’S PEAKS DEMAND A NEW VISION

MOUNTAIN CROSSROADS: WHY CENTRAL ASIA’S PEAKS DEMAND A NEW VISION

Mountains are not passive backdrops to human history; they are dynamic, living systems that have shaped civilizations, economies, and ecosystems for millennia. Nowhere is this more evident than in Central Asia, home to some of the world’s most formidable ranges—the Pamirs, Tian Shan, Hindu Kush, Altai, and Ural. These mountains are more than geological formations; they are socio-ecological systems that sustain life far beyond their slopes. In an era of climate volatility, resource scarcity, and geopolitical flux, the question is no longer whether mountains matter, but how their stewardship will define the region’s future.

MOUNTAINS AS SOCIAL-ECOLOGICAL SYSTEMS

Modern scholarship rejects the outdated dichotomy of “wilderness versus society.” Instead, mountains are understood as integrated social-ecological systems where geology, ecology, and culture co-evolve. This perspective, rooted in the work of Alexander von Humboldt and Carl Troll, underscores the agency of local communities as stewards and rights-holders rather than passive beneficiaries. In Central Asia, these systems are particularly complex: rivers originating in high-altitude glaciers—such as the Amu Darya and Syr Darya—sustain agriculture, energy production, and livelihoods across multiple nations, making mountains central to regional geopolitics.

WHY MOUNTAINS MATTER

Mountains occupy roughly 25% of the Earth’s land surface and directly support over one billion people. Their influence, however, extends to at least half of humanity through the provision of freshwater, biodiversity, and ecosystem services. The Tibetan Plateau alone feeds six major rivers that sustain nearly 40% of the global population. For Central Asia, mountains are indispensable across several dimensions:
Water Security: Mountains supply 60–80% of global freshwater, underpinning agriculture, hydropower, and urban consumption.
Biodiversity Hotspots: Central Asian highlands harbor endemic species critical for global agrobiodiversity.
Cultural Heritage: Indigenous governance systems and traditional knowledge offer adaptive strategies for resilience.
Ethnolinguistic Diversity: Mountain communities preserve languages and cultural practices increasingly threatened elsewhere.
Economic Niches: High-value products—such as medicinal herbs and artisanal crafts—can drive sustainable livelihoods if integrated into fair trade networks.
Tourism and Recreation: Eco- and culture-based tourism is emerging as a key economic driver, though it requires careful regulation to avoid ecological degradation.
Renewable Energy: Hydropower and solar installations in mountain regions are central to regional energy strategies.
Climate Indicators: Glaciers and permafrost serve as early-warning systems for global climate change.
Disaster Mitigation: Healthy mountain ecosystems buffer against landslides, avalanches, and floods.

GLOBAL FRAMEWORKS
AND REGIONAL REALITIES

The international recognition of mountains as critical ecosystems is relatively recent. Initiatives such as the Mountain Agenda (1990), Agenda 21 (1992), and International Mountain Day have elevated mountain concerns in global policy. Instruments like the Convention on Biological Diversity, the Paris Agreement, and the Kunming-Montreal Global Biodiversity Framework now incorporate mountain-specific targets. Yet, these frameworks often falter in implementation, particularly in regions where governance is fragmented and local voices are marginalized. Sustainable development in mountains demands more than technical fixes—it requires justice, equity, and empowerment.

BIOCULTURAL DIVERSITY: A STRATEGIC ASSET

Central Asia’s mountains exemplify biocultural diversity—the interdependence of biological and cultural systems. Indigenous land-use practices, from rotational grazing to terrace farming, have sustained agrobiodiversity for centuries. Territories of life, or ICCAs (Indigenous and Community Conserved Areas), often outperform state-managed protected areas in conservation outcomes. Recognizing and strengthening these governance models is essential for achieving both biodiversity and development goals.

DOUBLE-EDGED FORCES: GLOBALIZATION
AND CLIMATE CHANGE

Globalization introduces both opportunities and vulnerabilities. While market integration can create economic prospects for mountain products and tourism, it also accelerates cultural homogenization and resource extraction. Climate change compounds these pressures: Central Asia’s mountains are warming at nearly twice the global average, triggering glacier retreat, erratic water flows, and heightened disaster risks. These dynamics disproportionately affect marginalized communities with limited adaptive capacity.

EMPOWERING LOCAL AGENCY

Contrary to deficit-based narratives that frame mountain communities as victims, evidence suggests they are pivotal actors in climate adaptation and biodiversity conservation. Traditional governance systems, coupled with adaptive knowledge, enable sustainable grassland management and carbon sequestration. Policy paradigms must therefore shift from top-down, extractive models to asset-based approaches that leverage local capacities and rights.

NEW PARADIGMS
IN SUSTAINABLE DEVELOPMENT

The Brundtland Commission’s definition of sustainable development—meeting present needs without compromising the needs of future generations—remains foundational. However, in the context of Central Asia’s mountains, sustainability must transcend the triad of economy, society, and environment to include culture, equity, and agency. The critical question is not only what future we want, but who decides that future. Inclusive governance that amplifies Indigenous and local voices is non-negotiable for legitimacy and effectiveness.

TOWARDS A COMMUNITY-CENTRED
MOUNTAIN AGENDA

Central Asia’s mountains are at a crossroads. The convergence of climate stress, economic globalisation, and political uncertainty demands a recalibration of development strategies. Sustainable futures hinge on three imperatives: recognising mountains as integrated socio-ecological systems, embedding justice and equity in policy frameworks, and empowering local communities as co-architects of change. If these principles guide action, Central Asia’s mountains can evolve from vulnerable frontiers to exemplars of resilience and sustainability.

by J Marc Foggin

LOS “UNICORNIOS” EUROASIÁTICOS EN AMÉRICA LATINA: CÓMO ARSEN TOMSKIY Y OLEG TINKOV CONQUISTAN UN NUEVO CONTINENTE

LOS “UNICORNIOS” EUROASIÁTICOS EN AMÉRICA LATINA: CÓMO ARSEN TOMSKIY Y OLEG TINKOV CONQUISTAN UN NUEVO CONTINENTE

Mientras las grandes corporaciones y los Estados aumentan su comercio con el Nuevo Mundo, los emprendedores privados procedentes de la CEI también exploran el continente transoceánico. Podría pensarse, ¿qué tiene esto de sorprendente? Todo el siglo XX fue una época de oleadas migratorias masivas de Eurasia a América Latina. Sin embargo, es precisamente ahora cuando los emprendedores talentosos pueden exportar su ADN empresarial y no solo tener éxito y hacerse ricos, sino también entrar en la nueva casta empresarial de los llamados “unicornios”. Dos ejemplos brillantes son Arsen Tomskiy y Oleg Tinkov.

En 2023, en el mercado del sector bancario en México, apareció Plata, una fintech emergente que se convirtió en el primer “unicornio” mexicano (una startup valorada en más de 1.000 millones de dólares). Su historia es un caso único de “exportación” indirecta, pero poderosa, del modelo de gestión y el ADN empresarial ruso.

Aunque, según datos oficiales, Oleg Tinkov no es el fundador directo, su influencia en el proyecto es fundamental. Los fundadores de Plata (Danil Anisimov, Neri Tollardo y Alexander Bro) son ex altos directivos clave del banco ruso Tinkoff, creado por Oleg Tinkov como una fintech emergente en Rusia y que sigue siendo uno de los productos financieros digitales sistémicos más demandados. Sin duda, los exempleados obtuvieron del banco ruso no solo experiencia, sino toda una filosofía. Lanzaron en 2023 un servicio que es un calco de una fórmula exitosa: tarjetas de crédito digitales con cashback, servicio de pago a plazos, entrega instantánea de tarjetas por mensajería y gestión completa a través de una aplicación móvil intuitiva.

Plata capturó rápidamente el mercado y en marzo de 2025 cerró una ronda de financiación de 160 millones de dólares, con una valoración superior a 1.500 millones de dólares. El paso decisivo para su legitimación fue la licencia bancaria oficial obtenida en México y, posteriormente, en Colombia. Esto permite a la empresa no ser simplemente un intermediario tecnológico, sino convertirse en una institución financiera de pleno derecho.

El papel del propio Tinkov sigue oficialmente entre bambalinas. Según datos de la publicación TechCrunch y la prensa empresarial mexicana, actúa como consultor del proyecto. Circulan rumores persistentes de que parte de los fondos de la venta de su participación en el banco ruso podrían haberse invertido en Plata; sin embargo, ninguno de ellos ha sido confirmado oficialmente. Así, Plata no es el “Banco Tinkoff”, sino su heredero espiritual y una prueba de la viabilidad de exportar modelos de negocio. Es un proyecto creado siguiendo los patrones de “Tinkoff”, específicamente para el mercado latinoamericano, por un equipo ya consolidado y eficaz. El éxito de Plata demuestra que el genio empresarial puede manifestarse no solo en inversiones directas, sino también en la replicación de un ADN empresarial exitoso a través de su equipo, que es capaz de repetir ese éxito en el otro extremo del mundo. México no solo obtuvo un nuevo jugador, sino un eco de la revolución fintech que una vez comenzó en Rusia.

Otro “unicornio” de Eurasia, esta vez un representante de Kazajstán (originario de la fría Yakutia), es Arsen Tomskiy, fundador del servicio de taxi inDrive. Apostó por América Latina, donde el servicio logró un enorme éxito y se convirtió en uno de los líderes del mercado, especialmente en México, Brasil, Colombia y Perú, donde inDrive representa hasta el 60% del negocio de la empresa.

El servicio inDrive comenzó su incursión activa en la región desde México en 2018, y se expandió rápidamente a Perú, Colombia, Chile, Guatemala y El Salvador. La principal diferencia del servicio no radica en su funcionalidad: pedir un taxi a través de una aplicación se usa activamente en todo el mundo, y por ahora es bastante difícil inventar algo no estándar y económicamente viable en este sentido. Pero el servicio inDrive apareció en Kazajstán, que es muy similar a América Latina en cuanto a la actitud de la gente común hacia la libertad y la justicia, lo que lo hizo especial. La aplicación no se centra en características de interfaz modernas, sino en el modelo de “precio justo”, por el que pasajeros y conductores acuerdan el costo del viaje; esto lo diferencia de los servicios clásicos y resultó ser muy popular en la región de América Latina. El propio Arsen Tomskiy habla de inDrive como una plataforma que combate la injusticia, expandiendo las oportunidades de las comunidades y asegurando un ingreso digno, lo que tuvo gran repercusión entre los usuarios.
Como resultado, América Latina se convirtió en el principal impulsor del crecimiento del servicio, aportando casi el 60% de los ingresos totales de la empresa, e inDrive incluso recibió el premio Google Play a la mejor aplicación en Brasil en 2019. Podría pensarse que este es el final feliz de la historia, pero este visionario, que ha creado escuelas de fútbol e incluso su propia universidad, no quiere detenerse aquí. Tomskiy pretende alcanzar el éxito precisamente mediante la integración cultural y la construcción de un diálogo positivo con el mundo hispanohablante. Ha anunciado la realización de un festival de cine (Alternativa Film Festival), que en 2026 se celebrará en Colombia; Arsen llamó la atención sobre esta iniciativa, al subrayar la importancia de la región y la creación de un nuevo premio para largometrajes de América Latina. El festival se centrará precisamente en América Latina y solo se aceptan cortometrajes de esta región.
Las historias de Tomskiy y Tinkov en América Latina no son solo un relato de una exitosa internacionalización. Son un ejemplo de exportación del “ADN empresarial”: modelos operativos únicos, prácticas de gestión y culturas creadas en las condiciones específicas de la CEI.

Su secreto común es que no vieron en los desafíos del mercado latinoamericano obstáculos, sino oportunidades que ya habían aprendido a superar en su tierra natal. No trajeron a la región capital, sino ideas revolucionarias sobre cómo deberían funcionar el comercio y la banca en el siglo XXI. Y América Latina aceptó agradecida este desafío, transformando a los expatriados de la CEI en nuevos héroes empresariales del continente.

Por Taina Kaunis
Asesora de Silk Road Media

AFGHANISTAN’S NORTHERN QUESTION: ETHNICITY, LANGUAGE, AND POWER ATTHE HEART OF ASIA

AFGHANISTAN’S NORTHERN QUESTION:
ETHNICITY, LANGUAGE, AND POWER AT
THE HEART OF ASIA

Afghanistan’s modern political history cannot be understood without examining the intersection of war, ethnicity, and state identity. From the Soviet invasion in 1979 to the return of the Taliban in 2021, Afghanistan has repeatedly experienced ruptures that have reshaped not only its political system, but also its internal ethnic balance.

At the centre of this evolving dynamic lies a persistent question: how can a multi-ethnic society sustain political legitimacy without inclusive governance?

WAR AND THE RESHAPING OF ETHNIC POWER

The Soviet invasion (1979–1989) militarised Afghan society and deepened regional identities. As resistance movements emerged, many were organised along local, linguistic, and ethnic lines. Northern Afghanistan, where Tajiks, Uzbeks, and Hazaras form significant populations, became a stronghold of anti-Soviet resistance.

Following the collapse of the communist government in 1992, Afghanistan descended into civil war. Factional conflict hardened regional and ethnic divisions. Kabul became a battlefield, and governance fragmented.

When the Taliban movement emerged from Kandahar in 1994 and took Kabul in 1996, it drew its primary leadership and ideological base from southern Pashtun networks. While Afghanistan’s ethnic landscape is complex and interwoven, the first Taliban government was widely perceived in the north as excluding key non-Pashtun actors from meaningful political participation.

This perception of imbalance laid the groundwork for the Northern Alliance, a coalition of Tajik, Uzbek, and Hazara factions that resisted Taliban rule until 2001.

POST-2001: INCLUSION AND FRAGILITY

The NATO intervention in 2001, following the September 11 attacks, reshaped Afghanistan once again. The Taliban regime collapsed, and a new political order emerged with significant international backing.

For two decades, Afghanistan attempted to construct a multi-ethnic state framework. Tajik political leaders held senior positions in government, the security sector, and diplomacy. Farsi (Afghan Persian) remained one of the country’s two official languages, alongside Pashto. Yet structural tensions persisted. Political competition often followed regional lines. Northern Afghanistan developed distinct power networks. Meanwhile, the Taliban insurgency, rooted largely in southern rural areas, continued to challenge the Kabul-based government. The fall of the Republic in August 2021 marked another turning point.

THE RETURN OF THE TALIBAN AND RENEWED CONCERNS

Since returning to power, the Taliban have sought to centralise authority and reassert ideological control over state institutions. The new political order has generated concern among many Afghan communities regarding representation, participation, and rights, including among Tajiks, who constitute one of the largest ethnic groups in the country.

Human rights organisations have documented broader restrictions affecting political participation, media freedoms, and women’s rights nationwide. Within this context, some Tajik civil society voices and diaspora groups have raised concerns about:
Limited ethnic diversity in senior appointments
The weakening of inclusive political mechanisms
The marginalisation of former northern leaders
Cultural and linguistic shifts in official communications

While Afghanistan’s constitution previously affirmed both Farsi and Pashto as official languages, there have been debates in recent years about terminology, language use in state institutions, and symbolic markers of national identity. Observers have noted increased emphasis on Pashto terminology in official discourse, which some interpret as part of a broader effort to reshape state identity.

It is important, however, to distinguish between political centralisation and formal linguistic abolition. Farsi remains widely spoken across Afghanistan, not only among Tajiks but also among Hazaras, urban Pashtuns, and other communities. It functions as a lingua franca in many parts of the country.

The deeper issue may therefore be less about language elimination and more about symbolic power: which narratives define the state, and which communities feel represented within it?

THE NORTH–SOUTH POLITICAL DIVIDE

Afghanistan’s geography has historically reinforced political differentiation. The Hindu Kush mountains divide the country physically, and economic disparities between north and south have compounded political tensions.

Northern Afghanistan shares strong cultural and linguistic ties with Tajikistan and Uzbekistan across the Amu Darya. Families, trade networks, and intellectual traditions predate modern borders. The Wakhan Corridor, a narrow strip connecting Afghanistan to China, further underscores the country’s strategic entanglement with Central and East Asia.

While Afghanistan is not cleanly divided along ethnic lines, political movements have often drawn strength from regional bases. The Taliban’s origins in Kandahar and the historical prominence of Tajik-led resistance in the north have contributed to a narrative of dual political centres.

Calls from segments of diaspora communities advocating greater autonomy for northern regions reflect frustration with perceived exclusion. However, Afghanistan’s territorial integrity remains internationally recognised, and regional governments have prioritised stability over fragmentation.

EMERGING FRAGMENTATION NARRATIVES

In the absence of inclusive political mechanisms, discourse around decentralisation and regional autonomy has gained visibility among segments of Afghan civil society and diaspora communities. While Afghanistan remains internationally recognised as a unified state, frustration over political underrepresentation, particularly in northern provinces, has contributed to renewed debate over federalism and regional governance models.

Small armed opposition groups have emerged in parts of northern Afghanistan since 2021, though they do not control significant territory and do not constitute a formal separatist administration. More notable than their military capacity, however, is the political symbolism of their existence. They reflect a deeper unease about the concentration of authority in Kabul and the perceived marginalisation of regional constituencies.

It is important to distinguish between organised secessionism and political discourse. At present, Afghanistan does not face a structured partition movement comparable to those seen elsewhere in the world. However, history demonstrates that when large communities perceive prolonged exclusion from national decision-making, narratives of fragmentation can gain traction.

For a country that has endured repeated cycles of centralisation and collapse, the lesson is clear: durable unity cannot be maintained through control alone. It requires representation.

HUMAN RIGHTS AND THE QUESTION
OF INCLUSION

The long-term stability of Afghanistan depends on whether all major communities perceive themselves as stakeholders in the state. Tajiks have historically contributed significantly to Afghanistan’s intellectual, military, and administrative life. Any perception of systematic exclusion risks reinforcing regional grievances.

Human rights in Afghanistan today are under intense international scrutiny. Restrictions affecting women’s education, media freedoms, and political pluralism have drawn global criticism. Within this broader environment, concerns about ethnic representation intersect with questions of governance legitimacy.

For Afghanistan to transition from a conflict-defined state to a stable regional actor, inclusive governance will be essential. Durable peace cannot be sustained through centralisation alone; it requires confidence among diverse communities that political power is shared and rights are protected.
AFGHANISTAN’S STRATEGIC WEIGHT IN ASIA

Beyond its internal dynamics, Afghanistan occupies a position of extraordinary geopolitical importance. It borders six countries and sits at the intersection of Central Asia, South Asia, and China. Its mineral wealth, including copper, lithium, rare earth elements, and iron ore, has drawn the interest of regional powers, particularly China. Beijing’s engagement reflects both economic calculation and security considerations, especially in relation to the Wakhan Corridor and Xinjiang.

Yet resource extraction and regional connectivity depend on stability. Investors require predictable governance, legal frameworks, and social cohesion. Ethnic marginalisation or internal fragmentation would undermine these prospects.

THE PATH FORWARD

Afghanistan’s history since 1979 has been marked by cycles of intervention and internal conflict. From Soviet occupation to civil war, from Taliban rule to NATO intervention and back again, the state has repeatedly been redefined.

The central challenge now is whether Afghanistan can move beyond zero-sum politics toward a model of governance that recognises its multi-ethnic character.

The question of Tajik rights, linguistic inclusion, and regional representation is not a peripheral issue, it is central to national stability. Afghanistan’s strength has always lain in its cultural plurality. Sustainable peace will depend on whether that plurality is protected rather than narrowed.

As the Heart of Asia, Afghanistan’s future will shape the stability of Central Asia and beyond. Its geography makes it indispensable. Its diversity makes inclusion imperative.

By Darius Nasimi

NEW POWER: ENERGÍA Y SOSTENIBILIDAD

NEW POWER: ENERGÍA Y SOSTENIBILIDAD

Los países de América Latina y Asia Central están transformando rápidamente su papel, pasando de proveedores de materias primas a centros de la nueva energía y recursos renovables. Si antes la energía “verde” se mencionaba en las declaraciones de todas las cumbres para complacer a potenciales inversores, mientras la realidad requería formas más baratas de dar luz y calor, hoy ya se puede hablar seriamente de un nuevo rol de las antiguas “periferias” en el panorama energético global: en lugar de centros de materias primas, vemos centros operativos de la transición “verde”.

Hoy América Latina es una superpotencia energética de la era renovable. La región ya es una de las más “verdes” del mundo en su estructura de generación eléctrica: más del 60% de la electricidad en la región se produce a partir de fuentes renovables (hidroeléctrica, eólica, solar, geotérmica). Para comparar: la cifra mundial es de alrededor del 30% y en la UE es del 40% (datos de IRENA, 2023). Los líderes son: Uruguay (~95%), Costa Rica (~99%), Brasil (~85%) y Paraguay (~100%, hidroeléctrica).

Más allá del uso eficiente tradicional de los recursos naturales, América Latina posee un potencial colosal para producir minerales fundamentales e hidrógeno verde. Los “minerales verdes” (el “triángulo del litio”) no solo representan un interés para otros países, sino que también suenan cada vez más en el espacio mediático, especialmente en el contexto de la importante cuestión de los metales de tierras raras. Aquí hay algunos datos interesantes que invitan a reflexionar sobre la “silenciosa” revolución energética en la antigua “periferia”:
Chile, Argentina y Bolivia poseen aproximadamente el 55% de las reservas mundiales de litio (US Geological Survey, 2024).
Chile es el segundo mayor productor del mundo después de Australia. Producción en 2023: ~44.000 toneladas de carbonato de litio equivalente (LCE).
Para 2030, el “triángulo” podría representar hasta el 40% de la producción global (informe de la IEA “The Role of Critical Minerals in Clean Energy Transitions”).
Hidrógeno verde: Chile adoptó una Estrategia Nacional de Hidrógeno Verde con el objetivo de convertirse en uno de los tres mayores exportadores para 2040, con un precio de producción inferior a 1,5 dólares por kilogramo para 2030 (la meta más ambiciosa del mundo). Estos proyectos también se están lanzando en Brasil y Argentina.
Petróleo y gas: la región sigue siendo un actor importante (Brasil, Guyana, Argentina, Venezuela), pero las inversiones se dirigen cada vez más a proyectos de bajas emisiones de carbono (captura de CO², descarbonización de la extracción).

A diferencia de los países latinoamericanos, ya seguros de su futuro energético, Asia Central se encuentra aún en proceso de reestructuración, pero hoy ya representa un punto clave en los flujos energéticos y un futuro centro de energía “verde”. La región está cambiando su papel de exportador pasivo de combustibles fósiles a participante activo en la transición energética, utilizando su enorme potencial de energías renovables para la transformación interna y la exportación de energía verde. Ya en la época de la URSS, una parte importante del desarrollo energético de la región era el potencial hidroeléctrico: por ejemplo, Tayikistán y Kirguistán poseen un enorme potencial técnico, pero no aprovechado en toda su capacidad, a pesar de las colosales centrales hidroeléctricas que quedaron de la época soviética. El potencial se estima en alrededor de 300.000 millones de kW/h/año (datos del Banco Mundial). Esto podría ser la clave para la seguridad energética y la exportación, aunque también existen riesgos objetivos políticos, diplomáticos, económicos y ambientales asociados con la “cuestión del agua”, que es muy delicada en la región.

Se está aprovechando activamente la energía solar y eólica, que los dos estandartes económicos de la región (Kazajstán y Uzbekistán) poseen. Así, Kazajstán ha declarado un objetivo ambicioso: obtener el 50% de su electricidad a partir de energías renovables para 2050, mientras que en 2023 la cuota fue de alrededor del 12%. En el bioma de la estepa, el potencial eólico en algunas regiones es comparable al marino (con un factor de capacidad de hasta el 40%). Tampoco hay que olvidar que Kazajstán es uno de los líderes mundiales en la producción de uranio (alrededor del 40% de la producción mundial en 2023). Se trata de una materia prima muy importante para la energía nuclear, que la IEA reconoce como una parte importante de la transición energética baja en carbono (generación ininterrumpida). En cuanto a Uzbekistán, ha lanzado el programa más grande de la región: la construcción de plantas de energía solar (8 GW) y eólica (5 GW) para 2030 con la participación de Masdar, ACWA Power y Total Eren, así como un proyecto de hidrógeno “verde” con ACWA Power de Arabia Saudí.

Por supuesto, la fuerza principal que impulsa el reajuste de los sistemas energéticos no es solo la preocupación por la naturaleza y la viabilidad económica, sino más bien la soberanía energética: ambas regiones utilizan las energías renovables para reducir su dependencia (América Latina de la volatilidad de los precios del petróleo, Asia Central de los recursos hídricos de los vecinos y las antiguas centrales térmicas). América Latina y Asia Central ya no son la periferia del mapa energético. Esto es New Power. Combinan la riqueza natural para llevar a cabo la revolución “verde” y la ambición de convertirse no solo en proveedores de materias primas, sino también en centros tecnológicos de un nuevo orden sostenible. Su éxito determinará el ritmo de la transición global hacia las emisiones netas cero.

Por Marat Ajmedzhánov

THE CRITICAL ELEMENT: WATER, NOT MINERALS, WILL DEFINE CENTRAL ASIA’S FUTURE

THE CRITICAL ELEMENT: WATER, NOT MINERALS, WILL DEFINE CENTRAL ASIA’S FUTURE

In Central Asia, much of the conversation still revolves around oil, logistics, borders, and geopolitical influence. Yet the most decisive resource of the region’s future is neither hydrocarbons nor transit corridors. It is water. Stripped of diplomatic language, the reality is stark: the region is entering a phase where the Soviet-era water management system – designed for a different climate, population, and economic model – no longer works, while a new system has yet to emerge.

According to the World Bank, up to 75 million people in Central Asia could be living under high water stress by 2050. The issue, however, is not only the physical scarcity of water, but how it is used. Today, roughly 80–90% of all water withdrawals in the region go to agriculture; in countries such as Uzbekistan, the figure is close to 90%. Water here is not an abstract environmental concern – it is the foundation of agricultural output, rural livelihoods, and, ultimately, political stability.

Yet even these figures fail to capture the scale of inefficiency. A substantial share of water never reaches its intended use. According to the World Bank and FAO, up to 40% of water is lost in irrigation canals, with an additional 50% lost at the field level due to outdated irrigation practices. In some systems, total losses exceed half of all available water. In other words, the region is not only water-scarce – it is structurally inefficient in managing what it already has. As FAO notes, improving water-use efficiency could yield greater benefits than building new supply infrastructure – yet such reforms remain politically difficult.
Overlaying this inefficiency is a deeper structural issue: a fundamental mismatch between geography and national interests. Central Asia is a textbook case of a transboundary water system in which upstream and downstream countries depend on the same rivers but require water at different times.

Kyrgyzstan and Tajikistan, which control the headwaters, rely on water releases in winter to generate hydropower. Downstream countries – Uzbekistan, Kazakhstan, and Turkmenistan – need water in summer for irrigation. This is not a theoretical contradiction. It has already produced tangible crises. During the winter of 2008–2009, Kyrgyzstan increased releases from the Toktogul reservoir to meet energy demand, leaving insufficient water for irrigation in Uzbekistan during the following growing season. The International Crisis Group noted at the time that the existing water allocation system “no longer reflects the economic interests of the region and creates a constant risk of conflict.”

That underlying logic has not changed. It has merely been managed through political accommodation.

The tensions become even more visible in large-scale infrastructure projects such as the Rogun Dam in Tajikistan. For Dushanbe, Rogun is central to achieving energy independence. For downstream neighbours – particularly Uzbekistan in the past – it has long been perceived as a potential threat to water security. In 2012, then-President Islam Karimov stated bluntly that “water resources could become a cause not only of serious confrontation, but even of wars.” While rhetoric has softened in recent years, the structural risk remains. With a total estimated cost exceeding $6 billion, Rogun is not just an engineering project – it is a geopolitical one, where each decision carries regional consequences.

Beyond politics, however, the most profound pressure comes from climate change. Central Asia’s rivers depend heavily on glaciers in the Tien Shan and Pamir mountains, which account for up to 80% of river flow. According to international assessments, the region has already lost around 30% of its glacier mass, with projections suggesting losses of 50% or more by the end of the century. The paradox is that accelerated melting may temporarily increase water availability, creating a false sense of stability. But this is followed by what experts describe as “peak water” – the point after which river flows begin to decline irreversibly. The World Bank warns that once this threshold is crossed, water scarcity will become structural rather than seasonal.

At the same time, a quieter but equally serious crisis is unfolding: access to safe drinking water. In Tajikistan, for example, around 45% of the population lacks access to safely managed water supply. This shifts the issue beyond agriculture and into the realm of social stability, public health, and migration.

The legacy of the Aral Sea remains the most dramatic illustration of what mismanaged water systems can produce – but it is not merely a historical episode. Since the 1960s, the sea has lost over 90% of its volume, and its dried seabed now generates up to 100 million tonnes of salt and dust annually. These particles travel across vast distances, affecting soil quality, climate patterns, and human health. Former UN Secretary-General Ban Ki-moon described the situation as “one of the most shocking environmental disasters on the planet.” Crucially, the Aral crisis is not an anomaly – it is an extreme outcome of the same water management model that, in part, still persists today.

This is what makes the current situation particularly dangerous. The water crisis in Central Asia is not sudden or explosive. It is gradual, cumulative, and therefore politically easy to postpone. Yet such slow-moving crises are often the most destructive.

For now, the region still manages water scarcity through seasonal agreements, ageing infrastructure, and fragile compromises. But there are growing signs that this balance may not hold. In the coming decades, water will increasingly act not as a managed resource, but as a limiting factor – shaping economic growth, political stability, and regional relations.

This is why water, more than any mineral or commodity, is emerging as the region’s true critical element.

by Taina Kaunis

IMANBEK: CÓMO UN MECÁNICO KAZAJO GANÓ EL LATIN GRAMMY Y BORRÓ FRONTERAS EN LA MÚSICA

IMANBEK: CÓMO UN MECÁNICO KAZAJO GANÓ EL LATIN GRAMMY Y BORRÓ FRONTERAS EN LA MÚSICA

En noviembre de 2020, el mundo de la música experimentó una sacudida cultural: en la prestigiosa ceremonia de los Latin Grammy Awards, en la categoría “Mejor Remezcla”, el ganador no fue un productor mexicano ni un creador de ritmos brasileño. La estatuilla dorada la tomó Imanbek (nombre real Imanbek Zeikenov), de 20 años, un joven de la pequeña ciudad kazaja de Aksu que, un año antes, trabajaba como mecánico en el ferrocarril. Su increíble historia no es solo otro “cuento de hadas”, sino un ejemplo vívido del mundo moderno, donde el talento de cualquier parte del planeta, impulsado por el viento digital, puede alcanzar las cumbres más altas. El fenómeno de las “estrellas de internet” se ha vuelto habitual, pero Imanbek destaca precisamente porque, en el momento de su nominación al prestigioso premio musical, no tenía educación musical, ni presencia mediática, ni conexión con la industria musical de América Latina (y cabe señalar que Kazajstán no es muy conocido para el público latinoamericano en general, especialmente desde un punto de vista cultural). El propio Imanbek mencionó en su entrevista con Forbes Kazakhstan (diciembre de 2020): “No tengo educación musical. Aprendí todo yo mismo con vídeos en YouTube. Al principio fue difícil, no entendía cómo funcionaban las cosas. Pero luego me enganché”.

DE LA ESTACIÓN DE FERROCARRIL
EN AKSU AL HIT VIRAL
Antes de la fama mundial, la vida de Imanbek estaba lejos del glamur y los focos. Nacido en la ciudad industrial de Aksu, como muchos de sus compañeros, eligió una profesión estable: mecánico de ferrocarril. Creaba música en su tiempo libre en una simple computadora portátil en su habitación, subiendo activamente su trabajo a plataformas de streaming y redes sociales, y a veces actuaba como DJ en fiestas locales.

El avance explosivo y, en esencia, casual ocurrió en 2019. Al descargar de la red la pista vocal (a capela) del tema “Roses” del rapero estadounidense Saint Jhn, Imanbek realizó una acción genial en su simplicidad. Reemplazó el ritmo original de hip-hop por un enérgico electro-house “europeo” con future bass. Al publicar el remix terminado en VKontakte (red social popular en la CEI) a fines de 2019, ni siquiera sospechaba que desataría una reacción en cadena global. La canción se volvió viral primero en la CEI y luego, gracias a los algoritmos de TikTok e Instagram, conquistó el mundo. Para el verano de 2020, “Roses (Imanbek Remix)” encabezaba las listas de Shazam en decenas de países y acumulaba cientos de millones de reproducciones en plataformas de streaming.

TRIUNFO EN LOS LATIN GRAMMY:
UNA EXPLOSIÓN CULTURAL
La nominación de Imanbek a los Latin Grammy fue una sorpresa para muchos (incluido el propio músico), y la victoria fue una verdadera explosión cultural. Los Latin Grammy son uno de los premios más respetados, que tradicionalmente reconoce los logros en la música en español y portugués. En la misma categoría, Imanbek compitió con remezclas de temas de superestrellas del Latin Pop: Bad Bunny y J. Balvin.

Su victoria destrozó las últimas fronteras de la industria. “Un año después de que subiera este remix a la red, gané el Latin Grammy. Chicos, esto realmente demuestra que no hay fronteras”, escribió entonces Imanbek. Se convirtió no solo en el primer kazajo en conquistar el Olimpo musical latinoamericano, sino en un símbolo de una nueva realidad, en la que las fronteras geográficas y las barreras lingüísticas son relativas.

SOBERANÍA DIGITAL EN LA CULTURA
Después del Grammy, la carrera de Imanbek entró en una órbita global. Contratos con grandes discográficas, colaboraciones con Imagine Dragons y DJ internacionales, y una nominación al principal premio Grammy de Estados Unidos apenas un año después de su ascenso (en 2021) confirmaron que su éxito no fue una casualidad, sino un reconocimiento de la comunidad musical mundial. Entró en el círculo de élite de artistas reconocidos por ambos premios.

Su éxito es una razón para hablar con confianza de la “soberanía digital” del talento. No esperó el reconocimiento de productores de la capital, no se mudó a una metrópoli, no participó en programas de televisión. Utilizó las herramientas disponibles para todos: una computadora portátil, internet y redes sociales, y el resto fue el resultado de un amor sincero por la música y el dominio de las herramientas modernas.

Por Veronique Pavloff

ONE BELT, ONE ROAD, BUT DIFFERENT APPROACHES TO INFRASTRUCTURE SPENDING PERSIST IN FORMER SOVIET REPUBLICS

ONE BELT, ONE ROAD, BUT DIFFERENT
APPROACHES TO INFRASTRUCTURE SPENDING PERSIST IN FORMER SOVIET REPUBLICS

Of course, the transition of the Former Soviet Republics from Communism to Market Economy witnessed a dramatic fall in infrastructure spending. Consequently, different republics progressed at different speeds, though with an increasing realization that such spending is necessary to develop their economies. Ironically, it is their western counterparts who are arguably underinvesting in their own infrastructure in the last decade.

Among the 15 former Soviet republics (Armenia, Azerbaijan, Belarus, Estonia, Georgia, Kazakhstan, Kyrgyzstan, Latvia, Lithuania, Moldova, Russia, Tajikistan, Turkmenistan, Ukraine, Uzbekistan), comparable, standardized data on infrastructure-specific investment (roads, railways, energy, water, telecom, etc.) as a % of GDP over the full 2015–2025 period is limited and not uniformly reported across a single source. Infrastructure investment is typically a subset of gross fixed capital formation and often tracked via public capital outlays, private participation in infrastructure (PPI), or project-based data from bodies like the World Bank, EBRD, ADB, or Oxford Economics/PwC.

No comprehensive ranking exists for the exact 10-year average infrastructure % of GDP across all countries. Available data (primarily 2021 snapshot from Oxford Economics/PwC research and recent ADB/WB reports) point to the Caucasus countries (especially Armenia and Georgia) and select Central Asian economies having experienced the highest relative infrastructure investment as % of GDP. This reflects major national programs, Belt and Road Initiative (BRI) projects, oil/gas revenues funding reconstruction/energy, and development needs in lower/middle-income transition economies. Russia has the highest absolute spending on infrastructure, and its Arctic infrastructure is notable. Baltics (EU members) and more mature economies like Russia show lower % due to higher GDP bases and different funding (e.g., EU structural funds). War in Ukraine has disrupted data and shifted priorities toward reconstruction on nationalistic grounds.
RANKED BY AVAILABLE INFRASTRUCTURE
INVESTMENT % OF GDP
(LATEST/COMPARABLE DATA)

Data is not a perfect 10-year average (sparse historical breakdowns); figures are the most recent/reliable snapshots or noted periods. “Infrastructure” here generally includes transport, energy, utilities, and related public/private projects. Rankings prioritize direct infrastructure metrics where available.
KEY INSIGHTS AND CAVEATS
Highest relative investment: Caucasus (Armenia, Georgia, Azerbaijan) and Uzbekistan stand out in comparable data. Armenia’s recent spike is notable. Central Asia overall shows strong momentum via public investment and external financing (EBRD, ADB, China).
Why these countries? Lower baseline GDP per capita + strategic projects (energy corridors, BRI roads/rail, post-Soviet modernization). Total gross fixed capital formation (broader proxy including infra) is often 20–35% of GDP in high-investment CIS countries like Uzbekistan.
Baltics/Russia lower %: More advanced infrastructure stock and higher GDP reduce the relative share, even with absolute spending (e.g., EU co-financing). Smaller geography means less spending on transport related infrastructure.
Data limitations: Private participation (World Bank PPI) is only part of the picture; most infrastructure is publicly funded or balance-sheet financed. No single 10-year average exists publicly for all 15. Trends (construction growth, EBRD/ADB lending) support higher activity in Central Asia/Caucasus.
Overall context: Global infrastructure needs are high (~4.5% of GDP recommended in developing countries); post-Soviet states in ECA/CIS face gaps but have accelerated via multilateral/national programs.
The Belt & Road (BRI) initiative has brought increased spending to several Former Soviet Republics. Programs such as the Middle Corridor have helped several republics as well, though to a lesser extent than BRI. Kazakhstan has been a notable beneficiary.

The Former Soviet Republics in fact inherited considerable historical infrastructure from the Soviet Union, as made famous with their 5 year plans. In fact, the Former Soviet Republics inherited considerable infrastructure from Soviet times, even more so than their western counterparts in many cases. Many republics are now seeing this investment resume on more nationalistic grounds. This is particularly true of the Central Asian economies which are benefit so much from logistics related infrastructure projects. Arguably the biggest international spender on infrastructure has been China and Central Asia has been a big beneficiary of BRI and Chinese related infrastructure related investment.

Recent events in Iran have put the spotlight on China as the driver of global economic development, much of this in infrastructure. The BRI initiative in many ways was born out of an overcapacity in infrastructure which was then exported. Most of this export in Chinese infrastructure capacity is likely to continue for some time yet and underpins several Former Soviet economies.

by Bruce H. Gaston, MSc Econ(Lond), ACSI

TÉ, TECNOLOGÍAS DE LA INFORMACIÓN Y ENERGÍA: EL DESARROLLO EXPLOSIVO DE LOS VÍNCULOS ECONÓMICOS ENTRE LOS PAÍSES DE ASIA CENTRAL Y LA CEI CON AMÉRICA LATINA

TÉ, TECNOLOGÍAS DE LA INFORMACIÓN Y ENERGÍA: EL DESARROLLO EXPLOSIVO DE LOS VÍNCULOS ECONÓMICOS ENTRE LOS PAÍSES DE ASIA CENTRAL Y LA CEI CON AMÉRICA LATINA

Las relaciones entre los países de América Latina (LatAm) y la Unión Soviética, y posteriormente el espacio postsoviético, durante mucho tiempo fueron episódicas y se basaban principalmente en visitas de cortesía cultural y política. A pesar de cierta lucha por la influencia ideológica, las relaciones diplomáticas y económicas no mostraban una dinámica significativa.

Sin embargo, en los últimos 5-7 años, en medio de la transformación global de las rutas logísticas y la búsqueda de diversificación, estos vínculos se están convirtiendo en una asociación económica bastante tangible. Estas son “relaciones periféricas”: no son fundamentales o prioritarias para ambas partes, pero se están volviendo cada vez más importantes para garantizar la resiliencia del desarrollo económico y el acceso a productos únicos. Esta tendencia se confirma por las estadísticas globales, si observamos las cifras clave del comercio (2022-2023, primeros 9 meses de 2024).

AMÉRICA LATINA – RUSIA
El volumen comercial total en 2023 fue de aproximadamente 18.000-20.000 millones de dólares (estimado, teniendo en cuenta todos los países de la región). Para comparar: en 2021 fue de alrededor de 14.000-15.000 millones de dólares. El mayor socio en la región tradicionalmente fue Brasil, con una participación de 9.800 millones de dólares (datos del Servicio Federal de Aduanas de Rusia). Es interesante que el comercio con Ecuador creció de 1.200 millones (2021) a aproximadamente 2.800 millones de dólares (2023), principalmente debido a la importación de productos petrolíferos y fertilizantes rusos. El comercio continúa creciendo en 2024, aunque el ritmo puede desacelerarse después del salto de 2022-2023; Brasil, Argentina y Ecuador siguen proporcionando el crecimiento principal. También se ha observado un cambio notable en la estructura de las exportaciones rusas. En 2024, Rusia se convirtió por primera vez en uno de los principales proveedores de GLP (gases licuados del petróleo) para Argentina; en el volumen de exportaciones a Brasil, la participación del petróleo y productos derivados por primera vez igualó o superó la de los fertilizantes, y los polímeros y plásticos rusos encuentran mercado en México y Colombia. Esto significa que la energía y las exportaciones no relacionadas con materias primas se han convertido en un pilar comercial tan importante como las materias primas agrícolas, y en el futuro constituyen posibles proyectos conjuntos en el sector energético. Un avance especial en las relaciones económicas y diplomáticas han sido los pagos en monedas nacionales: más del 60% del comercio entre Rusia y Brasil en 2024, según declaraciones de representantes del Banco Central, se realiza en rublos y reales, lo que reduce riesgos y fortalece la independencia de los vínculos comerciales al evitar el dólar. Esta tendencia comienza a aparecer también en el comercio con otros países de LatAm.

AMÉRICA LATINA – BIELORRUSIA
El volumen comercial total en 2023 fue de aproximadamente 2.000-2.500 millones de dólares. A pesar de las cifras aparentemente pequeñas en términos de volúmenes mundiales, precisamente para Bielorrusia los países de LatAm son una región distante pero estratégicamente importante para diversificar las exportaciones (especialmente a la luz de las restricciones en los mercados tradicionales de la CEI y la UE) y garantizar la seguridad alimentaria. La situación desde 2022 se ha vuelto más complicada debido a las sanciones sobre un punto clave en la estructura de las exportaciones bielorrusas: los fertilizantes de potasio. En los primeros 9 meses de 2024, el comercio se contrajo aproximadamente un 20-30% en comparación con el mismo período de 2023, y alcanzó alrededor de 500 millones de dólares, lo que supuso para Bielorrusia una prueba de resiliencia en su enfoque latinoamericano. Actualmente se están construyendo cadenas logísticas alternativas, pero desafortunadamente encarecen el producto y no son económicamente viables. Al mismo tiempo, el enfoque de la asociación se está desplazando hacia otros países (Paraguay, Uruguay) y hacia profundizar la cooperación con Cuba (donde el factor político es más fuerte que el económico). La electrónica y el equipamiento óptico bielorrusos (microchips, componentes) también forman parte de los suministros a Brasil.

AMÉRICA LATINA – KAZAJSTÁN
Los volúmenes de comercio, ciertamente, son significativamente más bajos que los de Rusia y Bielorrusia, pero muestran un crecimiento constante: en 2023 fueron de aproximadamente 700-1.000 millones de dólares (estimación). Los principales socios comerciales son Brasil, Argentina y Chile. Al mismo tiempo, en el contexto de los cambios en las rutas logísticas, Kazajstán se está convirtiendo en una ruta importante para la exportación de ciertos productos rusos (metales, fertilizantes) a los países de Asia, lo que afecta indirectamente también a los flujos globales hacia LatAm. Kazajstán aumentó drásticamente las exportaciones de uranio a Brasil (para la central nuclear de Angra) y suministra aleaciones de titanio para la industria aeroespacial; estos son sectores de alta tecnología y estratégicos que cambian la estructura del comercio. El modelo comercial actual podría transformarse en el futuro en proyectos conjuntos (por ejemplo, la cooperación kazajo-chilena sobre el litio).

AMÉRICA LATINA – UZBEKISTÁN
Es el participante más nuevo en las relaciones, y está aumentando activamente los vínculos desde cero. El volumen comercial en 2023 fue de 300-400 millones de dólares; los principales socios son Brasil, Argentina y México. Se han firmado nuevos contratos para el suministro de fertilizantes nitrogenados uzbekos a Brasil y fibra de algodón a México y Perú. En términos monetarios, el crecimiento podría ser del 30-40% durante 2024-2025.

OTROS SOCIOS ECONÓMICOS POTENCIALES
Kirguistán exporta mercurio y antimonio (metales para la industria); sin embargo, las cifras del volumen total aún son pequeñas y las barreras logísticas dificultan el desarrollo de los vínculos económicos. Tayikistán también recibe compras episódicas y, posiblemente, podría suministrar más recursos primarios, pero su posición geográfica bastante aislada en la actualidad hace que los mercados lejanos sean poco atractivos para explorar. Turkmenistán teóricamente podría suministrar gas licuado, pero la barrera logística (falta de salida al mar) lo hace poco práctico.

Los países del Cáucaso (Georgia, Armenia, Azerbaiyán) presentan un interés especial. Su comercio con América Latina no es tan voluminoso como el de Rusia, pero tiene su propia especificidad, a menudo relacionada con la logística, la agroexportación y el posicionamiento geopolítico. La presencia de puertos en el Mar Negro (Batumi, Poti en Georgia) brinda acceso marítimo directo, lo que los convierte en socios más convenientes que los países de Asia Central. A diferencia de la CEI, el Cáucaso no exporta materias primas (excepto el petróleo azerbaiyano), sino marcas de consumo finales con alto valor agregado: vino, coñac, agua mineral, té, etc., algo ciertamente notable.

Azerbaiyán es el actor más fuerte de la región gracias a los ingresos petroleros, pero su comercio con LatAm es paradójico. Teóricamente, podría suministrar petróleo y productos derivados, pero en las estadísticas este no es un sector significativo (los flujos principales van a Europa y Turquía). En cambio, el caviar negro, el té y las nueces (avellanas) son productos de nicho claves para América Latina. El té azerbaiyano (marca Azerçay) se suministra a Argentina, México y Chile y constituye un producto exótico para el mercado latinoamericano, mientras que el caviar y las nueces son exportaciones de lujo para el segmento premium. El comercio es de aproximadamente 50-100 millones de dólares al año; las importaciones tradicionalmente superan a las exportaciones.

Para Georgia, América Latina es un nuevo mercado de ventas importante para el vino, especialmente después de la pérdida del mercado ruso en 2006 y la búsqueda de alternativas. Los vinos y coñacs constituyen el 80-90% de todas las exportaciones de Georgia a LatAm, con un desarrollo particularmente activo en Brasil, México, Colombia, Panamá y Costa Rica. Las exportaciones de alcohol de Georgia a América (incluyendo Estados Unidos y LatAm) en 2023 fueron de alrededor de 150 millones de dólares. Como particularidad, suministra aguas minerales (Borjomi, Nabeglavi) a cadenas de supermercados.

Armenia, al igual que Tayikistán, no tiene salida al mar, lo que complica la logística (a pesar del desarrollo de corredores logísticos a través de Georgia e Irán para abaratar la entrega de mercancías), pero tiene activos “blandos” potentes. Las marcas de alcohol Ararat y Noy son conocidas en todo el mundo, incluyendo LatAm (Argentina, Uruguay, Brasil, donde es fuerte la diáspora armenia). De manera inesperada, la exportación “invisible” de servicios y software informático es el segundo sector de exportación en importancia, y constituye una parte significativa del volumen comercial total de 30-70 millones de dólares al año. Las empresas tecnológicas armenias trabajan en subcontratación para los mercados de Estados Unidos y América Latina (fintech, industria del juego). Las exportaciones más tradicionales son joyería y diamantes procesados.

Los países de la CEI están saliendo cada vez más activamente a los mercados de Paraguay, Uruguay, Bolivia y República Dominicana. Después del crecimiento vertiginoso de 2022-2023, en 2024 los flujos se estabilizaron y estructuraron (algo especialmente visible en Rusia y Kazajstán). La aparición de sectores de alta tecnología (uranio de Kazajstán, GLP de Rusia, aleaciones de titanio) señala un potencial para la diversificación. Como resultado, los ambiciosos planes para expandir los vínculos diplomáticos y económicos se han materializado en un intenso programa de negocios de misiones diplomáticas e, incluso, visitas de jefes de Estado para 2026.

THIRTY FIVE YEARS ON: DOES THE FOUNDING FATHERS’ MODELOF THE POST-SOVIET STATESSTILL WORK?

THIRTY FIVE YEARS ON: DOES THE FOUNDING FATHERS’ MODEL OF THE POST-SOVIET STATES STILL WORK?

The collapse of the Soviet Union is rarely seen as a deliberate project. Rather, it is viewed as a crisis or a chain of events that spiralled out of control. Yet, when the early years of independence across the post-Soviet space are examined through the lens of sustainable development, it becomes clear that this period laid down the core governance models, economic strategies and political instincts that continue to shape the region to this day.

The figure from whom this discussion inevitably begins is Mikhail Gorbachev. His policies of “perestroika” and “glasnost” were not intended to dismantle the system, but they created the space in which the Soviet republics were able, for the first time, to act independently. Within this window of opportunity, new political actors emerged – Boris Yeltsin in Russia, Leonid Kravchuk in Ukraine, Nursultan Nazarbayev in Kazakhstan, and Islam Karimov in Uzbekistan. Gorbachev was not the architect of the collapse, but he was the architect of the conditions that made it inevitable. What followed were distinct national trajectories. It is precisely here that the differences between regions become particularly revealing.

CENTRAL ASIA: STABILITY AS A GOVERNING
PHILOSOPHY

In Central Asia, the first leaders of the newly independent states – Nursultan Nazarbayev, Islam Karimov, Saparmurat Niyazov, Askar Akayev and Rahmon Nabiyev (later Emomali Rahmon) – were almost without exception drawn from the Soviet nomenklatura. They inherited not only administrative structures but also the logic of governance itself: vertical power, prioritisation of control and a cautious approach to change. Their core decision was broadly the same: a preference for stability over radical reform.

In Kazakhstan, Nursultan Nazarbayev constructed a model of “managed modernisation”: a gradual transition to a market economy combined with strong presidential authority. Economic liberalisation was accompanied by political centralisation – a compromise that ensured both investment inflows and relative stability.

In Uzbekistan, Islam Karimov pursued a more closed model: tight control, limited external influence and a slow pace of transformation. This helped the country avoid the economic shocks of the 1990s, but it also delayed institutional development. Meanwhile in Turkmenistan, Saparmurat Niyazov established an overtly personalist system, in which the resilience of the state became directly tied to the figure of the leader.

Kyrgyzstan, under Askar Akayev, initially attempted a path of liberalisation, yet weak institutions led to chronic political instability. In Tajikistan, where Rahmon Nabiyev became the first president, statehood emerged in the context of civil war, and the subsequent model under Emomali Rahmon entrenched the primacy of security over reform.

Despite their differences, the overarching vector was clear: the state as the principal architect of development and guarantor of order.

THE SOUTH CAUCASUS: INDEPENDENCE THROUGH CRISIS

While Central Asia pursued stability, the South Caucasus forged its statehood through conflict. In Armenia, Levon Ter-Petrosyan came to power during the war over Nagorno-Karabakh. This shaped national priorities: security, resource mobilisation and political consolidation. Economic and institutional development continued, but always in the shadow of conflict.

In Azerbaijan, following early instability – from Ayaz Mutallibov to Abulfaz Elchibey – Heydar Aliyev emerged as the key figure, establishing a durable model built on a strong vertical of power, reliance on the oil and gas sector, and an active foreign policy.

In Georgia, Zviad Gamsakhurdia began with a wave of nationalist mobilisation, but the country quickly descended into internal conflict. Later, under Eduard Shevardnadze and then Mikheil Saakashvili, attempts were made to stabilise and reform institutions.

Unlike Nursultan Nazarbayev or Islam Karimov, who prioritised control and continuity, the leaders of the Caucasus operated in an environment of constant turbulence. This produced systems that were more dynamic, yet also more fragile.

EASTERN EUROPE AND RUSSIA: A RAPID BREAK WITH THE PAST

In Russia, Boris Yeltsin opted for a radical transformation: privatisation, liberalisation and the dismantling of the Soviet economic system. Ukraine, under Leonid Kravchuk, and Moldova, under Mircea Snegur, pursued more cautious paths, balancing reform with the need to preserve stability.

Belarus represents a distinct case: following the collapse of the USSR, the country was de facto led by Stanislav Shushkevich as head of parliament, while the presidential system was only later formalised in 1994 under Alexander Lukashenko, who chose to retain a strong role for the state.

The Baltic states – Lithuania (Algirdas Brazauskas), Latvia (Guntis Ulmanis), and Estonia (Lennart Meri) – moved swiftly towards integration with Western institutions, a decision that defined their long-term trajectory.

Yet even in Russia, a subsequent shift toward a more centralised model took place. In this sense, its trajectory partially converged with that of Central Asia: the state once again became the dominant actor.

HAS THE VECTOR CHANGED?

More than three decades on, the central question remains: has the course set by the first leaders changed?

In Central Asia, the answer is largely no. The models established by Nursultan Nazarbayev, Islam Karimov and Emomali Rahmon have certainly evolved, but not fundamentally transformed. Kazakhstan, following Nazarbayev’s departure, demonstrates attempts at gradual reform: the rhetoric of change has intensified, yet the core model – a strong state combined with controlled liberalisation – remains intact. Uzbekistan under Shavkat Mirziyoyev stands out as perhaps the most notable example of evolution. The economy has opened, business climate has improved, and foreign policy has become more proactive. However, these changes are still driven from the top, without a fundamental redefinition of the state’s role, while the consequences of rapid growth remain a subject of debate. Kyrgyzstan continues to function as a laboratory of political turbulence, where frequent changes of power do not translate into institutional consolidation. Tajikistan and Turkmenistan maintain highly conservative models.

In the Caucasus, trajectories remain more fluid, yet fundamental challenges – security concerns and dependence on external factors – persist. This is particularly evident today in the context of a global redistribution of influence among major geopolitical actors.

In Russia, Boris Yeltsin’s initial liberal course has been replaced by the consolidation of a vertical power structure, once again aligning the model with that of a managed state.

In other words, the vector set by the first presidents has not so much changed as adapted. The core paradigm – the prioritisation of stability over competition – continues to dominate.

THE COST AND LIMITS OF STABILITY

The emphasis on stability provided the region with time and governability. At the same time, it constrained institutional development, reinforced dependence on individual leadership, and slowed economic diversification.

Today, sustainable development requires a different balance – between control and competition, between stability and flexibility.

In this context, the legacy of Mikhail Gorbachev, Boris Yeltsin, Nursultan Nazarbayev, Islam Karimov, Levon Ter-Petrosyan and other “founding fathers” becomes a defining question:
Is it the foundation for the next stage – or its limit?

by Marat Akhmedjanov

ARGENTINA:UNA NUEVA OPORTUNIDAD

ARGENTINA: UNA NUEVA OPORTUNIDAD

Tanto en Kazajstán como en el resto de los países de Asia Central no se sabe mucho sobre Argentina. Seguramente si preguntamos en las calles de Astana o de otra ciudad de cualquier país euroasiático qué es lo que las personas saben de Argentina (uno de los ocho países más grandes del mundo, seguido por Kazajstán), la respuesta mencionaría a los astros futbolísticos: Messi, Maradona… Quizás el tango y la carne. No mucho más que esto, estoy segura. No se sabe que Argentina fue una potencia mundial y el país más industrializado de América Latina en los comienzos del siglo XX, por ejemplo. Ni tampoco que su capital, Buenos Aires, no tiene nada que envidiarle a París, en cuanto a su belleza arquitectónica.

Hoy, más de un siglo después, Argentina enfrenta una nueva oportunidad. Pero esta vez el desafío no es recuperar un pasado glorioso, sino construir un futuro posible. Alimentos, energía y minerales críticos: el mundo demanda lo que Argentina puede ofrecer.

El país cuenta con recursos naturales de escala global, conocimiento técnico y capacidad industrial para transformarse en una potencia agro energética y minera. Y aquí es donde está el punto neurálgico en el que se cruza con Kazajstán y otros países del espacio postsoviético, ya que, de alguna manera, comparten los desafíos y las oportunidades en un contexto internacional que representa nuevas alianzas, tanto comerciales como geopolíticas; y es justamente aquí donde los países de Asia Central pueden encontrar en Argentina un socio complementario, especialmente en áreas clave para el desarrollo sostenible.

Argentina posee una sólida experiencia en la agroindustria, la producción de alimentos, la biotecnología, la energía y la economía del conocimiento. A su vez, los países de Asia Central cuentan con abundantes recursos naturales, una ubicación geográfica estratégica entre Europa y Asia, y economías en proceso de diversificación y modernización.

Además, a lo largo de las últimas décadas, la historia demuestra que no son los recursos los que determinan el destino de una nación, sino las decisiones que se toman. Y hoy, más que nunca, las decisiones importan.
n los próximos años, y dentro del contexto mundial que estamos observando, la demanda global de alimentos, energía y minerales no hará más que crecer; por lo tanto, los países que puedan abastecer al mundo de forma confiable y sustentable ganarán protagonismo económico y geopolítico.

Actualmente, Argentina es un actor clave en la seguridad alimentaria global. Produce alimentos para más de 400 millones de personas.

El sector agro argentino está altamente tecnificado, vinculado con industrias nacionales de maquinaria, biotecnología, software y servicios. Y a costos mucho menores, en comparación con los países europeos o Estados Unidos. El intercambio de tecnologías agrícolas, semillas adaptadas a climas extremos, sistemas de riego eficiente y know-how en cadenas de valor alimentarias podría beneficiar, y mucho, a ambas partes.

No nos olvidemos del sector energético, ya que Asia Central es una región clave en términos de hidrocarburos, minerales críticos y potencial energético, mientras que Argentina tiene gran experiencia en energías tanto convencionales como renovables, además de sus relevantes capacidades científicas. El trabajo conjunto en exploración, desarrollo energético, transición hacia energías limpias e infraestructura podría ser el comienzo de un intercambio beneficioso a largo plazo.

Más allá de lo económico (y es la parte que me toca a mí más de cerca), el fortalecimiento de los lazos académicos y culturales resulta fundamental. Programas de intercambio universitario, cooperación científica, enseñanza de idiomas y proyectos conjuntos de investigación pueden sentar las bases de una relación sostenida en el tiempo.

Argentina cuenta con universidades públicas gratuitas de prestigio y una base cultural muy sólida y atractiva.

En mi caso particular, trabajamos hace más de 10 años en diversos proyectos de intercambio cultural con mi Kazajstán natal, tales como el hermanamiento de ciudades; la organización de eventos de promoción cultural; y el nombramiento de espacios públicos en Rosario, la tercera ciudad de Argentina, con nombres relevantes de Kazajstán, como la calle de Abai y la plaza de la República de Kazajstán. Sin duda, es muy importante el valor del trabajo diplomático mediante las embajadas y consulados. Un eficiente diálogo cultural y diplomático permite lograr un mayor entendimiento mutuo y ayuda a superar las distancias geográficas y a fomentar confianza y respeto, valores que, a mi entender, hacen mucha falta en el mundo de hoy.

Por Lic. Irina Vagner
Embajadora de la Amistad de la Asamblea
de los Pueblos de Kazajstán
Directora del Centro de Cultura de Kazajstán
en Rosario, Argentina

SUSTAINABLE DEVELOPMENTIS A NATIONAL STRATEGIC CHOICE

SUSTAINABLE DEVELOPMENT IS A NATIONAL STRATEGIC CHOICE

Sustainable development in Kazakhstan is not an abstract policy aspiration. It is a deliberate strategic choice that shapes our domestic reforms, our regional engagement in Central Asia, and our partnerships with the European Union.

As emphasised by President Kassym Jomart Tokayev at the National Kurultai–2026, sustainability forms the foundation of a renewed social contract grounded in justice, responsibility and long-term vision. In today’s environment of geopolitical volatility, economic fragmentation and accelerating climate risks, development must be measured not only by growth, but by resilience, inclusiveness and institutional strength.

For Kazakhstan, the transition towards sustainable development represents a shift from a predominantly resource driven model toward diversified, innovation based and environmentally responsible growth. Over more than three decades of independence, our country has built a strong economic foundation. The next stage requires qualitative transformation: strengthening manufacturing, modernising agriculture, expanding transport and logistics corridors connecting Asia and Europe, and accelerating digital transformation.

This transformation has both a regional and a European dimension and sustainable development is the bridge between regions. Central Asia is becoming increasingly interconnected. Stability, water security, climate adaptation and economic diversification are shared regional challenges. At the same time, the European Union is one of Kazakhstan’s largest trade and investment partners. The EU accounts for a significant share of foreign direct investment in Kazakhstan, and our Enhanced Partnership and Cooperation Agreement provides a comprehensive framework for cooperation across trade, green transition, transport connectivity and governance reform.

Kazakhstan’s commitment to achieving carbon neutrality by 2060 aligns with the European Union’s Green Deal objectives. We are expanding renewable energy capacity and improving energy efficiency, while exploring opportunities in green hydrogen, critical raw materials and sustainable supply chains. Belgium and the broader EU are key partners in advancing technology transfer, regulatory standards and green finance instruments.

Climate change and water security further underscore the importance of international cooperation. The tragedy of the Aral Sea remains a reminder that environmental mismanagement transcends borders. Kazakhstan actively promotes regional water diplomacy in Central Asia and supports coordinated approaches consistent with international best practice. European expertise in water management, circular economy and environmental governance represents a valuable contribution to these efforts.
Transport and connectivity also illustrate the convergence of interests. The development of the Trans Caspian International Transport Route strengthens links between Europe and Asia, enhances supply chain resilience and contributes to diversified trade flows. For the European Union, reliable connectivity through Central Asia is not only an economic opportunity, but a strategic investment in stability and partnership.

Equally important is the human dimension. Sustainable development ultimately depends on education, innovation and societal trust. Kazakhstan is investing in human capital, digital literacy and scientific research, while deepening academic and cultural exchanges with European partners. The strengthening of people-to-people ties between Kazakhstan, Belgium and the wider EU contributes to mutual understanding and long-term cooperation.

From my perspective as Ambassador of Kazakhstan to the Kingdom of Belgium and the European Union, sustainable development is, therefore, not confined to domestic policy. It is the organising principle of our external engagement. It defines how we approach investment, climate dialogue, trade diversification and regional cooperation.

Thirty-five years after independence, Central Asia is entering a new phase of consolidation and confidence. Kazakhstan’s strategic commitment to sustainability reflects political maturity and a clear understanding that national modernization and regional stability are inseparable from international partnership.

By aligning domestic reform with responsible regional leadership and constructive engagement with the European Union, Kazakhstan contributes to building a more resilient, interconnected and forward-looking Eurasian space. Sustainable development, in this sense, is not only a national choice. It is a shared responsibility and a common opportunity.

Roman Vassilenko
Ambassador of the Republic of Kazakhstan
to the European Union

A TRAVÉS DE ESTEPAS Y MARES:UN ENCUENTRO ENTREASIA CENTRALY AMÉRICA LATINA

A TRAVÉS DE ESTEPAS Y MARES: UN ENCUENTRO ENTRE ASIA CENTRAL Y AMÉRICA LATINA

Colocar Asia Central y América Latina en la misma frase es un doble reflejo. Una evoca imágenes de vastas estepas, ciudades de caravanas y pastores nómadas; la otra, de selvas tropicales, edificios coloniales y montañas imponentes. Sin embargo, cuando trascendemos la geografía superficial y nos adentramos en las capas más profundas de la historia y la cultura, ambas regiones comienzan a dialogar con una fluidez sorprendente. Este artículo explora esa conversación, no como una alineación política, sino como una experiencia humana compartida, moldeada por el imperio, la resistencia, la creatividad y el intercambio.

Imperios, periferias y la experiencia de ser descubierto

Asia Central y América Latina se incorporaron a los sistemas globales mediante la expansión imperial. Para América Latina, fue la conquista ibérica; para Asia Central, la absorción gradual por el Imperio ruso y, posteriormente, por la Unión Soviética, tras haber acogido el “Gran Juego” entre los imperios británico y ruso. En ambos casos, las sociedades locales no fueron borradas, sino, en cierta medida, reconfiguradas. En última instancia, el impacto fue que las lenguas se estandarizaron (y algunas se suprimieron), los sistemas de creencias se estratificaron en lugar de reemplazarse y las economías se reorientaron hacia los objetivos superiores de sus amos.

Esto produjo una condición cultural similar: sociedades profundamente híbridas, pero persistentemente descritas como “periféricas”. La experiencia colonial en Perú o México encuentra su eco quizás en el Turquestán bajo el dominio zarista y, posteriormente, soviético. En ambas regiones, la modernidad llegó de forma desigual: a menudo impuesta, a menudo resistida, pero las contradicciones entre la herencia y la modernidad dejaron una huella cultural visible hoy en día.
Rusia, el proyecto soviético y un horizonte latinoamericano

La Unión Soviética es quizás el puente histórico más evidente entre Asia Central y América Latina. Asia Central no solo estaba gobernada por Moscú; era un laboratorio de la modernidad soviética. La planificación urbana en Taskent, las campañas de alfabetización en Kirguistán y la industrialización en Kazajstán formaban parte de un proyecto universalista que la URSS también exportó, tanto intelectual como materialmente, a América Latina. Todo esto se hizo para contrarrestar la influencia estadounidense y los enfoques capitalistas.

Cuba se convirtió en el nodo más visible de esta conexión. Si bien la narrativa pública se centraba en Moscú y La Habana, el mundo soviético que interactuaba con América Latina también era centroasiático. Ingenieros, médicos, especialistas militares y estudiantes de Uzbekistán, Kazajstán y Tayikistán formaban parte del internacionalismo soviético, trabajando o formándose junto a sus homólogos latinoamericanos. Por otro lado, los estudiantes latinoamericanos estudiaban en universidades soviéticas ubicadas en Asia Central, donde se encontraron con el islam, las culturas turcas y las historias euroasiáticas, muy alejadas de las ideas binarias de la Guerra Fría que les habían enseñado.

Las relaciones soviético-latinoamericanas fueron un aspecto significativo de la Guerra Fría, y estuvieron impulsadas por la dinámica competitiva entre Estados Unidos y la Unión Soviética. Entre las décadas de 1960 y 1980, la Unión Soviética expandió su influencia en Latinoamérica por medios diplomáticos, políticos y militares, a pesar de la distancia geográfica y los limitados vínculos históricos. Inicialmente, la Rusia zarista mantuvo mínimas relaciones oficiales con Latinoamérica, pero esto cambió a finales del siglo XIX con el establecimiento de vínculos diplomáticos con Argentina, Uruguay y México. La Revolución rusa complicó aún más las relaciones, ya que solo México y Uruguay reconocieron a la URSS antes de la Segunda Guerra Mundial. La Unión Soviética capitalizó problemas regionales, como la explotación capitalista y la dominación extranjera, y apoyó a los partidos comunistas locales para movilizar a los trabajadores contra las clases dominantes y la influencia extranjera, principalmente de Estados Unidos.

La Revolución cubana de 1959 marcó un punto de inflexión en las relaciones entre la Unión Soviética y Latinoamérica. El régimen de Fidel Castro, inicialmente sin el apoyo del Partido Comunista local, recibió una importante ayuda soviética tras la imposición de sanciones económicas a Cuba por parte de Estados Unidos. Este apoyo incluyó la compra de azúcar cubano, el suministro de petróleo y armas, y una importante asistencia económica y militar. La crisis de los misiles de 1962 llevó al mundo al borde de una guerra nuclear, y la Unión Soviética intentó emplazar misiles nucleares de mediano alcance en Cuba. La crisis se resolvió cuando el presidente John F. Kennedy obligó al líder soviético Nikita Khrushchev a retirar los misiles a cambio del compromiso de Estados Unidos de no invadir Cuba. La Unión Soviética también apoyó otros movimientos revolucionarios en Latinoamérica, como el sandinismo en Nicaragua y el Frente Farabundo Martí para la Liberación Nacional en El Salvador, a los que brindó ayuda económica y militar.

Las prioridades soviéticas cambiaron después de 1985 con la llegada de la perestroika y los desafíos internos, lo que redujo la atención prestada a Latinoamérica. Con el fin de la Guerra Fría, la ayuda soviética a Cuba disminuyó, el apoyo a los partidos comunistas y a los gobiernos radicales desapareció, y el comercio con Latinoamérica disminuyó. La desintegración de la Unión Soviética llevó a que cada república decidiera sus propias relaciones exteriores y, en el siglo XXI, Rusia buscó fortalecer los lazos económicos con los países sudamericanos mediante acuerdos como el pacto comercial del Mercosur.

Literatura: mito, memoria y realismo mágico de la estepa

La comparación entre el realismo mágico latinoamericano y las tradiciones narrativas de Asia Central no es casual. Ambos se inspiran en cosmologías premodernas que coexisten con dificultad con la vida moderna. En Asia Central, las epopeyas orales como la de Manas o la prosa impregnada de mitos de Chinghiz Aitmatov difuminan las fronteras entre lo real y lo metafísico. En Latinoamérica, Macondo de García Márquez o “lo real maravilloso” de Alejo Carpentier cumplen una función similar.

Aitmatov, cuyas obras fueron traducidas al español y ampliamente leídas en Latinoamérica, ofrece un punto de convergencia particularmente sorprendente. Sus relatos, arraigados en los paisajes kirguisos pero de alcance moral universal, exploran temas de pérdida, modernización y ruptura ética que resuenan con fuerza en la literatura poscolonial latinoamericana. Los críticos de ambas regiones han señalado el instinto compartido de utilizar el mito no como escapismo, sino como una herramienta para la verdad histórica.

La influencia cultural de Rusia también se extendió al sur a través de la literatura y el cine. Las traducciones soviéticas de escritores latinoamericanos, especialmente durante el boom de las décadas de 1960 y 1970, circularon ampliamente por Asia Central. Gabriel García Márquez, Julio Cortázar y Pablo Neruda fueron leídos no como extranjeros exóticos, sino como voces que lidiaban con cuestiones familiares: la memoria, la injusticia, el mito y el peso de la historia.

Si bien las exploraciones individuales directas entre las dos regiones son menos frecuentes que sus experiencias compartidas, las figuras simbólicas cobran gran importancia. La poesía de Pablo Neruda circuló ampliamente por toda la Unión Soviética, incluyendo Asia Central, donde su fusión de compromiso político e intensidad lírica encontró un público receptivo. Los cineastas soviéticos, algunos formados o destinados en Asia Central, se inspiraron en los métodos revolucionarios latinoamericanos, mientras que los pensadores de izquierda latinoamericanos se involucraron con los modelos de desarrollo euroasiáticos, a veces de manera crítica, a veces con esperanza.

Cocina: un testimonio perdurable de historia e intercambio cultural

La gastronomía ofrece una conexión más sutil, pero no menos reveladora. La cocina centroasiática, centrada en el trigo, el arroz, la carne y la alimentación comunitaria, encuentra paralelismos inesperados en las culturas culinarias latinoamericanas. El pilaf y el arroz con pollo, el pan plano y las tortillas, los guisos de cocción lenta y las comidas rituales evocan raíces agrarias e identidad colectiva. Si bien es improbable que una cultura haya influido en la otra, las gastronomías de ambas regiones se vieron moldeadas por su entorno y el intercambio comercial: Asia Central absorbió influencias de Persia, China y Rusia; América Latina, de las tradiciones indígenas, africanas y europeas. En ambos casos, la comida se ha convertido en un depósito tanto de la historia como del entorno. Independientemente de la presión política a la que esté sometido un grupo de personas, la comida sigue siendo una forma de preservar su identidad.

Más allá de la geografía

Lo que une en última instancia a Asia Central y América Latina no es un único acontecimiento histórico ni una exportación cultural, sino una posición compartida en el mundo: regiones ricas en historia, pero a menudo representadas por otros, lugares de profunda continuidad en medio de la disrupción, sociedades donde el pasado nunca es del todo pasado.
Explorar estas conexiones no significa ignorar la diferencia, sino reconocer sus similitudes. En una conversación global, a menudo dominada por perspectivas atlánticas y europeas, el diálogo entre la estepa y los Andes, entre Samarcanda y Ciudad de México, ofrece un mapa del mundo diferente, dibujado no por el poder, sino por la experiencia. Quizás los lectores de esta revista puedan habitar esta nueva perspectiva mientras construimos vínculos entre regiones, discretamente, pero con un propósito.

Por Nick Rowan

INTERSECTING INTELLIGENCEAND CREATIVITY IN THE AGEOF TECHNOLOGY

INTERSECTING INTELLIGENCE AND CREATIVITY IN THE AGE OF TECHNOLOGY

“Technology does not create depth – it merely reveals the level of human thinking.”

As sustainable development is increasingly shaped not only by environmental factors but also by intellectual and technological ones, a new type of leadership is emerging – leaders capable of rethinking the future of education. Elena Savchenko, Doctor of Technical Sciences, Professor, and Rector of the International University of Kyrgyzstan, is one of such figures.

Her work focuses on integrating artificial intelligence into educational systems and shaping new models of thinking required for life in the digital era. Operating at the intersection of science, management, and creative practice, Savchenko views AI not merely as a tool for analysis, but as a new language through which humans engage with the world. At the core of her approach lies a human-centric model in which technology enhances human potential and becomes an integral part of sustainable societal development.

OCA Magazine spoke with Elena Savchenko about how artificial intelligence is transforming not only education but also the way people think, why the future belongs to an integrative mindset that combines analytics, intuition, and creativity, and what role technology plays in shaping sustainable societies.

OCA Magazine: Your image combines intellectual rigor with creative depth, but how would you describe yourself – a manager, a researcher, or an artist?

Elena Savchenko: I do not separate these roles, because in today’s world they no longer exist independently. For me, they are parts of a unified whole that reinforce one another and create a more holistic perception of reality. Management requires systems thinking and responsibility; research demands depth and analytical ability; creativity calls for freedom and the capacity to move beyond the obvious.
Today, it is no longer possible to be purely rational or purely intuitive. The world requires integrative thinking, where logic and feeling, structure and freedom come together. It is precisely at this intersection that ideas emerge – ideas that carry meaning and long-term value.

OCA: When did creativity first enter your life?

ES: Creativity has always been part of my life, although for a long time it remained unexpressed. A professional environment fosters discipline, precision, and a results-oriented mindset – and this is important. But over time, I realised that this alone was not sufficient for inner development. It was a gradual awareness: without creativity, it is impossible to move forward – either as an individual or as a leader. With the emergence of artificial intelligence, I saw how these two dimensions could converge. AI became a new language for me – a way to express ideas, states, and meanings.

OCA: How have technologies influenced your perception and creative process?

ES: Technology has significantly reduced the distance between an idea and its realisation. What once required time, resources, and often faced technical limitations has now become more direct and accessible. This opens up new opportunities, but at the same time demands a higher level of awareness. Technology does not create depth in itself – it simply reveals the level of thinking and inner content of the person using it. The same tool can produce entirely different outcomes depending on who is working with it.

OCA: What do you aim to convey through your work?

ES: For me, it is important to convey a state. Not just to create a visually appealing image, but to evoke an inner response – a sense of stillness, depth, strength, or transformation. I want my work to pause the viewer, to create a moment for reflection and feeling. This, for me, is the value of creativity – as a form of communication at a deeper level, where words are no longer the primary medium.

OCA: AI is increasingly becoming a tool for creativity. How do you work with it in your projects?

ES: For me, AI is a space for exploration and expression. It allows one to move beyond familiar forms and to see ideas in new visual and conceptual dimensions. In my projects, including the creation of visual imagery, I use AI as a medium of dialogue: I define direction and meaning, while the technology helps to reveal them more precisely and deeply. It is not a replacement for the creative process, but its extension. It is a way of integrating analytical thinking and intuitive perception, where technology acts as a conduit rather than a source of meaning.

OCA: Does creativity influence your management decisions?
ES: Yes, significantly. Creativity changes the very way one thinks – it expands perception and allows for a wider range of solutions than purely analytical approaches would permit. In management, this manifests as the ability to sense trends, anticipate developments, and make decisions under conditions of uncertainty. Today, a leader needs balance: analytics, intuition, and contextual awareness.

OCA: How do you see the role of humans evolving in an era of rapid technological development?

ES: I do not believe that technology should replace humans. Its purpose is to expand human capabilities, freeing up space for more complex tasks: thinking, creativity, and decision-making. The will future belong to those who can integrate intellectual, technological, and inner dimensions. Routine functions will be automated, but the ability to create meaning and take responsibility will remain uniquely human.

OCA: What would you say to those who remain cautious about technology today?

ES: What one should fear is not technology, but stagnation. The world is changing rapidly, and ignoring these changes is no longer an option. It is not enough to just use technology – we must understand its role. The real question today is not about technology itself, but about a person’s willingness to evolve alongside it.

Based on an interview by Raza Syed

PARECES MUY CLÁSICA:EL ENFOQUE CLÁSICO MODERNODE GAIAHNE ASLANYAN

La aparición de nuevos nombres en los escenarios de la música clásica contemporánea siempre infunde esperanza de que el arte continúe viviendo y sonando de manera renovada. La pianista Gaiahne Aslanyan es una joven artista brillante y original, cuyo trabajo combina una alta maestría interpretativa y enfoques creativos innovadores.

La cosmovisión artística de Gaiahne Aslanyan se formó bajo la influencia de la obra de Alexander Scriabin. El mundo místico de Scriabin, su expresionismo y sus sutiles matices impresionistas tuvieron una gran influencia en el pensamiento musical de Gaiahne. “Me impresionó especialmente la tesis de Scriabin sobre la ‘música del color’, según la cual el sonido está estrechamente relacionado con el color y crea un universo sensorial integral”, dice la pianista. Este enfoque “sinestésico” se convirtió en una fuente importante de inspiración para Gaiahne, y en sus obras también intenta percibir los sonidos en el contexto de experiencias cromáticas, transmitiendo al oyente no solo la música, sino también las coloridas imágenes de su mundo interior.

Gaiahne también siente una simpatía especial por la música de los impresionistas, y ve en ella un espacio de libertad, tonos delicados y variabilidad atmosférica, donde uno puede sumergirse en la infinita diversidad de experiencias y sentimientos internos. Sus propias obras para piano se construyen precisamente en torno a esta sensibilidad, a un estado de ánimo meditativo-filosófico que guía al oyente por un camino de contemplación y paz interior.

OCA Magazine: Armenia es un país con una profunda tradición musical. ¿Qué elementos de la memoria cultural y la experiencia histórica armenia transfiere consciente o intuitivamente a su interpretación?

Gaiahne Aslanyan: Todo se transfiere a la interpretación: el amanecer sobre mi Ereván natal; la visita a antiguos monasterios armenios; la contemplación de la naturaleza; el sabor del café en el banco frente al monumento a Komitas, junto a mi alma mater, el Conservatorio Estatal de Ereván; el habla armenia… He ganado el concurso nacional que lleva el nombre de Arno Babajanyan, organizado para estudiantes de escuelas de música de Armenia, a los 12, 15 y 18 años. Y, por supuesto, el programa de estudios incluía tanto a Komitas como a Khachaturian, y compositores contemporáneos que enseñaban personalmente a los intérpretes su visión artística. Yo era una estudiante de 20 años cuando Mikhail Kokzhaev, compositor y profesor del conservatorio, me pidió que estrenara su “Suite Suiza”, y literalmente se le llenaron los ojos de lágrimas por lo precisa que fui al comprender y ejecutar su idea. Hace cinco años, de repente, sentí una necesidad interna de tocar a Komitas para mí misma, no para concursos, no para un programa. Grabé las “Seis danzas” de Komitas y las publiqué en mi canal de YouTube, Suoyung.

OCA: La música clásica a menudo se percibe como un “lenguaje universal”. Según su experiencia, ¿hasta qué punto las emociones y los significados incrustados en las obras clásicas son leídos de la misma manera por los oyentes en Europa, Medio Oriente y América Latina?

GA: Se leen de manera completamente diferente. Y existen diferentes escuelas, donde las interpretaciones de las mismas obras difieren radicalmente. Por eso es importante participar en concursos internacionales de música, en clases magistrales, para conocer todos los matices y desarrollar un estilo propio. Quiero compartir mi recuerdo de cuando a los 11 años interpreté “Córdoba”, de Albéniz, en Italia. Fue la primera experiencia de participación en un concurso internacional, la primera vez que quedé en “primer lugar”, y el jurado luego señaló que la interpretación había sido “casi española”.

OCA: Su camino hacia la música, ¿es una elección o una vocación? ¿Recuerda el momento en que comprendió que quería vincular con la música no solo el estudio, sino toda su vida?

GA: Mis padres me llevaron a la escuela de música a los cinco años. Estudié durante 11 años en la escuela que lleva el nombre de Spendiarian, en la clase de la profesora Karina Arutyunyan, quien sentó una buena base para mi pianismo, por lo que le estoy muy agradecida. Desde los 11 años participé en concursos musicales internacionales y nacionales, y gané algunos de ellos. Gente adulta, músicos profesionales, se me acercaban, a mí, una niña, una adolescente, y me decían que habían disfrutado mucho de mi forma de tocar; me aconsejaban que continuara mis estudios sin falta. Empecé a escribir música en secreto. Y, por supuesto, a los 16 años ya entendí que el piano era mi destino. Ingresé en el Conservatorio de Ereván y acudí a las clases del profesor Vagharshak Arutyunyan. Me gradué con honores tanto en la licenciatura como en la maestría, y también en el tercer nivel: los Cursos Superiores de Música.

OCA: Hoy en día, un músico no es solo un intérprete, sino también un embajador cultural. ¿Qué papel se asigna a sí misma en el diálogo cultural internacional y qué cree que un artista sinfónico contemporáneo puede darle al mundo fuera del escenario?

GA: Cuando me convertí en ganadora del Primer Concurso Internacional Multimedia de Pianistas “Tierra y Cielo”, en Moscú, me conmovió profundamente la cordialidad y simpatía del público moscovita. Y fue muy agradable escuchar a los profesores del conservatorio de Moscú decir: “Para nosotros, el nombre de Aram Khachaturian es sagrado”. Entendí que estaba continuando la obra de mi gran compatriota a mi nivel, por supuesto, de acuerdo con mis posibilidades. Representaba a Armenia, y a través de mí veían el talento y la diligencia de toda la generación joven de mi país. Por supuesto, detrás de un artista siempre se ve al pueblo al que pertenece. Por lo tanto, el artista es un mensajero que puede despertar el interés por su país. Y eso es maravilloso. Por cierto, dos de mis pequeños vídeos musicales recibieron premios en el festival de cine de la ECG el año pasado y este año. En el primer vídeo interpretaba música de Scriabin (“Scriabin – Guirlandes Cinematic Trailer”), y el segundo vídeo, titulado “Gaiahne – Flower Fields”, fue editado a partir de tomas realizadas durante mis giras en Dubái, con mi propia música. Y me alegré muchísimo cuando me di cuenta de que había llegado a una nueva audiencia, que no habría podido alcanzar solo con conciertos.

OCA: Si pudiera dirigirse a un público joven de América Latina que quizás está descubriendo la música clásica por primera vez, ¿con qué actitud interna les aconsejaría escucharla y experimentarla?

GA: Les aconsejaría que estuvieran abiertos a todo y que disfrutaran de la música. La música es un espacio espiritual donde uno puede encontrarse a sí mismo. Por lo tanto, con su estilo interpretativo, esfuércense por crear una atmósfera armoniosa y profunda, que transmita simultáneamente el rico legado de la música clásica y los resultados de sus propias búsquedas musicales.

Hoy, cuando el paisaje cultural del mundo es multifacético y cambia rápidamente, creadores jóvenes como Gaiahne demuestran que el verdadero arte es eterno, porque se basa en la verdad interior del ser humano. Sus propias obras musicales combinan la profundidad de lo clásico, los matices del impresionismo y las visiones filosóficas contemporáneas. El mundo pianístico de Gaiahne es una invitación única a detenerse, reflexionar y redescubrir la autenticidad del sonido que nace en los rincones más recónditos de nuestra alma.

OCA #58 Welcome Word

When war broke out in the Middle East at the beginning of March, I was in Astana. I felt somewhat distant from the news headlines and perhaps that espouses the common view that Central Asia has always been somewhat distant in global minds — geographically, politically, even psychologically. Yet distance has never guaranteed insulation. The war now unfolding between the United States and Iran is a stark reminder that for the countries of Eurasia, there is no such thing as a distant conflict—only delayed consequences.

The latest escalation, as I write, marked by intensified U.S. strikes on Iranian infrastructure and Tehran’s continued chokehold of the Strait of Hormuz, has already begun to reorder the global system in ways both visible and subtle. What may appear, at first glance, as a Middle Eastern confrontation is actually a stress test of globalisation—energy flows, trade corridors, and political alignments. And it is along these connective lines that Central Asia finds itself most exposed.

For the region’s five republics—Kazakhstan, Kyrgyzstan, Tajikistan, Turkmenistan, and Uzbekistan—the war is not a spectacle but a disruption. Their geography, long described as landlocked, is better understood as corridor dependent. Iran has served as a crucial southern gateway, linking Central Asia to global markets via the Persian Gulf. That gateway is now inherently unstable. Trade routes are fraying, insurance costs are rising, and the economic logic of decades is being rewritten in real time.

The consequences have started to reveal themselves. Food imports have stalled, supply chains have fractured and inflationary pressures (already a familiar adversary) are intensifying. In Tajikistan, Iranian agricultural exports usually fill market stalls; today, those flows have abruptly ceased and exposed the vulnerability of interdependence.

Yet crisis, as ever, is uneven in its effects. For energy-rich Kazakhstan and Turkmenistan, the surge in global oil and gas prices offers a fleeting windfall. Oil markets, rattled by the conflict and the threat to maritime chokepoints, have surged past $100 per barrel, redistributing opportunity even as they amplify instability. But such gains are precarious. They are tied not to structural strength but to volatility — and volatility, as history suggests, is a poor foundation for long-term development.

More profound, perhaps, is the geopolitical recalibration now underway. The war is accelerating a shift already in motion: the gradual reorientation of Central Asia’s external relationships. With southern routes compromised, northern and eastern corridors—through Russia and China—are gaining renewed importance. Dependency is not disappearing; it is simply being rearranged.

This raises uncomfortable questions. Will Central Asia emerge from this crisis more autonomous, or more entangled? Will diversification efforts accelerate, or will necessity deepen old dependencies? And what of security? As great powers refocus their attention—Washington toward the Gulf, Moscow toward its own periphery, Beijing toward opportunity—the region risks once again becoming a space shaped more by external pressures than internal agency.

And if you thought the US dollar was still a valuable currency in the region, think again. The current crisis risks shifting oil trading away from the dollar and into other currencies, notably the Chinese Yuan. If that comes to a meaningful volume, then we will experience an event of such seismic economic consequences that will reshape the world, not just Central Asia. The US will no longer be able to print money and borrow cheaply to fund its global dominance. A world without an ever-present US would be a very different world indeed.

This issue was largely constructed before the impacts of the war in the Middle East can really be felt. For now, Central Asia continues its momentum. We explore water and mountains – the region’s quiet foundations. We look at people, too—the region’s true engine. Central Asia is young, urbanising, and on the move. If education, health, and jobs keep pace, that energy becomes a demographic dividend. If they do not, the most ambitious leave. Policies that protect migrants’ rights, support families, and spread opportunity beyond capital cities will decide the difference.

Economically, the story is shifting from extraction to diversification. Private capital is learning that the best returns come from responsible investments: wind and solar on the steppe, efficient irrigation in the valleys, and digital infrastructure that ties the region into global value chains. Trust, between citizens and institutions, investors and regulators, is turning into a hard asset. Where rules are clear and fairly enforced, capital stays and standards rise.

Finally, we consider connectivity in a new key. A recalibrated Belt and Road is tilting toward smaller, cleaner, and more transparent projects. The proof will be in delivery: skills transferred, emissions avoided, communities heard. Culture travels alongside commerce. From the Silk Road Virtual Museum to the markets of Bukhara and the start‑up hubs of Tashkent and Astana, Central Asia is telling its story with more confidence.

Our aim in these pages is simple: clarity over hype, people over abstractions, and practical ideas over grand slogans. If Central Asia’s past teaches anything, it is that exchange changes everyone involved. We hope this issue invites you into that conversation, however we will be keeping a close eye on the wider ramifications of the US/Iran war on the region.

Yours,

NICK ROWAN
EDITOR-IN-CHIEF
OPEN CENTRAL ASIA MAGAZINE

PALABRAS DE BIENVENIDA – EDICIÓN AMÉRICA LATINA

PALABRAS DE BIENVENIDA – EDICIÓN AMÉRICA LATINA

Por una casualidad muy oportuna, les escribo desde las costas del Pacífico en Nicaragua, donde he venido unos días para descansar del frío y los días invernales previos a la Navidad en Londres. He estado viajando por el país tratando de apreciar brevemente su rica cultura, su patrimonio y sus maravillas geográficas y geológicas.

Al principio, parece un mundo muy diferente de Asia Central. Cuando pensamos en Asia Central, a menudo lo hacemos a través de coordenadas familiares: la Ruta de la Seda, la estepa, imperios pasados y sus muchos personajes fascinantes. Sin embargo, la geografía, a pesar de su aparente fijeza, siempre ha sido un contenedor pobre para las ideas. El conocimiento viaja. Las historias producen eco. Y las culturas migran (a menudo sin saberlo) a formas que los mapas rara vez capturan.

Es con este espíritu que me complace darles la bienvenida a la edición para América Latina de Open Central Asia.

A primera vista, Asia Central y América Latina pueden parecer bastante distantes – separadas por océanos, hemisferios y narrativas históricas que rara vez se cruzan en los libros de texto. Pero la distancia no es lo mismo que la desconexión. Cuando se las ve a través de una lente cultural e histórica, estas regiones comienzan a parecerse entre sí de manera sorprendente y, a menudo, inesperada.

Ambas son lugares moldeados por civilizaciones superpuestas más que por orígenes singulares. Los sistemas de conocimiento indígena en los Andes o Mesoamérica encuentran paralelos silenciosos en las epistemologías nómadas de la estepa euroasiática – formas de entender la tierra, el movimiento y la comunidad que son muy anteriores a los Estados modernos. Ambas regiones fueron profundamente transformadas por sus encuentros con imperios, que produjeron culturas híbridas en las que el idioma, la fe y la identidad se convirtieron en espacios de adaptación y negociación más que en certezas.

Esta edición no intenta trazar líneas directas ni forzar comparaciones. Trata de abrir una nueva conversación; de reconocer que Asia Central no existe en aislamiento, y tampoco América Latina. Ambas pertenecen a una historia humana más amplia de movimiento, supervivencia, creatividad y reinvención. Pero las conexiones importan y, aunque no existan hoy, pueden y deben crearse donde sean mutuamente beneficiosas.

Open Central Asia se fundó sobre la creencia de que una región se comprende mejor cuando está abierta tanto intelectual como culturalmente. Al extender esta plataforma a América Latina, esperamos ampliar no solo nuestra audiencia, sino nuestra perspectiva. Más que un ejercicio académico, es una invitación. Una invitación a expandir la curiosidad, desafiar suposiciones tradicionales y hacer conexiones significativas más allá de nuestros límites conocidos.

¡Disfruten de esta edición y de lo que América Latina aporta!

NICK ROWAN
EDITOR JEFE
OPEN CENTRAL ASIA MAGAZINE

OCA PEOPLE: KURALAY AVUTOVA

KURALAY AVUTOVA: CREATIVITY IS NOT ONLY ABOUT SELF-EXPRESSION, BUT ALSO ABOUT RESPONSIBILITY

OCA Magazine: Please tell us the most important things about yourself and your creative work. What is your creative, life credo and motivation for your creativity?

Kuralay Avutova: I have loved creativity since childhood: I sing, draw, and recently began sharing my thoughts through books. For me, creativity is not just self-expression, but a way to bring value to people. My credo is to inspire and awaken others through creative manifestation. Through the lyrics of my songs, people hear the values I carry: the importance for a woman to listen to herself, respect, love, appreciate, and never betray herself. A new direction in my work is painting. Through my art and lifestyle, I show that a woman can freely express herself. The more she allows herself to shine, the more joy, happiness, and benefit she brings to the world. I also express myself through books, sharing practical techniques and life hacks. Women who read them feel deeply inspired, and that motivates me to keep going.

OCA: How did you choose your path and who is your role model in the creative field or in life?

KA: From early childhood, as far back as I can remember, it was important for me to leave a mark and bring value to people. In first grade, I learned about great enlighteners such as Bai Konabayev and Braut Nasarin. Their example inspired me deeply. Even then, I wanted to become an enlightener, although my child’s mind could not yet understand how. Over time, I grew up and gained life experience. When I realized that my journey and personal example could inspire hundreds and thousands of women, this path began naturally. Today, after more than three years, with over 7,000 women in the INSPIRE project who have transformed their lives, I understand that I am fulfilling my long-held dream. My form of enlightenment is mental health, personal growth, and self-expression.

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025?

KA: I consider my main achievement and contribution to the world in 2024–2025 to be the creation and scaling of the Inspire ecosystem — a space dedicated to women’s mental health, conscious leadership, and financial growth. Through books, educational programs, retreats, and transformational practices, thousands of women have begun to change their mindset, emotional state, and life scenarios. My work helps women unlock their inner strength, build sustainable businesses, and improve relationships within their families. I also focus on creating a healthier environment for raising children. I build communities where personal transformation evolves into sustainable social and economic impact, improving the quality of life not only for individuals but for society as a whole.

OCA: What is the main feature that makes you and your art/work unique?

KA: The main quality that makes me and my creativity unique is that I do not position myself as an expert in any single field. I sing, but I do not call myself a singer. I write books, but I do not define myself as a writer. I paint, yet I do not label myself as an artist. What truly defines me is that I am a practitioner and a doer. Everything I express through creativity and life comes from my personal journey and experience. I transform this lived experience into methodologies and projects, created not just to exist, but to lead people to deep inner transformation. Through painting, music, texts, reading, meditations, and trainings, I help people connect with themselves, gain awareness, and initiate meaningful inner change.

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?

KA: In 2023, I took part in a creative event held from September 28 to 30 in Rixs with Borovoe. It was a meaningful gathering where many members of the guild received recognition. This experience became a powerful source of inspiration for me. I realized that writers are not born — they become writers through conscious choice and the courage to express themselves. The stories and journeys of the participants deeply touched me. During this event, I met Marat Amirzhanovich and learned about the Eurasian Creative Guild. This guild gave me a broader, global mindset and the understanding that it is possible to share one’s voice not only within Kazakhstan, but with the entire world.

OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

KA: I believe that in today’s reality, creative professions and the role of art have become even more significant. There are now far more opportunities and forms for creative expression. Art enriches a person’s inner world, influences personal and spiritual growth, and shapes worldview, mindset, and values. Through poetry, books, music, songs, and visual art, people develop taste, inner foundations, and life principles. Art helps shape the individual, encouraging self-awareness and understanding of one’s place in the world. In turn, a formed personality begins to act within their environment and influence others. In this way, creativity gradually transforms people’s thinking and improves quality of life, because it is personality that ultimately shapes reality.

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

KA: I would like to wish the members of the Guild and all creative people who are just beginning their journey to express themselves as fully as possible and not be afraid to be seen. It is important to set goals and move confidently toward achieving them. Most importantly, never doubt yourself. If it feels true to you, then it is true — there is wisdom and truth in that inner feeling. Trust yourself, your emotions, and your inner voice. Allow yourself to раскрывать your true potential fully, without fear or limitation. And always remember that creativity is not only about self-expression, but also about responsibility. Through your creativity, it is essential to bring value to people, inspire them, support them, and help others find their own path.

OCA PEOPLE: DANIYAR BEISHEEV

DANIYAR BEISHEEV: BOLD DECISIONS AND A CLEAN SHEET OF PAPER ON WHICH YOU CAN WRITE YOUR NAME

OCA Magazine: Please tell us the most important things about yourself and your creative work. What is your creative, life credo and motivation for your creativity?

Daniyar Beisheev: My name is Daniyar, I am 50 years old, and I am a lawyer by profession. Unfortunately, understanding one’s place in life sometimes comes rather late, but I prefer to believe that it still comes at the right time. I am interested in creating artistic screenplays. My life credo is “to make the complex accessible.” My creative credo is “there is nothing in the world but the best.” Exploring and observing what is happening around me is my path to creativity.

OCA: How did you choose your path and who is your role model in the creative field or in life?

DB: My inclination toward creativity appeared quite a long time ago (though not early) and, one might say, spontaneously, although there may have been certain prerequisites. I believe that a striving for beauty and a desire to follow an untrodden path are what drive all creative people to action. Soviet and international cinema have served as strong sources of inspiration for my creative work.

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025?

DB:  Upbringing and encouraging children toward creative self-expression!

OCA: What is the main feature that makes you and your art/work unique?

DB: I believe every person is unique if they are sincere.

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?

DB: Participation in creative meetings and master classes organized by the Eurasian Creative Guild (London) in Bishkek is the reason for my presence in this interview, and I hope it will lead to the further visualization of the presented project.

OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

DB: The modern world has provided many opportunities for self-expression and its accessibility, where everyone determines the relevance of things for themselves. As a result, a kind of “reassessment of values” is currently taking place. In addition, today’s constant wars, destruction, and destabilization in their various forms do not, in my view, allow genuine art to fully develop, as true art seems to love silence. However, given that human nature and genetics (unlike those of zombies) remain the same, authentic art – at its best – should return.

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

DB: Bold decisions and a clean sheet of paper on which you can write your name.

IN MEMORY OF NAZIKEN ALPAMYSKYZY

Naziken Alpamyskizy stands as a remarkable figure in Kazakh culture – a woman who skillfully united science and poetry, intellect and artistry. In 1960, she graduated with honors from the Faculty of Economics of Kazakh State University named after S. M. Kirov, and in 1964, she completed her postgraduate studies at Lomonosov Moscow State University.

For many years, she dedicated herself to scientific and teaching work, becoming a Doctor of Economics and an academician of International Informatization Academy. Her contribution to the development of economics in Kazakhstan was widely recognized: she was awarded the medal “For Distinguished Labor,” received the title of Labor Veteran, and was honoured as an Honorary Citizen of Zhambyl District and Almaty Region.

Yet her name became known far beyond academic circles thanks to her poetry. In 1995, she became a member of Writers’ Union of Kazakhstan and published several collections of poems – Karlygash, Shyragdan, Kuren Sheten, and Zharkyrap aspanýmda kún túrganda (“As Long as the Sun Shines – I Live”). Her poetic voice, filled with emotional depth and philosophical reflection, earned her prestigious awards, including the Zhambyl International Prize, the Alash International Prize, and the State Prize of the Republic of Kazakhstan. In 2014, she joined Writers’ Union of the Peoples of the World.

Her poetry was included in contemporary anthologies of Kazakh literature alongside figures such as Olzhas Suleimenov, reflecting her importance in the cultural and literary landscape of the country.

Naziken Alpamyskizy actively participated in the activities of Eurasian Creative Guild (London), helping to build cultural bridges between Kazakhstan and the international creative community. Through her poetry and public presence, she introduced global audiences to Kazakh poetic traditions, combining national identity with a universal human voice.

Her literary legacy is a bridge between generations – a testament to the power of words to preserve memory, inspire reflection, and connect hearts across borders. Naziken Alpamyskizy will be remembered as a poet of depth and dignity, a scholar, and a cultural ambassador of Kazakhstan to the world.

IN MEMORY OF DULAT ISSABEKOV

Dulat Issabekov was an outstanding Kazakh writer, playwright, and public figure whose work became an integral part of the cultural and literary heritage of Kazakhstan. His books – including Sin, The Cry of an Old Woman, A Broken Life, and The Long Echo – are known for their psychological depth, sharp observation, and deep respect for human destiny. He had a rare gift for telling stories that resonated with readers far beyond the borders of his homeland.

For many years, Issabekov maintained a close relationship with Eurasian Creative Guild (London), actively participating in its cultural initiatives and public events. Through this collaboration, several of his works were published in English by Hertfordshire Press, marking a significant milestone in bringing Kazakh literature to a wider international audience. His involvement with the Guild helped strengthen cultural bridges between Kazakhstan and the United Kingdom, making his name a symbol of literary dialogue between East and West.

A particularly remarkable moment in his international career was the Australian stage production of his play Borte, directed and adapted by the acclaimed composer and theatre director Warren Wills. The performance received praise from critics and audiences alike, demonstrating how the themes and artistic language of Issabekov’s work could transcend borders and speak to people from different cultures.

Issabekov possessed a unique talent for blending the national with the universal. His writing addressed themes that are timeless and human: love, memory, dignity, loneliness, and hope. He did not merely tell stories about Kazakhstan – he spoke in a language that could be understood anywhere in the world.

The memory of Dulat Issabekov lives on in his books, in the theatre, and in the hearts of those who found a part of themselves in his words. His voice – clear, powerful, and profoundly human – continues to resonate, ensuring that his legacy will endure for generations to come.

IN MEMORY OF ANNA NIKOLAEVA

Anna Nikolaeva – a poet, musician, and a person of broad creative range, was born in Moscow, in the historic Arbat district. From an early age, she showed a natural inclination toward literature and music: she began writing poetry at the age of eight and took her first steps in music at a local music school, where she graduated in the piano class.

After finishing school, Anna obtained a degree in economics, graduating from two prestigious universities. However, poetry remained her true language of self-expression.

In 2016, her first book of poems, “Flight of Thought”, was published, marking an important milestone in her creative journey. In 2017, Anna became a nominee for the national literary award “Poet of the Year – 2017” and won the laureate title in the creative and amateur arts competition in the “Author’s Poetry” category.

She is a member of a literary association, and her poems were included in the anthology “Walks in Peredelkino” (2018). In addition, she is a member of the Professional Union of Writers of Russia and publishes her work on the platform Stihi.ru.

In 2018, Anna became a finalist of the IV All-Russian Literary Festival-Contest “Poetry of the Russian Word” in the “Poetry” category, held in Anapa. Alongside her literary activity, she has actively participated in the country’s cultural life: hosting literary and musical evenings on the cruise ship Sergey Obraztsov and performing at numerous charity concerts, inspiring audiences with her heartfelt words.

The author of more than 500 poems, Anna Nikolaeva continues her creative path, uniting poetry, music, and cultural engagement. Her voice is a sincere and delicate echo of the soul, addressing eternal themes of love, time, and human emotion, making her work deeply relatable to people of all ages and backgrounds.

IN MEMORY OF ILYAS SULEIMANOV

Ilyas Suleimanov will forever be remembered by his friends and colleagues as a man of rare talent, intellect, and dignity. Born on June 25, 1964, in Almaty to a family of scholars, he lived a bright and meaningful life, leaving this world too soon at the age of 61. Named after his famous uncle, Ilyas Omarov, he inherited from his family a noble character, sharp mind, and the ability to walk through life with quiet strength. A veteran of the war in Afghanistan, he later defended his doctoral thesis on the complex and profound topic of “Semiotics of Visual Archetypes,” and became known as a philosopher, linguist, and publisher.

Suleimanov was the author of Lectures on Philosophy and Proto-European Roots in the Kazakh Language, and he actively promoted the literary legacy of his father, Mukhammed-Khaleil Suleimanov. But to the wider public, he was best known as an educator and advocate of the jewellery craft. Through his clear and insightful articles, he taught people how to recognize real gold, understand the differences between white and yellow gold, evaluate gemstones, and appreciate the stylistic language of fine jewellery.

He trained in Moscow and Zurich, became a certified gemmologist, and led the Kazakhstan Jewellery Business Association from 1998 to 2004. He served on juries of many national and international competitions and exhibitions, sharing his expertise through workshops around the world. His life was inseparable from the brand Zerger Ilyas, founded in 1991. During the difficult 1990s, “Zerger” was not only a jewellery company — it was a source of support for veterans, funding medical treatment, pilgrimages to Mecca, and the construction of the monument to internationalist soldiers in Almaty. His jewellery was exhibited in Paris and received high praise from Association Française de Gemmologie.

A particularly special chapter in his creative legacy is his collaboration with Eurasian Creative Guild (London). Suleimanov created a limited edition of gold lapel pins exclusively for the Guild — exquisite pieces of jewellery that became symbols of belonging and honor within the international creative community. Crafted with his signature precision and deep artistic meaning, these pins were awarded only to a select few, becoming timeless emblems of cultural connection.

Ilyas Suleimanov was more than a jeweller — he was a man of courage, intellect, and immense heart. His lifelong “call sign,” Zerger (“jeweller” in Kazakh), perfectly reflects who he was: a creator of beauty, a defender of values, and a trusted friend. He combined craftsmanship with philosophy, transforming gold and stone into symbols that outlive their creator.

A bright memory remains of this remarkable master, friend, and member of the Eurasian Creative Guild — Ilyas Suleimanov.

OCA PEOPLE: ALESIA ISSA

ALESIA ISSA: “I PAINT FROM LIFE, BUT WHAT EMERGES IS A LANGUAGE OF SYMBOLS, OF FORMS THAT REMEMBER.”

OCA Magazine: Please tell us the most important things about yourself and your creative work. What is your creative and life credo and motivation for your creativity?

Alesia Issa: I’m a Belarusian multidisciplinary artist based in China, working across painting, ceramics, performance, and tattooing. My practice explores portraiture and landscape as thresholds into archetype, memory, and transformation.

Drawing on myth, folklore, and Indian philosophy, I create images that move beyond surface, toward silence, presence, and the sacred.

I paint from life, but what emerges is a language of symbols, of forms that remember.

As a soprano in the Litwins Folklore Ensemble, I carry ancestral voice into contemporary expression. I don’t believe in decoration. I believe in return.

OCA: How did you choose your path and who is your role model in the creative field or in life?

AI: I chose my path by following the call of art that has always guided me. I was deeply inspired by the Pre-Raphaelites and Renaissance masters, whose devotion to beauty and symbolism shaped my vision. The works of Odd Nerdrum also influenced me with their timeless depth. Equally important were my wonderful teachers Anton Vyrva, Vitaliy Gerasimov, and Vladimir Maslennikov who nurtured my growth as an artist. My first art teacher, Elizaveta Pastushenko, gave me the foundation of creativity and discipline. Their guidance and example helped me discover and affirm my artistic path.

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025?

AI: My main achievement in 2024–2025 is curating and participating in international exhibitions that connect artists from different cultures, fostering dialogue and mutual understanding. Through my art, I bring attention to themes of identity, heritage, and the sacred connection between humanity and nature. I also share Belarusian folklore and traditions globally, creating bridges between East and West. My positive impact lies in inspiring people to see beauty and meaning in diversity, and to value cultural memory as a source of strength and harmony for the future.

OCA: What is the main feature that makes you and your art/work unique?

AI: I think that uniqueness of my art lies in the fusion of Belarusian folklore and cultural memory with contemporary global perspectives. I work across painting, ceramics, photography, and performance, creating archetypal images that reflect both personal and universal stories. My style combines myth, symbolism, and spirituality with modern expression, bridging tradition and innovation. What makes my work distinctive is the ability to transform everyday reality into timeless, poetic images that resonate across cultures and evoke a sense of connection to something larger than ourselves.

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?

AI: I am very grateful to the Eurasian Creative Guild for the residency in Hemel Hempstead, England, in 2018, which brought me many valuable connections and new opportunities. I also had the chance to take part in several exhibitions in the UK thanks to the Guild. These experiences greatly influenced my creative path and professional growth. I sincerely thank the Guild and especially Marat Akhmedjanov for these wonderful opportunities, and I truly hope for further collaboration and future projects together

OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

AI: Creative professions have changed dramatically with globalization and digital technologies, making art more accessible and interdisciplinary. Today, artists are not only creators but also communicators, bridging cultures and raising awareness of global challenges. The role of art has shifted from being a reflection of society to an active force shaping values, empathy, and dialogue. In the face of modern realities, art helps people reconnect with their humanity, preserve cultural identity, and imagine more harmonious futures, making creativity one of the key drivers of global development.

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

AI: I would wish members of the Guild and young creatives to stay true to their inner voice and never lose the courage to experiment. The creative path is full of challenges, but each difficulty also brings growth and wisdom. Believe in the value of your vision, nurture curiosity, and build connections with people who inspire you. Art has the power to transform lives and societies, and every small step you take matters. May your journey be filled with authenticity, resilience, and joy in creation.

OCA PEOPLE: DIANA ANPILOHOVA

DIANA ANPILOHOVA: “UNIQUENESS CANNOT BE
SELF-CONTAINED…”

OCA Magazine: Please tell us the most important things about yourself and your creative work. What is your creative, life credo and motivation for your creativity?

Diana Anpilohova: I believe that ideas are meant to either become reality or be gracefully let go. Clinging to a single idea can limit growth, creative flow and even affect motivation. It’s a good strategy to remain open to feedback and maintain a flexible, curious mind. I am a multidisciplinary artist with a deep love for storytelling through animation, 2D/3D visuals, and poetry. My work is often emotionally driven, rooted in personal experiences and reflections. Creativity for me is the way I process the world and emotions in a healthy way. My motivation grows from a desire to understand myself and connect with others through art.

OCA: How did you choose your path and who is your role model in the creative field or in life?

DA: Art has always been my way of understanding and expressing emotions. Even during the busiest times, when I couldn’t draw or animate, creativity still found its way – it even led me to write poetry, something I had never tried before. It showed me that creative energy, like water, always finds its path.

I chose animation because it brings time and motion into visual storytelling. It connects everything I already love, from shape, color, and dynamics to composition – and adds a fourth dimension: time. Animation is pure magic, where a single frame can carry deep emotion. I’ve always wanted to be a 3D generalist, and as I grow in this role, I’ve discovered how much I enjoy mentoring and helping others find their own artistic voices. Becoming a mentor has become as fulfilling for me as creating itself.

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025?

DA: One of my most meaningful accomplishments this year has been stepping into a mentorship role for aspiring artists. It’s been a journey of learning, growth, and joy. I’m proud to be part of a new generation that embraces leadership through empathy, care, and genuine curiosity. The traditional model of pushing people to extremes is being replaced by more nurturing, human-centered approaches – and I’m honored to contribute to that shift.

OCA: What is the main feature that makes you and your art/work unique?

DA: Uniqueness cannot be self-contained, because creativity is, above all, a form of universality where the artist is a co-creator.

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?
DA: The sense of community that ECG provides is incredibly important. Knowing that there are people who understand your journey, who have walked a similar path, brings a unique kind of encouragement. Creative support doesn’t always come from mainstream spaces, but from communities that value expression, experimentation, and shared experience. ECG has reminded me that I’m not alone – and that’s where real creativity flourishes.

OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

DA: Creative professions have become more interdisciplinary and inclusive. Artists today aren’t limited to one medium – we are filmmakers, poets, designers, and community builders all at once. Big scale projects can be done with smaller teams and new tools, such as AI and updated software. The role of art is blending with other areas: it’s never been just about beauty or aesthetics, and now it takes the form of healing, activism, and creating space for diverse voices. In today’s complex world, art is a necessity, helping to navigate emotions and meanings, adapting, growing, and forming opinions.

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

DA: I would wish for them to embrace their own voice and not be afraid to be themselves. There is no single path in art – there are as many paths as there are people. Your uniqueness is your strength. Trust your intuition, be explorers, and surround yourself with people who see their own growth reflected in you.

OCA PEOPLE: YEGOR MYTSYK

YEGOR MYTSYK: “I WOULD OFFER THIS ADVICE: BELIEVE IN YOURSELF AND YOUR ART”

OCA Magazine: Please tell us the most important things about yourself and your creative work. What is your creative, life credo and motivation for your creativity?

Yegor Mytsyk: I am a professionally trained artist with over 15 years of experience in commercial art. Originally from a provincial town, I continuously explore modern techniques, with a primary focus on airbrush painting – an art form centered on creating images using air flow. My work is guided by Ray Bradbury’s philosophy: “You have to love what you do, and you have to do what you love.” Creative exploration and the unwavering support of my family are central to my artistic journey.
OCA: How did you choose your path and who is your role model in the creative field or in life?

YM: Since childhood, I’ve had a deep passion for drawing – often creating pencil or marker sketches of popular cartoon, film, and music icons. I was captivated by color, form, and texture for their ability to tell stories and convey emotions beyond words. My confidence grew through art school, as well as the enthusiasm of peers who admired my work. That’s when I realized art was more than just a hobby. Eager to express myself, I explored various techniques and studied the works of renowned artists. I was especially inspired by Blake McCauley, whose approach to airbrushing ultimately became my primary artistic focus.

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025?

YM: I believe that art is undervalued and receives insufficient attention in my region. Through my work, I strive to change this perception and elevate the role of art in the community. I take pride in seeing my pieces featured in prominent local spaces, where they not only enhance the environment but also inspire thought, spark curiosity, and encourage a broader cultural perspective.

OCA: What is the main feature that makes you and your art/work unique?

YM: Each of my works tells a story that I experience alongside the client. I strive to create pieces that evoke emotion and make any space truly unique. A key element of my approach is achieving maximum detail and realism. I find great satisfaction when viewers are captivated by my art – when they pause, observe closely, and notice the meticulously rendered details: a dewdrop on grass, pores on a human face, or the texture of an animal’s fur.

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?

YM: I have experience working with Christoph Schleissing on the creation of the children’s book “The wonderful adventures of Yuloph.” In this work, I served as an artist and illustrator. Together with Christoph, I captured the unique landscapes of various parts of the world, taking young readers on an unforgettable journey.

OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

YM: In my opinion, modern realities have made creative professions more accessible, but also more competitive. To become a successful artist today, you need to be not only a creator, but also a marketer, a blogger, an entrepreneur, and a technological innovator. Unfortunately, not every creative person is ready for this. On the one hand, art is becoming simpler, but on the other hand, it requires artists to strike a balance between originality and mass demand. This, in turn, involves significant physical and emotional investments.

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

YM: To all creative individuals, I would offer this advice: believe in yourself and in your art. The path of an artist is filled with both triumphs and setbacks. Meaningful success is often achieved through small, consistent steps, and every mistake is an essential part of the growth process.

OCA PEOPLE: ELENA ANANYEVA

ELENA ANANYEVA: “WE CANNOT HIDE OUR HEADS
IN THE SAND.”

CA Magazine: Please tell us the most important things about yourself and your creative work. What is your creative and life credo and motivation for your creativity?

Elena Ananyeva: I am, Elena Ananyeva, the head of the association “Gloria”, the registered “Freundschaft-Brücke Gloria” e. V. /registrirte assotiation in Germany, Dr. h. c. President of CIESART in Germany, Spain, Academician of some Academies of the world, is poet, prose writer, journalist, art and cultural critic. Born in Odessa, the author of 32 books. Contemporary lyrical poetry and psychological novels are in tune with each other. Among them are the Flight series of 5 novels: “The Code of Love”, “The Code of Power”… My poems have been used as the basis for songs and musical accompaniment. I organized a special structure within the Gloria Commonwealth: the Academy of Literary, Art and Communication/LAC, founder of the multi-level de Richelieu International competition. Participates in the literary life of different countries.

“At the intersection of interests and possibilities of implementation, something new is born.”

OCA: How did you choose your path and who is your role model in the creative field or in life?

EA: I graduated from the Film acting studio of the Odessa Film Studio under the direction of Vasyl Levin and Kira Muratova, who became role models in creativity and life. Then the Odessa National University, Faculty of Philology. I worked and cooperated with the editorial offices of Odessa newspapers, a TV studio, was an art expert in the group of art critics at the Ministry of Culture, in the Department of Culture of the Regional State Administration Odessa, and organized exhibitions.
I learned from outstanding directors, interacted with interesting people, and absorbed their experience and the intricacies of the profession. This helped me later, especially now.

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025?

EA: During Russia’s illegal aggression against Ukraine, our Interorganization “Freundschaft-Brücke Gloria” in Germany has been actively supporting Ukraine for a just peace. Together with the National Union of Journalists, the regional Odessa branch, and Yury Rabotin, who continues to exert a positive influence, we have sent aid and created new projects and the publication of anti-war poetry books and anthologies.

In 2024, we prepared and held the International Ukrainian Festival “Friendship” in Steinbach and Frankfurt. Writers from seven countries came to us, with subsequent publication of books from their series in Canada. We now have a club room in the House of Community once a month, where we prepare for new festivals and the premiere of a play based on Goethe’s “Faust”.
The result is my new book this year: “The Crystal of Truth. The Secret of SOA, or Children of Arctics”. It contains my thoughts on my influence on the world.
OCA: What is the main feature that makes you and your art/work unique?

EA: All my work are filled with music and rhythm. I sing Soprano in a choir (I’ve been singing in a choir for 22 years) is a pleasure, just like at exhibitions. It’s very nice to hear my voice resounding in the walls of the cathedral after a semester of rehearsals. Classical chorales in English, Italian, or French are not easy to sing in a way that makes your teeth bounce. We used it in choir performances in cathedrals, where they heard the echo of their voices in a large group… Publications on global platforms are an expansion of horizons and an echo of my ups and downs.
It gives impetus to my creativity.

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?

EA: My poetry collections and creative biography are published on the Guild’s website, and I also participated in one of the correspondence festivals. The leader and inspirer, an experienced organiser, Marat Akhmedjanov of the Creative Association (London) visited Odessa, where we introduced many readers to our books and creative dreams at the Hrushevsky Library. One of them is more active participation in the Guild’s real projects. One of them is to participate more actively in the Guild’s real projects, possibly voluntarily. Perhaps without the experience I gained, I wouldn’t have been able to write the new book. It features a bit of creative collaboration with the diverse Creative Guild (London).

OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

EA: Undoubtedly, the role of art has changed in the context of the development of artificial intelligence, with drones now even being used to wage brutal wars and aggression in Ukraine and Israel, and attacks already being made on NATO countries. We cannot hide our heads in the sand. But we need to understand the intricacies of the modern confrontation between systems. This requires a correct understanding, which is best achieved through literature and art. But this already belongs to the authorities.
There is a total rewriting of history, of the facts of the present, in which there is an attack on established values, false propaganda by the aggressor, coercion to support the invasion of a sovereign country, and then reflection in the consciousness of society, which is now in the pro-government works, parades and performances of the aggressor. More elegantly, they evoke public support, and fear begins to dictate.

But often the consciousness of the masses is clearly backward, and the struggle for peace and demonstrations often go in support of the aggressors, such as those who attacked Ukraine and Israel, who clearly have greater support in society. After all, the defending side needs more effort and resources to fight.

Literature and art must be allowed to raise the level of spirituality, culture, and understanding of fascism, anti-fascism, and genocide of nations. Those who openly preach war, the destruction of Ukrainians, and the murder of Jews are a terrible phenomenon that should not exist in the human world, but not in the world of ‘drones.’ There needs to be more consolidation of human, rather than herd, phenomena, and the role of culture in this is invaluable.

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

EA: First of all, you need to improve yourself professionally and spiritually. Understand universal human values. Find the right door to the world. If you are in doubt, first decide who is who at the present time. Undoubtedly, light and goodness will prevail. We carry it together. Together we can do more!

OCA PEOPLE: MARIAZHUMAGULOVA

MARIA ZHUMAGULOVA: “WE BELIEVE THAT SUCH A COLLABORATIVE EFFORT ALLOWS FOR ACHIEVING THE BEST RESULTS”

OCA Magazine: Please tell us the most important things about yourself and your creative work. What is your creative, life credo and motivation for your creativity?

Maria Zhumagulova: By profession, I am an art historian. I also identify as a curator of art projects, a journalist (a member of the Union of Artists and Journalists of Kazakhstan), a museologist, a local historian, a lecturer, a theatre critic, and a publicist. All these roles together form my creative facets – vital expressions of the human spirit and soul. In our turbulent times, the preservation and development of the accumulated global cultural heritage of humanity is especially relevant. My guiding principle is to use my abilities to influence people’s positive mindset; to involve them in a creative atmosphere; and to encourage their participation in these processes. I strive to create original artistic work myself, to derive intellectual, aesthetic, and artistic pleasure from art, and to share this with my contemporaries.

OCA: How did you choose your path and who is your role model in the creative field or in life?

MZ: Choosing my path was quite challenging and, in many ways, almost unrealistic. I was born in a small provincial town where the profession of art historian was virtually unknown. At that time, Kazakhstan was part of the USSR, and this specialty was not taught at all in our republic. I received my education at a Russian university affiliated with the USSR Academy of Arts in Saint Petersburg. This was influenced by my acquaintance with a person whose roots lie there — Inna Klyavina, who had just started an art history circle and shared literature on the subject with me. Due to the nature of my interests, I have a wide circle of acquaintances, including notable figures who have influenced the country’s historical development. Among them are one of the country’s top officials, Ozbekali Dzhanibekov; the archaeologist and art historian Alan Medoev; the musicologist Yuri Aravin; the artist Sergey Vasilyevich Kukuruza, and others. Undoubtedly, encountering them, maintaining personal contact and being involved in their work has been a constant source of new experiences, fresh knowledge, special inspiration, and a driving force for continuous progress and responsibility for the quality of my work in the projects I undertake.

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025?

MZ: I am engaged in quite an intensive creative activity. Just over the course of 2024–2025, I can list some of my endeavours: participating in two academic-practical conferences related to history, art, archaeology, and ethnography in Kazakhstan, held in the cities of Shymkent and Aktobe, with published papers; curating an exhibition of an artist at the Presidential Cultural Centre in Astana; presenting an exhibition of artists from Akyubinsk in Turkestan; taking part in the International Scientific Forum dedicated to issues of national heritage at the Central State Museum in Almaty; involvement in the artistic segment of the international Rotary Club; organising art projects for the Creative Bohemia of Asia; conducting research and publishing works in connection with the 120th anniversary of Abylkhan Kasteev; participating in the book launch of American writer Lara Prodan, which relates to the ancient history of nomads in Kazakhstan, among others.

I also travel across regions to provide professional support to galleries and art museums (as of now, there are no art historians in any of the regions); I promote creative activity in the country through television, newspapers, magazines, Instagram, and Facebook. We are currently implementing our own very topical project — organiser of ArtEl of Arts — an ONLINE campaign ‘Against Sexual Violence Towards Children’. All this expands the global audience’s understanding of Kazakhstan.

OCA: What is the main feature that makes you and your art/work unique?

MZ: I have accumulated extensive experience communicating with a wide range of audiences, taking into account age, gender, and social differentiation. Face-to-face interaction remains the most important form of communication, although I also strive to utilise modern technologies. Being actively engaged in the flow of events, not missing pressing issues in contemporary art and cultural phenomena, and responding promptly — these are essential. I keep my finger on the pulse.
I find common ground with any audience and pay close attention to regional events. I also value engaging with highly professional individuals who are at the forefront of their fields. I never tire of learning — everything changes so rapidly. I make sure not to lose the diversity of my interests and actively apply my knowledge in practice. I am curious about everything. I have not lost the ability to be inspired and to learn. Mobility and readiness to participate in projects across a broad spectrum — without becoming fixated on a single profession — are important to me. It is enthusiasm that helps me achieve the desired results, because, above all, emotions and empathy come into play.

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?

MZ: I have been a member of the Guild since 2019. I took part in an international project — an exhibition dedicated to the anniversary of Chingiz Aitmatov in Bishkek, held at the State Museum of Arts of Kyrgyzstan, where I served as curator, moderator, and press secretary. I published a piece in the project booklet and arranged coverage on Kyrgyz television broadcasts. I also wrote an article about the work of Guild member Elena Bezrukova. Later, another article I authored about her was published in a book about her creative work. An article by me on the unique Kazakh artist Rauza Yeralieva was published in Osa Magazine, along with a piece on contemporary trends in Kazakh sculpture titled “Beyond Stereotypes”. In 2002, I was awarded the Savitsky Prize, winning the XI Open Eurasian Literature Festival & Book Forum in the category of ‘Publicism’.
The Guild has enabled me to broaden the scope of my creative collaborations and the range of my projects. Participation in competitions helps me refine my professional skills and inspires the desire and ability to achieve high results across a wide geographical area.

OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

MZ: With the development of new technologies and global communication opportunities, the informational component of art has greatly expanded, achieving comprehensive coverage. This has stimulated the exchange of innovations occurring worldwide, as well as direct participation in them. Access to connections and information is now creating a generation of individuals with versatile abilities. They do not confine themselves to a single profession but have the opportunity to express themselves across many creative fields.
The problems existing in contemporary society have become shared issues anywhere on the globe. There is a rapid consolidation of positive forces aimed at resolving the complex spiritual challenges that have accumulated. This is accompanied by a search for ways to realise these solutions, inevitably leading to the emergence of interesting, sometimes unexpected, forms of creative expression. New types and genres of art continually appear, along with new technologies and materials, making the field increasingly attractive and drawing more and more participants into its sphere. As a result, creative potential is growing rapidly both in quantity and quality. On the other hand, one cannot overlook negative manifestations: increased aggression, intolerance, and divisions within society which also find expression in contemporary culture. All of this generates a need for sound analysis of ongoing processes, conducted with the utmost tolerance, objectivity, and professionalism.

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

MZ: The Guild fulfils a vital role in uniting creative forces across the globe to improve our surroundings and enhance the microclimate of the entire Earth. I would like to wish for unity in carrying out this noble and rewarding mission. Young people should study the Guild’s many years of experience, try it on for size, not be afraid of the unknown, and take their first bold steps in their creative paths! It is an exciting process with great prospects: discovering new things, testing their skills and abilities in healthy creative competition. This provides a strong impetus for personal development and helps promote the Eurasian Creative Guild, of which you are a member.

OCA PEOPLE: POLINA LAKHTINA

POLINA LAKHTINA: “DON’T LISTEN TO NAYSAYERS ON YOUR WAY TO SUCCESS, SIMPLY AVOID THEM!”

OCA Magazine: Please tell us the most important things about yourself and your creative work. What is your creative, life credo and motivation for your creativity?

Polina Lakhtina: I’ve always been an all-rounder. As a teenager I was interested in foreign languages, so I became a linguist. I studied in London and graduated from Elite College. But on the other hand, I was attracted to art. Firstly, I started painting, and then I became a poet and received a literary education. Now I read lectures on General English, write poetry and create paintings. I like combining different kinds of art. I like the words by Leonardo da Vinci “Painting is poetry that is seen rather than felt, and poetry is painting that is felt rather than seen.”

OCA: How did you choose your path and who is your role model in the creative field or in life?

PL: In my life there have been many unusual meetings with very interesting personalities. I admire creative and aspiring people who are not afraid of difficulties and follow their development to the end. As Nickolas Roerich once said “Blessed be the obstacles, through them we grow”! I try to set new goals and achieve them despite all the difficulties. And I often read biographies of people who overcame themselves and fulfilled their dreams in life.

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025?

PL: Over the past two years I have achieved a great deal! In July 2024, I was awarded the title ‘Honoured Art Worker of Russia’. At the beginning of 2025, I was awarded the public titles ‘Honoured Citizen of Russia’ and ‘Honoured Teacher of Russia’.

OCA: What is the main feature that makes you and your art/work unique?

PL: I live in the world of a bi-lingual poetry, I write both in English and in Russian. To tell the truth, quite often I think both in Russian and in English. Apart from this, like William Blake, I try not to be afraid and evolve in several different areas at once. For example, in poetry and visual arts. I believe that in this way my various kinds of creativity complement each other. This way I can express myself more fully.

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?

PL: I became a part of the Poetry Almanacs “Voices of Friends” and this has given me a chance for my poetry in English to be published outside Russia! In addition, I participated in two art catalogues ‘The Great Steppe Treasury”, in which my paintings were presented. As far as I know, copies of these catalogues are stored in two art galleries in London.

OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

PL: So much in art today has become digital. More and more often we use the help of artificial intelligence to create works of art, such as writing music for poems and composing songs. This is exciting, but also frightening at the same time, for it is unclear how far we can go in this matter. I personally have songs written by AI using my poems.

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

PL: Believe in yourself! Always search for different opportunities for self-realization and move forward despite all the difficulties! Don’t listen to naysayers on your way to success, simply avoid them!

OCA PEOPLE: RAKHIMA ARLI

RAKHIMA ARLI: “ART PLAYS A KEY ROLE IN THE DEVELOPMENT OF THE WORLD…”

OCA Magazine: Please tell us the most important things about yourself and your creative work. What is your creative, life credo and motivation for your creativity?

Rakhima Arli: I am ARTuR, an artist and poet. For me, creativity is not merely an activity but a natural state of being on the spiritual path, when one becomes a vessel for the Higher Self. My paintings and poems emerge from inner transformation and the urge to share insights with those who are searching for answers to life’s profound questions. My credo is sincerity and the freedom of self-expression. I find inspiration in nature, in the depth of human emotions, and in the infinity of life itself, shaping them into images and symbols that open a space for dialogue with others.

OCA: How did you choose your path and who is your role model in the creative field or in life?

RA: The path chose me. I simply realized that it is creativity that inspires me, makes me forget about time, and allows me to dissolve completely in the process of creating a painting or a poem. Nothing in life happens by chance: seven years of studying music, hundreds of books read, hours spent in museums and galleries — all of this became the foundation for my journey as an artist and poet. I do not seek role models, but I am inspired by those who sincerely followed their inner calling and managed to share the light of their soul through art.

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025?

RA: My main achievement in 2024–2025 has been the opportunity to share my creativity with an international audience, creating a space for inspiration and reflection. My paintings and poems are intended to encourage inner development and the search for deeper answers to life’s questions. My works have been exhibited at the Embassy of Kyrgyzstan in London since May 2024, and participated in exhibitions at Boomer Gallery (London, February 2025), the BARCELONA CONTEMPORARY 6th Edition (October 2025), and VISIONS – CANVAS INTERNATIONAL ART FAIR 2025 (November). As a poet, I am an official participant in the XX International “Golden Pen of Russia” competition and the III season of the Yuri Levitansky International Literary Prize.

OCA: What is the main feature that makes you and your art/work unique?

RA: The main trait that makes me and my work unique is the ability to be a conduit of the Higher Self. In this creative and generative flow, everything arises naturally: both paintings and poems. My art reflects inner transformation and spiritual insights, inviting the viewer to reflection, self-discovery, and inner dialogue. Its uniqueness lies in the combination of visual and poetic language, where images and symbols become a bridge between my inner world and the perception of others, creating a space for emotions, inspiration, and spiritual resonance.
OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?

RA: I participated in the exhibition of the Eurasian Creative Guild in London, where I presented the paintings Endless Dance of Life and Gentle Breeze in a Blooming Garden. This participation provided a unique opportunity to showcase my work to an international audience and exchange experiences with other people. The Guild has had a significant impact on my professional development, opening new prospects for exhibitions and strengthening my confidence in my creative path. Thanks to the Guild, my works received recognition and positive feedback, and the atmosphere of inspiration and support motivates me to continue exploring new artistic and poetic forms.

OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

RA: In today’s realities, creative professions are becoming increasingly multifaceted: an artist, poet, designer, or musician is not only a creator but also a communicator, explorer, and meaning-maker. Art plays a key role in the development of the world, helping people understand their values, emotions, and connections with others. It serves as a tool for dialogue between cultures and generations, inspiring personal growth and spiritual development. In times of rapid change and globalization, art helps preserve inner harmony, awakens empathy, and deepens perception, making creativity one of the most vital resources of contemporary society.

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

RA: I would wish for the members of the Guild and all emerging creative individuals to learn to listen to their hearts and trust the inner light within themselves. Creativity is a journey of self- and world-discovery, and every experience, every mistake, and every inspiring moment becomes part of your unique path. Do not be afraid to experiment, explore new forms of expression, and share your ideas with others. May your work awaken emotions, inspiration, and the desire for self-discovery in people. Persistence, sincerity, and openness of heart always lead to harmony, growth, and truly meaningful art.

OCA PEOPLE: KSENIYA MOSALEVA GOLD

KSENIYA MOSALEVA GOLD: “THE WORLD IS CHANGING,
AND WE MUST REMAIN FLEXIBLE”

OCA Magazine: Please tell us the most important things about yourself and your creative work. What is your creative and life credo and motivation for your creativity?

Kseniya Mosaleva Gold: In the course of my career, I have produced around three thousand reports – news, infotainment, documentary, promotional, and image films for various television channels. I have organised events in more than ten countries worldwide to promote business and cultural initiatives, and created my own fashion programme Fashion is our Profession, showcasing the beauty of Slavic women. I have also worked in international PR. In addition, I have worked as a TV presenter and model – and continue to do so successfully today.

OCA: How did you choose your path and who is your role model in the creative field or in life?

KM: My choice of journalism as a profession was by no means accidental. From early childhood I felt drawn to creativity: I was good at drawing and, for a time, even published my own children’s magazine. I still remember clearly – I was only ten years old then. I enjoyed writing scripts, carefully noting where the cameras should be placed and how everything ought to be organised. These were my very first steps into the world of media, though at the time I did not yet know that it would later become my true calling in Belarus.

I was born in Dushanbe, the capital of Tajikistan, where I spent my childhood until the age of twelve. It was there that my key communication skills began to take shape. Later in life, when I came to interact with people from different cultures, I realised just how vital those early years were to my understanding of others – especially of Eastern culture. They greatly broadened my outlook and proved invaluable in my work as a journalist. My role model has always been Maria Sittel, the Russian news presenter.

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025?

KM: My film festival Belarus International Fashion Film Festival, the television project Top 100 Most Beautiful Women of Belarus, the festival Kremlin Seasons in Moscow, and a report on the St. Petersburg International Economic Forum.

OCA: What is the main feature that makes you and your art/work unique?

KM: Responsibility, diligence, creativity, love for people and for one’s work.

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?

KM: The Eurasian Creative Guild is an organisation that unites the world, and by being part of it one can find a creative soul in any corner of the globe and create something new and beautiful.

OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

KM: The world is changing, and we must remain flexible. Many are at the breaking point, yet we must choose friendship — for creativity unites and stands above politics!

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

KM: I wish for everyone to find their true calling, to create, to work hard, to be prepared for challenging situations, and to remember that the Universe helps those who dream and keep moving forward, no matter what!

OCA PEOPLE: ALI ARTAMAN

ALI ARTAMAN: THE SILK ROAD ADVENTURER

CA Magazine: Please tell us the most important things about yourself and your creative work. What is your creative, life credo and motivation for your creativity?

Ali Artaman: I am an academic and adventure traveller. I promote wellness on the Silk Road, am inspired by the Caucasus and Tien Shan mountains, and am fascinated with the Pamirs.

OCA: How did you choose your path and who is your role model in the creative field or in life?
AA: I have my base in the Gulf, ties to the Great Lakes, and roots in the Caspian Sea. My role model is Xuanzang, a 7th-century Chinese monk, scholar, traveller, and translator.

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025?

AA: My first short film: The camera takes the audience on a brief journey in Kazakhstan from the southeast (Chunja) to the north (Burabay Lake). The adventure continues from Samarkand (Uzbekistan) to Dushanbe (Tajikistan). Finally, popular hot springs around the capital city are showcased through wellness-related interviews.

OCA: What is the main feature that makes you and your art/work unique?

AA: In Search of Healing Water focuses on hot springs and mineral water. The first part of the documentary series highlights a contrast between the steppe and the mountains in Central Asia.

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?

AA: International Burabay Short Film Festival. The Eurasian Creative Guild provides a knowledge exchange platform for those who are creative and flexible.

OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

AA: We have been affected by globalization and digitization since 2000. Digital nomadism is becoming popular nowadays. There is no choice but to adopt artificial intelligence as early as possible.

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

AA: Actively participate in the festivals, and keep your spirit up!

For contacts:  doctoralart@gmail.com 

OCA PEOPLE: AFINA ABDULDAEVA

AFINA ABDULDAEVA: “I UNDERSTAND THAT EVERY PERSON IS A UNIQUE PERSONAILITY”

OCA Magazine: Please tell us the most important things about yourself and your creative work. What is your creative, life credo and motivation for your creativity?

Afina Abduldaeva: Born in 1944. Grew up in the difficult post-war years. Graduated from a seven-year school in the village, Frunze Finance and Credit College, Kyrgyz State University, and later the Alma-Ata Higher Party School.

Worked as a teacher at a school, college, and university. Teaching experience: 39 years. Worked 11 years in party work as a secretary of the district committee, second secretary, inspector of the party commission under the Central Committee of the Communist Party of Kyrgyzstan.

I came to creative work late, after the death of my beloved husband in 1999, out of grief, I began to write poetry. The first book was published in 2000. Since then, I have published four collections of poems, several books about the lives of outstanding sons of the republic, collections of stories and short stories. I have translated several works of the Jewish classic Shalom Aleichem, the famous Kyrgyz writer Chingiz Aitmatov, and other works by several authors from Russian into Kyrgyz. In total, I have authored 30 books.

Life credo. I lived like all normal people, taught children kindness and love, tried to make each of my lessons interesting and useful, to support the spark of childish spontaneity. In difficult party work, I found and included elements of creativity, so I was a successful worker.

I passionately love everything I do, at the moment I enjoy creative work. I have a lot of life experience, so I strive to share with my readers everything good that I have acquired over the years. And I am happy when my works touch the soul, teach kindness and decency. At my age, it is very important for me to continue to receive recognition and respect for my work.

OCA: How did you choose your path and who is your role model in the creative field or in life?

AA: Teaching was my calling, so I came to it after the first mistake in choosing a profession. In teaching, my Teacher and mentor was the school director, a wonderful teacher and a Man with a capital letter, Karabaev Abylai. In creativity, an example is Chingiz Aitmatov.

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025?

AA: 2024 was a jubilee and fruitful year for me.

  1. In 2024, the following was published:
  • A collection of poems “Kut” (which means “Grace”),
  • The novel “Ilim imperiyasyndagy chyiyr (“The Path to the Empire of Science”).
    A collection of “Japanese Tales”, in my translation.
  1. My poems are included:
  • In the anthology “Sezim yrgaktary” (“Melodies of Feelings”);
  • In the international anthology published in the Turkish city of Ankara;
  • In the anthology of Kyrgyz prose, the story “Disappearance”.
  1. In 2025, the translation of R. Alybaeva’s book “Raatbek” about a famous athlete of the 21st century was published.

As you can see, I worked hard in 2024 and 2025, and I think it’s up to the readers to judge what positive impact my works had on the world.

OCA: What is the main feature that makes you and your art/work unique?

AA: I understand that every person is a unique personality. I have innate uniqueness, experience, and a certain talent, but this does not mean that I am incomparable, unique, or especially outstanding in my own way. I am the same as everyone else. My modest artistic aspirations in creativity are to make people better, purer and kinder.

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?

AA: I became a member of the Guild in 2024. My story “Revenge of the Golden Eagle” participated in the prose category in the XIII Eurasia competition in 2024 and reached the final, and also took third place in Burabay, Kazakhstan on September 15-19, 2024. This victory inspired me and inspired me to new creative works, the result of which were the above-mentioned works of the year and the awards received from the Kyrgyz National Union of Writers in 2024.

OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

AA: Previously, in Soviet times, the role of writers was great, their works passed through censorship, commissions, and received royalties for published works. In the Kyrgyz Republic, over the past 30 years, books have been published at their own expense authors, implement themselves. Only since 2024 the state has allocated certain amounts for sports, for the film industry, for publishing books. Only famous pop artists earn money on national holidays, tois, and the rest of the creative professionals are still in poverty.

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

AA: I wish respected members of the Guild many years of happy life, bright creative discoveries, enjoyment of their work, but also critical evaluation, ability to perceive criticism, find areas requiring improvement

I wish young creative individuals, bearers of God’s gift, a fountain of ideas, extraordinary solutions, striving for uniqueness, and most importantly: work, work and work.

OCA PEOPLE: BORIS GUBERMAN

BORIS GUBERMAN: “CREATIVITY IS THE HIGHEST
EXPRESSION OF ART, REGARDLESS OF THE FORM IT TAKES”

OCA Magazine: Please tell us the most important things about yourself and your creative work. What is your creative and life credo and motivation for your creativity?

Boris Guberman: I graduated from the Faculty of Journalism at the Azerbaijan State University. I have been engaged in literary work for nearly 60 years. During this time, I have published more than 17 books of poetry and essays.

For my literary contributions and participation in poetry competitions, I have been awarded numerous international diplomas. I also served as a member of the jury for the international poetry competition “Yesenni Shturtsi” in Bulgaria.

OCA: How did you choose your path and who is your role model in the creative field or in life?

BG: I began my career in journalism at the city newspaper Mayak in Ali Bayramli (Azerbaijan). Later, I enrolled at the Faculty of Journalism at the Azerbaijan State University.

I worked and was successfully published in various journalistic publications and newspapers, while at the same time actively pursuing literary work.

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025?

BG: In 2024, my non-fiction book My Native Land Forever Beloved, My… Pro-Fascist Homeland was published by ALTASPERA Publishing (Canada).

At present, in 2025, I am continuing work on my next book, while also sharing my new poems almost daily on Facebook.

OCA: What is the main feature that makes you and your art/work unique?

BG: If I were to sum it up in a few words — it would be my productive drive. I don’t plan my creative work — I simply write and publish.

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?

BG: As a member of the Eurasian Creative Guild, I regularly take part in various poetry competitions, as well as in other cultural and literary events.

At present, my book Concept: Socio-Economic Formations and Their Corresponding Markets is being prepared for publication by a publishing house, in a bilingual edition — in both English and Russian.
OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

BG: Creativity is the highest expression of art, regardless of the form it takes. What makes creativity so compelling is its ability to lift its conduit above the ordinary.
Creativity is a true light in the darkness — for through it, we carve new paths into life itself. And art is constantly bearing witness to this process.

It is creativity that systematically transforms us and tunes us towards new horizons.

Ultimately, creativity is simply your personal relationship with the art form you practise — because creativity and talent are, above all, the result of a creator’s daily work.

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

BG: As already mentioned, creativity is our constant, tireless work.

If you are engaged in literary creation, then it must be not a day without a line — whether you’re writing poetry or prose.

At the same time, everything must be measured wisely, and if you’ve already achieved something, it is essential to publish your work or take part in various creative competitions.

Only in this way can we affirm ourselves and earn our place under the sun.

OCA PEOPLE: BUBUIRA BEKTENOVA

BUBUIRA BEKTENOVA: “CREATIVE PEOPLE ARE KNOWN
AS CONDUCTORS TO THE WORLD THEY SPEAK OF HUMANISM”

OCA Magazine: Please tell us the most important things about yourself and your creative work. What is your creative, life credo and motivation for your creativity?

Bubuira Bektenova: I’m Bektenova Bubuira, a writer from Kyrgyzstan, from my childhood I dreamed of becoming a writer, but fate gave me another profession. However, in my heart there is always a thought about art and creativity. My dream came true when I was 47 years old. In 2004, he published my first book of poems: “The feelings I missed”. For more than 25 years, I have been constantly engaged in creativity, I am writing a historical novel about the “Solto” tribe, which in history is called the “People-forming, state-forming tribe”. In the history of Kyrgyzstan, my ancestors were “Manap”. As in all countries of the world, the Kyrgyz people had their own responsible aristocracy. If in Europe these are princes and lords, and in Russia they are nobles, then in Kyrgyzstan they were considered as God’s chosen Manap tribe. Belonging to Manap carries social and personal obligations.

It was very honorable. But at the same time, it is extremely responsible. I am very proud that my ancestors were outstanding representatives of the national history. Tuloberdi hero (baatyr), Kanai biy, Zhankirach biy, Baytik baatyr, Bayseyit baatyr and also outstanding state figures of the Soviet period Torogul Zhanuzakov and Abdykerim Sydykov.

That’s why I wrote the historical novel: “Ai Tagha”, “Zhankirach Era”, “Baitik Baatyr”, “Baiseit Baatyr”, “The Ambassador’s Sword”, about Tuloberdi, who was the legendary hero of my father, “Kanai Bii”. Here, all the heroes are united by belonging to the aristocratic branch of the Kyrgyz people – the centuries-old Manap dynasty.

OCA: How did you choose your path and who is your role model in the creative field or in life?

BB: I strove for independence all my life and never caused pain or harm to anyone. I raised two daughters alone their names are Nadira and Nargisa. Now I have three grandchildren: Amir, Aybike and Aslan. My dream became a reality – I am a writer and member of the Eurasian Guild, which is led by an outstanding person Marat Akhmedzhanov. I respect Kyrgyz writers and poets, including great writers Chingiz Aitmatov, Tugolbay Sydykbekov, Tologon Kasymbekov, Kachkynbay Osmonaliev, who all wrote historical novels. It turns out that I am the first lady of Kyrgyz literature who wrote a historical novel

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025?

BB: In my opinion, my achievements in the field of creativity are that for the first time in the history of Kyrgyz literature, I wrote a novel dedicated to outstanding representatives of national history such as Tuloberdi hero, Elchi, Zhankarach biy, Baytik hero, Bayseyit hero, and also wrote historical essays about outstanding statesmen of the Soviet period dedicated to Torokul Januzakov, Abdykerim Sydykov and Imanaaly Aidarbekov.

I want to wish the entire world a peaceful sky, joy and eternal love in people’s relationships. My creed is humanism like is the highest human value.
For eight years now, I have been a member of the Eurasian Creative Guild, which is headed by the respected Marat Akhmedzhanov. Thanks to this, I was awarded the first place in the international competition three times.

In 2023, I won the first place in the nomination “publicity” at this international competition and Marat Akhmedzhanov published my book “The Glorious Kerkashka” in Great Britain (London- 2024). This is my achievement thanks to the ECG.

OCA: What is the main feature that makes you and your art/work unique?

BB: The unique thing is my membership in the Eurasian Creative Guild that gives me creative power. Here, regardless of age, nationality, friendship, all members of the guild support each other and love each other. Here, practically from all continents of the world I got acquainted with the work of my colleagues. And that is important, we all can come out and get the opportunity to go to the international level. At this time, more than 3000 creative people from all over the world are members of our guild, and this is wonderful. This is especially surprising and desirable. We, the members of the guild, unite with our thoughts, dreams, and creativity all over the world.

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?

BB: I also took part in various festivals of the ECG: “Open Eurasia-2019” festival (Brussels), Belgium, “Voices of Friends: Poetry and Art Festival” (Shchuchinsk Burabay District) Kazakhstan in 2021 and 2022, “Eurasian Week of Culture” (Burgas) Bulgaria in August, 2023, ”World Coaching Championship (Tashkent, Uzbekistan 22-29 June 2024).

In the international competition “Open Eurasia”, I was awarded the first place in the nomination “publicity” and was awarded a grant in the name of Jonathan. On the basis of the grant, my book “The Glorious Kirkashka” was published in London (Great Britain).

Marat Akhmedzhanov came to Bishkek and opened the presentation of the book “Glorious Kerkashka” (November 24, 2023). Thanks to the ECG, my book “The Glorious Kerkashka” is on the “Amazon” website, and as Marat himself says, this book is next to the book of the outstanding Kyrgyz writer Ch. Aitmatov in the London`s library, which ranks 20th in the world. Thanks to the guild, my creativity can be known all over the world.

Festivals organized by ECG are unique their include – presentations of our authors, book exhibition, creative quest, concert, etc. The guild helps all members and is a cultural bridge that cannot be destroyed under any circumstances.

OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

BB: Creative people living on the whole planet think about only one thing, that there would be peace in the whole planetary sphere. And they talk about it, sing, write poems, stories, novels, etc. Creative people are known as conductors to the world because they speak of humanism.
I think that if all the creative people of the planet unite, think together, sing together, and fight to save the planet from all kinds of destruction, loss, and evil, then we can give our future generations a peaceful life. I think that if all the creative people worked together to understand how “humans” can live as humans, it would be possible to live peacefully in the world.

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

BB: I wish all members of the guild a peaceful sky, wonderful moods and success in creativity, and that all members of the ECG meet more often and also have a long and happy life. I want to say thank you to our leader, thank you for organizing the guild. I also wish Marat Akhmedzhanov good health, success in work and creativity, and to lead the guild for 99 years.

I would like to say to the beginners of the guild, come and become a member of the guild, participate in all festivals and receive international awards. Thank you!

OCA PEOPLE: DANA ZHETEYEVA

DANA ZHETEYEVA: “CREATIVITY GROWS WHEN YOU STAY CURIOUS AND OPEN”

OCA Magazine: Please tell us the most important things about yourself and your creative work. What is your creative, life credo and motivation for your creativity?

Dana Zheteyeva: I am an English teacher with MBAs in Marketing and Business Administration, and since 2010 I have been translating and publishing books. My life credo is Never give up. I wrote my own book, Life is Like a Box of Chocolates, in 2022. Over the years, I have collaborated with the Eurasian Creative Guild and other organizations, translating works of their authors and helping bring their voices to a wider audience. My motivation lies in supporting local authors globally, thereby promoting Kazakhstan on the international literary stage and building bridges between cultures.

OCA: How did you choose your path and who is your role model in the creative field or in life?

DZ: My path as a translator began by chance, when my mother asked me to translate her old friend’s book. We later published it in three languages, and that experience inspired me to continue. I then translated his second book and published it in the UK, along with a collection of Kazakh Fairy Tales in English. I don’t have one specific role model; rather, I am inspired by people’s resilience – like a disabled artist creating beauty or someone who transforms personal pain into hope for others.

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025?

DZ: In 2024–2025, my greatest achievement has been turning a difficult period of life into a new beginning. I realized my childhood dream and began studying at a medical college, specializing in osteopathy, with the goal of helping people directly. At the same time, I continue to translate and edit books for authors, contributing to the preservation and sharing of stories. I believe this dual path – healing through medicine and inspiring through literature – is my way of making a positive impact on people’s well-being and the education of the younger generation.

OCA: What is the main feature that makes you and your art/work unique?

DZ: What makes my work unique is the way I immerse myself in the author’s world. When I translate, I step into the author’s mind and try to see life through their eyes, capturing not only the words but also the emotions and intentions behind them. At the same time, I carefully adapt cultural specifics for international readers, helping them connect with the story while gaining a deeper understanding of the traditions and values it reflects. In this way, my work becomes a bridge between cultures, making voices heard across borders.

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?

DZ: Through the Eurasian Creative Guild (London), I have taken part in several literary contests, earning 2nd and 3rd place in different years. I also joined international ECG events in countries such as Thailand, Belgium, and Uzbekistan, where I met talented people from around the world. These experiences expanded my horizons and inspired new creative ideas. Thanks to the Guild, I have collaborated with authors from Israel, Russia, Uzbekistan, and Kazakhstan, which enriched my translation practice and strengthened my belief in the power of literature to unite cultures and promote mutual understanding.

OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

DZ: Creative professions have changed significantly in modern times. Today, there are more young authors than in the last century, and people are much more open in expressing their thoughts and emotions. I believe this honesty in art can support others as they go through difficult moments in life. Another major change is the role of social media, which allows authors to share their work instantly and reach readers of all ages, cultures, and beliefs. In this way, art has become even more powerful in shaping empathy, connection, and resilience across the world.

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

DZ: I would wish Guild members and all creative people just starting their journey to find inspiration in everyday life, in people, and in the world around them. Creativity grows when you stay curious and open. Keep writing, experimenting, and polishing your art, even when challenges arise. Most importantly, never give up – because persistence turns talent into mastery. Every voice matters and the world needs the unique stories, perspectives, and emotions that only you can share.

OCA PEOPLE: ELENA KOROLEVA (ELEN KORO)

ELENA KOROLEVA (ELEN KORO): “I TAKE GREAT PLEASURE IN RAISING THE YOUNGER GENERATION”

OCA Magazine: Please tell us the most important things about yourself and your creative work. What is your creative, life credo and motivation for your creativity?

Elena Koroleva (ELEN KORO): Greetings to you, Elen Koro – a unique woman, the author of the novel-trilogy:
“Oscar” for Him! about whom you can say:
The first writer among the image makers –
The first image maker among the writers!

The need to write a fascinating novel appeared in me back in my student days, but then I lacked life experience. When I proved to myself that “I can do anything”, then I was not afraid to take a risk and leave the business career.

After becoming a practicing image maker, I seemed to have found myself, helping people to find their own style and look better. In this freedom of self-expression, the Love of the Word, which had been dormant for many years, also awakened. My motto is to live! To burn and not fade away, to live, not to exist! My motivation is love and only love!

OCA: How did you choose your path and who is your role model in the creative field or in life?

EK: I chose my path by following my heart, and I drew courage and determination from the biographies of outstanding people. As I reflected on their lives, I was constantly reminded of the mysterious ways of God.

As for the world-renowned writers, each of them had a wealth of life experiences that were unrelated to literature. However, fate has a way of bringing things into perspective. Therefore, there is no need to be afraid of change. Today, I have no regrets about making a radical shift in my life, as my experiments have led me to pursue my passion for writing. As a writer, I never cease to admire the Russian classics and the wise thinkers of all times and nations. Otherwise, I am guided by my inner Temple.

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025?

EK: First of all, it’s the publication of the first two volumes of the Oscar trilogy. I am confident that this work was created by the Creator’s will!

My other achievements include sailing on the Baltic Sea and flying a paraglider at the age of 60. I have every reason to be proud of myself! I also have a positive impact on the world by improving the environment around me. This includes not only renovating my apartment and country house. In the adjacent garden, I grow and take care of flowers and fruit trees. And perhaps most importantly, I take great pleasure in raising the younger generation, giving my three little grandchildren all the warmth of my heart!
OCA: What is the main feature that makes you and your art/work unique?

EK: Unpredictability and a seemingly incongruous combination. A distinctive feature of the novel “Oscar for Him!” is a unique symbiosis of fiction and facts from the lives of outstanding people who have left their mark in the world of art, literature, cinema, fashion and interesting discoveries. At the same time, it turned out to be a very sublime story, and therefore very exciting – a love story of a man and a woman that takes your breath away!

It is no coincidence that the novel “Oscar for Him!” became the winner of the 10th International Literary Contest “Open Eurasian Literary Festival & Book Forum – 2021”.In addition, the jury of the competition recognized me, the author, as the founder of a new genre – “Adventurous intellectual-erotic novel”.

That’s why it’s better to read this book once than hear about it a hundred times!

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?

EK: For several years in a row, my novel, which was still in one volume, made it to the final of the Open Eurasian International Literary Competition. By 2021, the novel had been revised, and as a result, it was awarded the prestigious title of laureate in the category of “Prose.”

In the same year, I participated in another competition organized by the Guild, “Voices of Friends,” in the category of “Art Photography,” where I also received the title of laureate. This photograph can now be seen at the beginning of the second volume of my book.

The Guild has had a significant impact on my creative work. As a member for many years, I was able to compare the skill level of other members.

Although I wanted to win my category every year, I didn’t feel offended if I didn’t, as the winners’ entries didn’t give me reason to doubt the competence of the jury.

OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

EK: Thanks to the development of new technologies, computers, and fast communication, creative professions have become much more diverse and easier to master. However, this apparent ease often leads to a lack of depth and surface-level thinking.

In many cases, the apparent provocation is actually a result of a lack of skill.

As a result, in today’s world, where quick profits are the primary focus, the role of art in shaping the world has shifted from an inspiring positive to a negative one, becoming a powerful tool for influencing people’s minds.
Modern means of promotion, including advertising in the ubiquitous media, can inspire, promote, and make popular the most useless thing in the world, which we all seem to be unable to live without.

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

EK: First and foremost, I would advise them to read more biographies of remarkable individuals who have left a vivid mark in various spheres of human life. Because when you learn about the many twists and turns of Fate — which can lie in wait around any corner, club in hand — and the absolutely astonishing and unexpected ways people manage to overcome difficulties, you no longer feel lost or drained of self-belief.

Instead, your mind switches on and you start to think: how would this person have handled it? And if they managed, then so can I! Even if I do it differently — the main thing is, I can! Stories like these are simply fascinating in their own right, too.

And another thing — it’s absolutely vital to catch fire with your goal, to become utterly consumed by it.
At the same time, it’s important to be part of a community of like-minded people who are already a step ahead of you. And for that, the Eurasian Creative Guild is the perfect place!

OCA PEOPLE: YELENA MAKAROVA

YELENA MAKAROVA: “HONESTY, DECENCY, AND HUMANITY ARE NECESSARY FOR EACH PERSON
AS UNIQUE QUALITIES!”

tant things about yourself and your creative work. What is your creative and life credo and motivation for your creativity?

Yelena Makarova: I am an author of books for children. My poems and fairy tales are constantly published in children newspapers in Uzbekistan. A large selection of my lyrical poems was published in the Orient Star magazine. My works have been translated into Uzbek, Belarusian and English. Translations into other languages are currently being prepared. I am a philologist and I teach Russian. Russian is my native language, which I think, speak and write in. I am pleased that I can help you learn this difficult but beautiful language. And my students motivate me to create new poems, which I then use in various Russian language teaching techniques.

OCA: How did you choose your path and who is your role model in the creative field or in life?

YM: We don’t always choose our own way. I believe that it is given to us from above. And they are given when a person is mature for creativity. This happened to me relatively recently – 7 years ago. Yes, I’ve been writing poetry since I was in school, but I didn’t even think it would be the beginning of my career. I have to say that my second Collection of poems for children won the 1st prize in the “Best Book” competition (Uzbekistan) in the “Best Creative Work” nomination, followed by some victories in International competitions.

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025?

YM: On 2023, I became the 2nd prize winner of the competition at the International Festival “Voices of Friends: Poetry and Art”, held on September 25-30, 2023 in Shchuchinsk, Burabay (Kazakhstan). I was invited to a tour to Russian cities in December 2023.: Yekaterinburg, Kazan, and Moscow. There were creative meetings with Guild members and readers. Also, as part of this project, a presentation of my book of poems for children, translated into Belarusian by Maria Muchinskaya, took place. The collection of poems was published in Minsk (Belarus).

In 2024, one of my fairy tales was published in the Eurasian Literary collection Thread (Volume 8).

On September 15-18, 2024, I participated in the III Open Eurasian Literary Festival and Book Forum 2024.” My works took 1st prize in the category of the Maria Shevel Children prose competition.

This victory gave me the opportunity to publish my fairy tales in English in the UK, the country of Harry Potter.

I am grateful to the ECG for the high evaluation of my work.
OCA: What is the main feature that makes you and your art/work unique?

YM: I am absolutely sure, it is kindness. As readers of my fairy tales, children are my core audience. But even adult people find answers to their questions about rules of life. We can only raise a good person, a creative personality with a good advice. I am an author of works for children. My poems and fairy tales are constantly published in newspapers for children of Uzbekistan. A large selection of lyrical poems was published in the magazine “Star of the East”. My works have been translated into Uzbek, Belarusian and English. Translations into other languages are currently being prepared. I am a philologist by training and I continue to teach Russian. Russian is my native language, which I think, speak and write in. I am pleased that I can help you learn our difficult but beautiful language. And my students motivate me to create new works, which I then use in various Russian language teaching techniques.

Honesty, decency, and humanity are necessary for each person as unique qualities!

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?

YM: In 2023, I became the 2nd prize winner of the competition at the International Festival “Voices of Friends: Poetry and Art”, held on September 25-30, 2023 in Shchuchinsk, Burabay (Kazakhstan). I was invited to a tour to Russian cities in December 2023.: Yekaterinburg, Kazan, and Moscow. There were creative meetings with Guild members and readers. Also, as part of this project, a presentation of my book of poems for children, translated into Belarusian by Maria Muchinskaya, took place. The collection of poems was published in Minsk (Belarus).

In 2024, one of my fairy tales was published in the Eurasian Literary collection Thread (Volume 8).
On September 15-18, 2024, I participated in the III Open Eurasian Literary Festival and Book Forum 2024.” My works took 1st prize in the category of the Maria Shevel Children prose competition.

This victory gave me the opportunity to publish my fairy tales in English in the UK, the country of Harry Potter. I am grateful to the ECG for the high evaluation of my work!

OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

YM: The world is not static. Modern realities force authors to use new technologies. Artificial intelligence has become very smart and able to create many things. This has become evident in any genre of art. But AI is a standard, or more correctly, an “average” version of creating an artistic work. The role of real art lies in its impact on the emotional state of a person who perceives art as an individual idea of an author.

Hopefully, humanity will have the opportunity to create and perceive unique works of art.

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

YM: I believe that every person is gifted in this or that way in creativity since their childhood. You need to believe in your success, try to find like-minded people and realize your creative ideas.

I would like to wish the Guild members new unique ideas and their successful implementation, as well as worldwide recognition of their contribution to art. Let creativity inspire you to create original works that will become an example of true art for future generations.

OCA PEOPLE: GENNADY GOROVOY

GENNADY GOROVOY: “I BELIEVE IN YOUR TALENTS!”

OCA Magazine: Please tell us the most important things about yourself and your creative work. What is your creative and life credo and motivation for your creativity?

Gennady Gorovoy: Hello to my new and old friends. My name is Gennady. I grew up by the principle “Live and let live”. We all are different, but also the same- most people want a good life- without wars, etc. So, as a poet and speaker, my way is to talk and give people hope that everything will be okay, and that we must unite. Also, the law of transparency helps a lot. Be yourself- polite, nice to people, and we will change the world for good reasons.

OCA: How did you choose your path and who is your role model in the creative field or in life?

GG: I grew up listening to the songs of Vladimir Visotsky and Alexander Rosenbaum. They are my role models. But I also love The Beatles, Elvis, Freddie and many others. When I grew up and started traveling the World and living in other countries, I met our Vice President Marat, Radislav Gandapas, Lisa Nichols, Gil Peretz, Tony Robbins, Maestro Tabriz Shakhidi and Yuri Managadze and many other great and talented people, some of whom I proudly call my friends.

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025?

GG: Being in Central Asia, talking to the nicest people, doing projects together, doing my old project with an amazing Marina Alyassova “Faces of Guild”- interviewing Guild members and promoting them. Also, with Guy Shtolz and Natasha Gerasimova, we did an Israeli Coaching championship, together with our Guild. Next year we’ll be in amazing London. Last year, we’d been in Uzbekistan, participating in the World Coaching Championship. We also flew to Khiva and Nukus. WOW!!! One of the greatest experiences in my life.

OCA: What is the main feature that makes you and your art/work unique?

GG: Being the Man of the Big World, I can understand different cultures and to be a bridge between them. Sometimes little explanation about cultural differences can avoid huge misunderstanding (in a good case) or, God forbid, even war. I write about experiences in life, seminars, travel, people who are different or just lyrics or anti-war poetry. As a motivational speaker, I write about success and ways to achieve it.

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?

GG: It’s easier to say about projects I haven’t participated in. While living in Moscow, we met with Marat and organized offline events. During pandemia Elena Bezrukova, me and other great people were organizing online events and lectures about business training. In London, I helped Marat organize meetings and events for people, as well as participating in them. In Bulgaria, I gave some lectures and helped organizing an event; in Asia, I was an Ambassador and met hundreds of the most amazing and intelligent people. I am not talking about flights, seminars, hugging each other near lakes, declaring poetry in Borovoe, going to museums in Tajikistan with the marvellous family of Shakhidi… It’s my amazing life. Soon, I will become rich and will have more opportunities to be with Guild much more.

OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

GG: Huge difference. In the former USSR, famous poets, writers, artists or filmmakers were superstars, not less. Their quality of life was amazing, compared to regular people. But it was censorship. Now everyone can write and promote himself. There are websites, places to meet and read your poetry for friends, Guilds that give you an opportunity to mingle with great professionals, as well as regular people. I believe in freedom. Not everybody is Remark or Emil Zola, but everyone should have a place to see and to be seen and heard.

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

GG: Never give up. There are always nasty people who will criticize you. But there are many more intelligent people who believe in you and your talents. In Hebrew, the words “critic” and “buried” are from the same letters. It’s so easy to make a young person feel bad about himself, so just find the right people who know how to talk and explain. Nobody was born genius, but some got there somehow. Why not you? And each one can write me to support and believe in your talents. Don’t be shy. I BELIEVE IN YOUR TALENTS.

OCA PEOPLE: MARINA VERNALIS (SHKROBOVA)

MARINA VERNALIS (SHKROBOVA): “ART SETS THE PATTERNS TO WHICH WE STRIVE”

OCA Magazine: Please tell us the most important things about yourself and your creative work. What is your creative, life credo and motivation for your creativity?

Marina Vernalis: Marina Shkrobova-Vernalis combines pedagogy and art, diplomacy and a deep love for poetic Word. My credo lives in these lines:
Faith, Hope, Love and Sofia-
And my new name was born!
It reveals the meaning of the boundless
Wisdom, faith, love and hope!

I will add to everyone heart without measure
A generous share of hope and faith!
In every verse, come and take –
Scattering of wisdom, tenderness of love!

You see, and I`ve got them too,
Connecting as a name-VERNALIS!
NAME for thought-living clothes.
It has trust, spirit and hope!

I knock on your souls again and again.
I believe and hope. I Love and I strive
To wisdom! And, hope, Sofia will help
With honor to carry this good name!

OCA: How did you choose your path and who is your role model in the creative field or in life?

MV: With poetry, I was just born! At the age of two, I knew Chukovsky and Mikhalkov by heart, and at the age of four I arranged my first home concerts with costumes, hats and backstage! And boldly declared that I would be an actress! But in order to go on big stages now in different cities of the world, I needed to become a teacher, diplomat, poet and artist in order to find my Way, Voice and learn how to love people and understand them! And fortunately, I have a Teacher who demonstrates me the unity of word and deed and he is an example of philanthropy and service to the Light – this is the world famous academician, now living sage Shalva Aleksandrovich Amonashvili. He teaches me to find pure thoughts in life and in poetry, to live two lives at once: on earth and in heaven, and through all my deeds and creativity to “facet” the diamond of the soul, which God put in my cradle!

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025?

MV: Through the poetic word, through my concerts, I carry meanings that serve as a ladder of spiritual ascent for my viewers, help the transformation of the soul and the disclosure of the highest plan in everyone! This season presented performances in verse at the International Readings on Humane Pedagogy and at the Higher School of Amonashvili’s Students in Georgia, in the estate of the Amonashvili family, where participants from 15 or more countries of the world come. My concerts took place in Italy (Genoa and Camagna Monferrato) in March 2025 as part of the Poetry Festival “On Seven Hills!”

New cities of Russia invited me with concerts: Yekaterinburg and Ershov Islands, Pyatigorsk and Tyumen, Anapa and Kirov, Novosibirsk and Togliatti, Nickel, Sochi and Gelendzhik. For the first time I visited Bratsk, where I was greeted simply enchanting and on October 28, 2025, my new performance will take place on the stage of the Bratsk Drama Theater!
In 2025, my new poetic notebook of PURE THOUGHTS was released and readers are happy with it!

OCA: What is the main feature that makes you and your art/work unique?

MV: My Poetry is my SOUL! This is a conversation between my soul and the Creator, and here it is important not to compose, but to hear the meanings and words.
I write how I breathe! EASILY!

And the verse sounds like exhale and inhale, as if everything is so simple for understanding and implementation! In poetry, I reflect, have a conversation with another soul, with the reader. And this is the handwriting and skill: from prose it is elegant and easy to switch to poetry and in verse to talk with the world about the most important things!

My Poetry is the melody of my soul, my high (divine!) Meanings, which I always long to reach! This is a search for heavenly answers to my earthly questions: What is God’s purpose for me? Why am I here on Earth? How to live this one life? And all the answers must be harmoniously put into a harmonious musical syllable of poetic philosophy! My poems are melodic, I sing them and many composers write songs on my poems.

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?

MV: Of course, these are victories in international competitions: in Uzbekistan, in the «Open Eurasia – 2021» competition, as an illustrator; in Kazakhstan, in the competition “Voices of Friends – 2022” there are two victories at once in two nominations: poetry and painting. And finally, an amazing trip to Australia for the final of the “Open Eurasia – 2022” competition and a victory in the “art-book” nomination with my book “Poetry in Painting,” where my paintings and poems are combined. The book was published in London by Hertfordshire Press and after the victory in Melbourne was translated into English! These successes inspire me and my viewers throughout Russia and the world.

And I really value those poetic online meetings with poets-members of the Eurasion Creative Guild and members of the Expert Council on Poetry! These are precious minutes when I can share my poetry with talented friends and get a heartfelt response, especially when I hear the magnificent modern poets of Russia and Georgia, Belarus and Israel, Great Britain and Germany reading my poems! This is an incredible opportunity to feel the world through poetry!

OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

MV: The living creative energy of a person cannot be replaced by anything! The ability of a person to creatively rethink this world in words, images, colors, movements is the exceptional ability of the human soul!
The role of art is the role of a magnifying glass, allowing you to see subtle (invisible) processes, to reach deep meanings.

Art sets the patterns to which we strive. Art gives the courage to look at oneself and the world, remains a discoverer, in a good sense a “provocateur” calling for a new one! The connection of the irreducible only to a brave and seeking person who carries Harmony in himself! Being a bearer of culture is a special responsibility in the modern world: not to betray the reference sense of Beauty and be able to reveal your uniqueness, having your own thoughts worthy of the world hearing them!

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

MV: Looking back, I thank myself for the fact that 40 years ago, when I came to school as a history teacher, I started arranging my poetry salons for my students and colleagues, and then I ventured into paintings! If I had not started this Path then, then there would not be now the current me, the Marina Vernalis Poetry Salon, my painting, my Voice, which has grown and grown stronger over these decades.

Therefore, I wish every creative person to act immediately and tirelessly! Even when you are not supported, even nobody will not believe in you… Believe in YOURSELF! Believe in the High Mission of the Cause that you have conceived and carry it (the Cause) with dignity!
FORTUNE LOVES THE BRAVE! Dare!

In each new day, in each new attempt, find the strength to express yourself to the world through your creativity, to stay feeling and real! The world will definitely respond!

OCA PEOPLE: MARSEL SALIMOV

MARSEL SALIMOV: “TO SERVE THE PEOPLE — THIS, I BELIEVE, IS THE TRUE PURPOSE OF MY CREATIVE WORK”

OCA Magazine: Please tell us the most important things about yourself and your creative work. What is your creative and life credo and motivation for your creativity?

Marsel Salimov: I am by no means an important, remarkable, or golden person — I am simply the author of satirical books titled “Important Person”, “Remarkable Man”, and “Golden Man”.
Ever since I was eight, when I wrote my first satirical poem about a social evil like drunkenness, I understood that a satirical writer must be far better than his characters. Otherwise, how can he criticize others, fight successfully for truth, and seek justice in this rather unjust world?

Always keeping this in mind, I write satirical works not because life is bad, but because I want it to become better. Though I am a stern satirist, I am inspired only by good, never by evil. These are by no means grandiose words or sweet lies, but bitter truths — fortunately for me.

OCA: How did you choose your path and who is your role model in the creative field or in life?

MS: I did not choose a special, soft, or comfortable path for an easy life — fate itself decreed that I would become a satirist.

Back in my youth, older brothers in the craft used to say to me, “You’re a satirist by God’s will” or “by nature.” Even my literary pseudonym, Mar. Salim, which I adopted during my school years, translates from Old Turkic as “healthy devastation.”

My name first appeared in print when I was twelve, and even then I knew I would inevitably become a satirical writer, a humourous poet, and a journalistic feuilletonist. My parents realised this too — especially my father, a veteran of the Great Patriotic War, a fighter for justice, and a rural correspondent unafraid to write feuilletons about the leaders of his collective farm and district.

I spent my entire career at the editorial office of the Bashkir satirical magazine Khënek (“The Pitchfork”), where my first feuilleton was published when I was just fourteen. I started as a literary contributor and section editor, and then served as editor-in-chief for thirty years.

To work in just one place is like living your life with one wife. A beloved job is like a beloved woman — you can never have too much of it!

OCA PEOPLE: MICHAEL ANANOV

MICHAEL ANANOV: “ARTISTS WORK TIRELESSLY TO DISCOVER A RECIPE FOR HARMINOUS COEXISTENCE”

ant things about yourself and your creative work. What is your creative, life credo and motivation for your creativity?

Michael Ananov: I am an essayist, playwright, poet, literary scholar, and translator of poetry. I belong to the Pushkin Society of Russian-speaking Writers “Arion,” the Writers’ Union of Georgia, the worldwide fantasy club “Fandango”, and the Writers’ Union of North America. In addition, I am the chair of the Eurasian Creative Guild’s (London) Expert Council on Poetry.
The ability to influence and motivate should be developed by all creators. That power, in my opinion, is found in the word. I try to communicate ideas and creative energy through language. When people see these, I know that my efforts are not in vain.

OCA: How did you choose your path and who is your role model in the creative field or in life?

MA: I can state with confidence that I am naturally creative. Drawing, woodburning, working with plastic, mosaics, a toy railway, and many other creative endeavours have been a part of my life since I was a little child. Thus, my course was predetermined. When I was eleven years old, I started composing poetry. I envisioned myself as an actress and rock musician when I was a teenager. I started writing adventure novels in the hopes that they would eventually be transformed into movie scripts because of this. I eventually went back to poetry, but this time I took it very seriously.

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025?

MA: As I mentioned before, I have always been a creator by profession, so I have worked – and still work – to improve and make our planet more peaceful so that peoples can live in harmony with one another. I won first place in the “Voice of Friends” poetry competition in 2024–2025, first place in the “Golden Time Talent” melodramatic performance, and the title of “Stoic of Contemporary Literature” at the start of 2024 for my active creative and cultural endeavours. For my efforts to promote world peace, I have also been awarded laureate certificates on several occasions.

OCA: What is the main feature that makes you and your art/work unique?

MA: This is only my politeness, so please don’t interpret it as immodesty. I have ideas for improving the conditions of life itself, as well as several methods for resolving the catastrophe that befalls the planet and poisons its inhabitants. However, it involves having a purpose, trying to understand Truth, and being prepared to confront Golgotha for it when it comes to creativity. Every creative secretly longs to transcend reality and catch a fleeting glimpse of what is beyond the unknown. Imagination is helpful if this is out of reach, and mine looks to be on the verge of the fantastic.

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?

MA: I take part in a lot of our Guild’s projects. I was listed among the “Golden Ten” in 2021, took first place in the 2024 “Voice of Friends” poetry competition, and was awarded a diploma for entering the “Prose” contest under the heading “Generals of Peace for Peace.” In addition, I participated in the Guild’s 2021 almanac project, which honoured Walter Scott’s 250th birthday. I am the chair of the Poetry Expert Council of our Guild. On occasion, our Council hosts online themed conferences and creative evenings. I have hosted representatives of the Guild, including Marat Akhmedzhanov, on multiple occasions in Tbilisi.

OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

MA: This subject, in my opinion, might take up a whole dissertation. There have been significant changes in a number of artistic disciplines, not only in the professions themselves. It would have been impossible without the emergence of numerous movements in the fields of literature, music, visual arts, theater, and film. The Latin phrase necessitas acuit ingenium! means “necessity sharpens the mind.” It is precisely this creative urge and quest for a solution that keeps us from becoming lost and devolving into conflict. Artists work tirelessly to discover a recipe for harmonious coexistence.

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

MA: Definitely, it is essential for everyone to feel assured in the decisions they make. Numerous individuals embark on their creative journeys due to their artistic family background, whether it be a father who is a celebrated musician or the influence of a particular actor. Each aspiring artist must reflect on this aspect within themselves to realize that their work transcends mere creation; it embodies the significance of their entire existence – a journey they must pursue with certainty, fully aware that they are progressing towards their cherished Goal.

OCA PEOPLE: MARIIAM TOBOKELOVA

COVER STORY : MARIIAM TOBOKELOVA “TRADITION IS NOT THE ASH WE PRESERVE, BUT THE FIRE WE PASS ON”

OCA Magazine: Please tell us the most important things about yourself and your creative work. What is your creative and life credo and motivation for your creativity?

Mariiam Tobokelova: My creative name is Mariiam Bektemir kyzy. I was born in Kyrgyzstan, in the small village of Tort-Kol, but my musical talent was evident from childhood, and I was accepted into the Republican Music School named after M. Abdyraev. My life has been inseparably linked to the komuz – the unique national instrument of the Kyrgyz people. For me, it is not just an instrument, but the living voice of the steppe, the mountains, and ancient traditions that I strive to convey through my music. From an early age, I was inspired by traditional kuu-dastans, classical works, melodies, and the creativity of great komuz players such as Atai Ogonbaev, Ybyray Tumanov, and Karimaldo Orozov. A special place in my heart belongs to the legendary manaschi Sayakbay Karalaev – his performances always filled me with a sense of depth and the power of the ancient word translated into music. In 1998, I graduated from the Kyrgyz National Conservatory, and since then, my creative journey has never stopped. I compose kuu, dastans, and songs, perform at state concerts, and collaborate with the Kyrgyz television and radio company. I actively participate in competitions and festivals. As far back as 1988, I had the honour of performing in Turkey at a folk instruments competition, where I was awarded a prize and received a gold watch from the President of Turkey. It was not only a recognition of my work but also an opportunity to show the world the beauty of Kyrgyz culture. Today, I continue this path through music and speak of what is eternal.

OCA: How did you choose your path and who is your role model in the creative field or in life?

MT: The most important thing in me and my art is to be a living bridge – a bridge between the great heritage of the past: the Manas epic, the works (kuu) of Atai Ogonbaev, Toktogul Satylganov, and Ybyray Tumanov – and the modern world. Playing the komuz is, for me, a dialogue with the audience – sincere and profound – where I share the deepest part of myself. I feel responsible not only for preserving the sound of the komuz but also for filling it with living, relevant emotions here and now. I want to make it a language through which my soul speaks and which can touch the heart of anyone in the world, even if they have never heard of Kyrgyzstan. My komuz is not a museum artifact but the voice of my people, refracted through the prism of my life and feelings. My life and creative credo can be expressed as: “Tradition is not the ash we preserve, but the fire we pass on.” I don’t blindly copy the works of my predecessors. Inspired by their legacy, I compose new kuu and melodies to create a new current. I want my music to heal people and reach their hearts, so that the traditional music of our ancestors continues to be passed down from generation to generation.

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025

MT: The most important thing for me in 2024–2025 is the completion and presentation of a cycle of my works that reinterpret traditional compositions in a more contemporary way, as well as my active educational work. This is a special source of pride for me.
OCA: What is the main feature that makes you and your art/work unique?

MT: My uniqueness lies in the synthesis of professional musical education, the highest level of performance mastery, and a deep, living connection with the folk tradition. My creative essence is inseparably linked to the people. I receive invitations from all seven regions of Kyrgyzstan and even from Kyrgyz communities abroad to perform the ancient “Zhar-Zhar” wedding ritual and other major celebrations. We have a saying in our culture: “Even if other holidays are not celebrated, a wedding – the celebration of two young hearts – must be sacred.”

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?

MT: I have long been a member of the Guild — not just a member, but an Ambassador. I deeply appreciate that through the Guild I can tell the world about my homeland Ala-Too, the strength of my ancestors, the pearl of Issyk-Kul Lake, the beauty of Sary-Chelek, and the soul of my people. I enjoy participating in ECG (London) events and festivals, and I want to involve even more talented friends so they too can share their art in London and around the world.

OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

MT: Today, the creative world is undergoing real change. For musicians, the stage and studio are no longer limited to physical space — they can work online, and this has changed everything. Digital space has become the main platform for creativity. Through the internet, a musician from a small town can find listeners anywhere in the world. In our turbulent times, art supports us and reminds us that we can hear each other not only with our ears, but also with our hearts.

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

MT: Art must be sincere. A musical composition must come from the deepest part of the heart and carry kindness, strength, and truth.

OCA PEOPLE: MIKHAIL KUNITSKI

MIKHAIL KUNITSKI: KNOWLEDGE AND EXPERIENCE MAKE YOU FREE AND OPEN TO THE WORLD

OCA Magazine: Please tell us the most important things about yourself and your creative work. What is your creative, life credo and motivation for your creativity?

Mikhail Kunitski: I write in Russian and Belarusian for children and adults but I will say… My making rhymes for children looks like for adults and for those adults who are fond of children poetry I write particular like for children. My professional creativity began with competitions but before that there had been still a stage of formation: finding the style, honing the rhyme, learning the rules and a lot of practice. I consider that an expression to be the main function in poetry. I strive for it all the time and try to express my feelings as vividly as possible through expressive means, sometimes even to the detriment of the rules. But there is always a dilemma: in an adult poetry you can disregard many things and because of this there is free aria for experimentation but rules in the children’s literature are especially important. You must follow the rules. Writing for children is a big responsibility and I am not always confident in my works but the road will be mastered by the one who walks it, and time is my main critic.
I am the winner of the International Youth Literary Competition named after the Schnittke Brothers in the nomination “For the Style and Culture of Writing” in 2017. At the competition “National Literary Prize Golden Pen of Rus” I received the title “Silver Pen of Rus” in 2017. In 2018, I took second place in the Open Eurasia competition. I am also the winner of the Poet of the Year Award 2019 and the winner of the “Open Eurasia competition in 2020”. This is about my achievements. I am a member of the Eurasian Creative Guild and the creative association of children’s authors TO DAR. Four of my books of children’s poems have been published, three of which are in Russian and one in English. Now my motivation is an art in all its manifestations, a human himself and his life. This world is not static, it moves, develops. Its seething energy does not disappear anywhere and does not arise spontaneously, but smoothly passes from one sphere to another, one work inspires another. One discovery gives impetus to another discovery. Now the credo is simple: “do what you must and come what may.”

OCA: How did you choose your path and who is your role model in the creative field or in life?

MK: I have wanted to write poetry since my childhood. But I think that the choice was made gradually through self-understanding and development. There was a period of denial. There was a period when I wanted to give up everything and did not write anything anymore. But in the end, I took my will into a fist and continued doing it, because I had understood that no one would write the way I would. Yes, there are other writers, more venerable and writing better than me, but I am the only one and without me the universe would be empty by one grain of sand. And one grain of sand is too much for such a short moment as the existence of the universe, which is finite in time. And I should definitely be in it. Why we should disturb the order?
OCA: What is your main achievement(s) or positive impact on the world in 2024–2025?

MK: This is not related to literature. It is a completely different kind of activity. But by doing everything little by little you begin to understand the world. You are growing up not in terms of human development but on a spiritual level. There comes an understanding that the ability to overcome difficulties is one of the most important qualities.

OCA: What is the main feature that makes you and your art/work unique?

MK: This question is more for critics, any creativity is unique and unrepeatable. Mine also has certain features. You see… openness, laconicism and expression. This is the formula of beauty, as I see it.

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?

MK: This is the best platform for development and promotion. Wherever I take part in, in any country, I feel at home. This is evidence of a good organization and team cohesion.

The guild gathers many creative spheres, different nations, religions, and languages peacefully coexist in it. It’s like you’re throwing yourself into a sea of open art on a global scale. There are presentations, briefings, master classes, all kinds of competitions, creative tours of cities and countries, and exciting excursions. This can be listed endlessly. You simply have no choice but to grow above yourself and develop in the area that is close to you. A whole book can be written about each such type of activity. Each competition is a wealth of experience and knowledge. Maybe someone will say that they did not receive any reward from a competition that they wasted their time, but for me, participating in the guild’s projects is an everyday success. For example, I have a tradition of coming to a country or an unfamiliar city and exploring it on foot. You read a work of a writer, where he talks about some place, and you understand what it is about. You understand the taste, color, smell, mood. In addition, discovering something new for yourself, you are ready to create yourself. I can say that over the years spent in the Guild, it has been influenced my maturation as an author. This is not fear of the audience, communication with children, participation in expert councils … Knowledge and experience make you free and open to the world.

OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

MK: Well, look… In the future, the overwhelming majority of professions will be performed by artificial intelligence and the art is no exception. Yes, it will always be able to surprise, it will write no worse than famous artists, it will copy and imitate the style of this or that genius, but this is still only an imitation, though a very skillful one. The living creativity is based not on the material, but on the spiritual. It is a dialogue with higher powers. That is why the living creativity is unique. And when the creativity becomes unique, then it is already an art. The form will change, but not the content. The art is valuable because it is rare. After all, humanity listen to classics, goes to the theater, reads books.

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

MK: The fullness of their life. Life is the most absolute form of creativity. When something is missing, it can be replaced by creativity. So that one complements the other. It is easier to stand on two legs than on one.

OCA PEOPLE: NARGISA KARASARTOVA

NARGISA KARASARTOVA: SO, I WOULD WISH ALL CREATIVE
PEOPLE FLEXIBILITY,CONSITENCY, AND PURPOSEFULLNESS

OCA Magazine: Please tell us the most important things about yourself and your creative work. What is your creative, life credo and motivation for your creativity?

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 the masterclass on the poetry of the international Foundation of Ch.Aitmatov, which was called “Debut – 2007” and also, I published a book of poems with my sister Leyla Karasartova, which called “Diamonds in the snow”. In 2009, I became a member of the National Union of Writers of the Kyrgyz Republic. Since then, I have published 7 books: two poetry collections, “Light Above the Folio” and “I Will Be the Music of the Wind”; three collections of translations, “Platan”, “A Flock of Pink Flamingos” and “The Magic Bridge”; as well as two children’s books, “For Little Dreamers” and “Leah and Aya the Sewing Doll”. My life credo is to move forward and develop my creative imagination. External motivators for my creativity are love for my homeland, for children, for nature, and for life in general. But the most important motivator is my inner indestructible love for creativity.

OCA: How did you choose your path and who is your role model in the creative field or in 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 “walking encyclopedia” and my older sisters Leyla Karasartova and Lilia Karasartova (Arginova), 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 I saw with my own eyes how great this person is. An incredible aura of intelligence, culture, enlightenment, and goodwill from him.

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025?

NK: Right on the eve of 2025, in Ontario, Canada, my collection of translations with Kyrgyz authors, “Magic Bridge,” was published. This book was successfully presented and distributed to city libraries.

Also, a big event for me was the presentation, or I can say, a poetry concert called “I will be the music of the wind,” which took place in the Chui Regional Drama and Satire Theatre named after Sh. Termechikov.

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 to try to write a “super novel” just to get a fee. I write only interests me excites me and want to tell “my story”, write “my vision” of this or that event, and describe my feeling. I write with my heart and soul, and my mind joins in as if in pursuit of my primary impulse.

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?

NK: I consider the biggest achievement is 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 the 1st place in the category “Publicists”.

And on account of the grant that I won in the contest “Open Eurasia – 2020”, the “Hertfordshire press” publishing house (London) published the book “Leah and Aya the Sewing Doll”.

I also took part in various festivals of the ECG: “Voices of Friends: Poetry and Art Festival” (Shchuchinsk Burabay District, Kazakhstan in 2021 and 2022), “Eurasian Week of Culture” (Burgas, Bulgaria in August, 2023)”World Coaching Championship (Tashkent, Uzbekistan 22-29 June 2024).

OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

NK: Artificial Intelligence has shown us that not only humans can create, but computer programs can do it too, to some extent it has discouraged and disarmed us, everything that humans can create in years, AI can do in a few minutes or seconds.

I think that in the near future AI will still not be able to fully replace humans, because as long as humans live on earth, they will create as long as their primary needs are satisfied.

However, I cannot give a forecast for a long period of time, the world is changing exponentially and can make a quantum leap even faster than we expect. The main thing is that people still remain “above”, and not “under”, technology, so that we are not completely absorbed by the technological machine.

In the meantime, the role of art, even though it changes, remains unchanged. True art makes us rise above problems, think, admire, be impressed, or touch people’s hearts.

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

NK: The creative path is so different, you can walk for a long time along a remote path in a dark forest, trying to light at least your own steps, and then you can first go out onto the Highway and get on a high-speed car that will take you to a big city, then you can find yourself on a boat and row against the current on a wide river, and then fly on a plane to your cherished dream.
And to adapt to different situations along the way you have to be flexible, but at the same time consistent and goal-oriented. So, I would wish all creative people flexibility, consistency, and purposefulness.

OCA PEOPLE: NATALLIA THOMPSON

NATALLIA THOMPSON: LIFE IS CREATIVITY, A CONTINOUS
INTERACTION WITH THE WORLD AND WITH PEOPLE

tant things about yourself and your creative work. What is your creative and life credo and motivation for your creativity?

Natallia Thompson: I’d like to clarify that it’s not quite accurate to say I represent Belarus and the United Kingdom. I currently live on the island of Guernsey, one of the Channel Islands, which is a separate jurisdiction.
Moving here felt like a kind of return to childhood, when I spent all my holidays at my grandmother’s village home in Belarus. I was very fortunate to have that magical world — with its old traditions, handwoven towels, the warm ledge on the stove, and a corner in the choir loft where my grandmother used to sing on Sundays — in a church that never closed, even during the toughest times for religion, thanks largely to the priest and my grandmother, who served as the church warden.

And now, many years later, here on the island, I’ve been able to catch the scent of birch trees after the rain — just like back home in Belarus.

My creative credo, I suppose, is about being here and now — creativity and life are inseparable; life is creativity, a continuous interaction with the world and with people.

OCA: How did you choose your path and who is your role model in the creative field or in life?

NT: I must admit that I have yet to create a tangible and significant creative legacy. My current project is called Rhymes of Everyday Life. It’s a kind of mosaic made up of a little bit of everything: poems, translations, inspiring conversations, and travels.
The most important example in my life is my mother — loving unconditionally and without any context, unyieldingly strong and infinitely gentle.
In the hardest of times, her presence in my life saved me, inspired me, protected me, and helped me grow wings.

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025?

NT: It’s a lovely feeling to realise that I’ve inspired those close to me — some to perform music, others to write poems or paint, and some even to indulge in sweet little quirks that add colour and joy to everyday life.
I’ll keep on working my magic.

OCA: What is the main feature that makes you and your art/work unique?

NT: Perhaps it’s easier to see from the outside. Those who have read my poems often appreciate their “lace-like lightness,” vivid imagery, and multi-dimensionality.
I also simply adore fairy tales and love creating a magical, joyful atmosphere — otherwise, life feels very sad.
For example, in one of my older poems, which I almost forgot because I hadn’t written it down, there are these lines: “Ah, inventing a fairy tale is not hard — if only one could learn to live within it! Noticing golden grains of happiness in a cracked nutshell and the thoughtful tinkling of raindrops on an indifferent lunar wheel…”
I love watching the thoughtful smiles bloom on the faces of my listeners.

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?

NT: The very first event I attended at the invitation of the Guild — with truly life-changing consequences for me — was a creative evening with Gennady Gorovoy.
In him, I found a wonderful friend and source of inspiration; thanks to that, I even dared to take part in the anniversary festival in Kazakhstan.

OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

NT: It’s natural that “everything flows, everything changes.” However, in my view, art — despite its sensitivity to the influences of events and moods — serves as a kind of guarantee of stability and a binding force across layers of time and space.
Here, I would like to share my translation of The Girl from the Tavern by Novella Matveeva — a text that inspired me more than fifty years after the original was released, and thousands of kilometres away from the place where this song was born.
Please, do not be afraid of my love-
It is not at all scary:
For loving heart it is enough
To see you happy and merry.

And when you’re out to see Her
Or maybe just for a walk,
For loving heart it was enough
To see your coat on a wall.

When you decided to leave and go
To look for a new life,
To see this lonely hook on a wall
Was enough for a loving heart.

Days fly, and the years change,
Rain and wind and fog –
There is a tragedy in my home:
Even the hook is gone.

Fog and wind and noise of the rain –
Days fly, and the years go.
For loving heart it was enough –
The familiar mark on the wall.

Painter’s hand on the scruffy wall –
Here came final loss…
For loving heart it is enough
To remember, how all it was.

So, do not be afraid of my love –
It is not at all scary:
For loving heart it is enough
To see you happy and merry.

Timpani joy and violin cry
Floating in warm air,
Like fading trace of undying love
That lives in my heart forever…

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

NT: Don’t be afraid to start, don’t hesitate to show yourself, and never doubt the value and importance of your creations — it is in the creative process that the very beauty that will save the world is born.

OCA PEOPLE: NURLAN TOXANOV

NURLAN TOXANOV: EVERY WRITER IS UNIQUE, SHAPED
BY THEIR OWN INNER WORLD

OCA Magazine: Please tell us the most important things about yourself and your creative work. What is your creative and life credo and motivation for your creativity?

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Nurlan Toxanov: I mainly write detective stories, sometimes with a mystical touch. For me, the detective is just a form through which I explore ideas and reflect on the problems of society. Each book mirrors the period in which it was written, capturing the spirit of the time. I strive to write truthfully and keep the narrative dynamic to hold the reader’s attention. My stories are always based on real-life experiences and collective characters, and sometimes an intriguing story or life event becomes the spark for a new book.

OCA: How did you choose your path and who is your role model in the creative field or in life?

NT: Since childhood I loved to write – poems, prose, observations – and this passion has carried into adulthood. True creativity comes when inspiration arrives, sometimes unexpectedly, but always powerfully. A writer can never be the final judge of their own work: only the reader is. Yet, when you write with genuine joy, that energy is felt. Among literary figures, I greatly admire James Joyce, who revolutionized literature. His Ulysses became a source of inspiration for my novel Domestic Paradise, showing me how bold experimentation can transform art.

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025?

NT: In 2024, my detective novel “Amanta Sari, or the War of the Red and White Rose” reached the final of the Mecenat.kz literary contest. In 2025, I entered the longlist of the Qalamdas Prize in the “Literary Criticism” category. This year I also completed the mystical detective novel The American Woman from the Karabuye Clan, where the plot unfolds between America and Kazakhstan. Its heroine, an American with Kazakh roots, inherits the mysterious powers of her ancient clan, symbolizing the meeting of cultures and traditions through the prism of mystery.

OCA: What is the main feature that makes you and your art/work unique?

NT: Detective fiction is still relatively rare in Kazakhstan, which gives my work a special resonance. My stories present our lives, our people, and the events that shape them, within a genre that is both entertaining and thought-provoking. I try to avoid clichés and banality, aiming to stay original and engaging. My personal experiences and emotions flow naturally into my books, creating authenticity and depth. Every writer is unique, shaped by their own inner world. What matters most is the ability to convey this inner truth in a way that touches the reader.

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?

NT: I have taken part in many projects of the Eurasian Creative Guild, which has greatly enriched both me and my writing. In 2023, I won the Guild’s competition in the “Short Prose” category and received a grant to publish my book, for which I am sincerely grateful. Meeting fellow writers always brings inspiration and valuable insights. Creative exchange sharpens one’s own vision and sparks new ideas. The Guild gathers talented and passionate people, and through this community, I find constant motivation to develop and expand my creative horizons.

OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

NT: Today creative professions are strongly influenced by new technologies, especially artificial intelligence. It can already act as designer, translator, or even writer. While it has not yet reached the heights of Shakespeare, this is only the beginning. Perhaps in the future, works created by human intelligence will become as rare and precious as natural products compared to artificial ones. This reality challenges us to rethink the value of art: the human voice, with its emotions and unique individuality, will always remain the most authentic and irreplaceable source of creativity.

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

NT: To the members of the Guild and to all creative people at the start of their journey, I wish inspiration and courage. May your ideas take shape and your dreams come alive. Creativity demands patience, discipline, and resilience – qualities without which no book can be born. Let us cultivate them in ourselves. If not us, then who will write our stories? Along with inspiration, I wish everyone strong health, happiness, and good fortune. Luck, too, plays a significant role in a writer’s life, opening doors at the right time.

OCA PEOPLE: NURYM TAIBEK

NURYM TAIBEK: LOVE FOR ALL, HATRED FOR NONE”
— MY MISSION AND CREATIVE PATH

OCA Magazine: Please tell us the most important things about yourself and your creative work. What is your creative and life credo and motivation for your creativity?

Presenting monograph at Rossotrudnichestvo (2018)

Nurym Taibek: My creative mission has been to translate spiritually enlightening literature into Russian. My path is spreading the Messianic call: the Messiah came to the world a century ago to save humanity from spiritual decay, moral catastrophe, and devastating wars… This Messiah-Mahdi (“The Guided One”) was promised in every ancient religion existing today! Those who sincerely respond will lead the global community to become a much better society. The current world DIZZorder has completely exhausted itself and will fall within very few years. My credos: Love for all, hatred for none! Plant roses in cursed soil! We shall overcome!

OCA: How did you choose your path and who is your role model in the creative field or in life?

NT: Granddad Yelubai Taibekov – unquestionable moral authority. People called him the righteous one. As prime minister, he walked to his office. The desperate people, not allowed in, approached him outside and got problems solved. My parents graduated from Moscow University. They instilled freedom and love of morality, thought, creativity, culture, and poetry. Mom’s great-granddad built a mosque. Her dad, Sidaghali Yelshibayev – Kazakh regional courts’ only leader for 30 years – in Atyrau, then Qyzylorda (before his promotion to the Ministry). My ultimate guide – the Creator through Holy Prophet Muhammad sa, following whose injunction, I accepted the Messiah as through his 4th Caliph – Mirza Tahir Ahmad rh – at London’s first mosque in 1996. My spiritual mentor is the Fifth Caliph Mirza Masroor Ahmad aba.

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025

NT: A most delightful part of my work has been rendering spiritual poetry, whose originals were written in Arabic, Persian, or Urdu, which I can read and translate from with the help of dictionaries. Since 1996, I have been working from existing English translations, referring to the original texts whenever I felt the need.

Since 2024, I have been rendering this poetry in entirely poetic form. To convey meaning even more precisely, since 2025, I have been relying more directly on the original texts, with the help of dictionaries and other online reference services. Thus, I have become a poet-translator.

OCA: What is the main feature that makes you and your art/work unique?

NT: I am 1) Islamic Renaissance’s only Russian poet-translator, 2) the only professional live Russian interpreter of the Caliph’s speeches and the Community’s broadcasts in the world. My mother worked at the Academy on transforming deserts into oases; her scientific findings were adopted by foreign countries whose scholars secretly extracted information from USSR libraries and began greening their own deserts. As a follower of the Messiah-Mahdi (peace be upon him), I seek to help liberate, humanise, and enrich the inner world of ex-Soviet people, to transform the Eurasian expanse from a spiritual desert into a flourishing oasis of faith and renewal.

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?

NT: In 2018, I completed the translation of the greatest modern treatise – “Revelation, Rationality, Knowledge and Truth” – and presented it at the Book Forum. Same year, Cambridge International Press published my monograph “Love for All, Hatred for None – The Raison d’Être of Ahmadi Muslims”, based on my thesis, which I successfully defended at the Dissertation Council of Abai University in Almaty in Dec 2004, but which was censored in 2005 by Ministry of Education and Science of Kazakhstan – unduly influenced by then extremists-dominated Muftiate. This monograph’s presentations were held: at Cambridge University’s Central Asian Forum Conference 2018, Rossotrudnichestvo and other venues.

OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

NT: Creative professions have changed dramatically. The role of genuine, enlightened art is ever more vital in society’s moral and spiritual evolution – the only guarantee of its progress. Creativity is self-realisation in serving people and spiritual enlightenment. My prediction in my OCA 2020 interview came true: the dangerous upheavals began in 2022… My forecast today is at first bitter, but ultimately hopeful: by the end of 2027, a global conflict involving nuclear weapons will have taken place and largely concluded. Thereafter, humanity will enter a thousand-year golden era, having learned profound lessons from these trials.

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

NT: Go for it!

OCA PEOPLE: SALTANAT KHAMZEYEVA

SALTANAT KHAMZEYEVA: MY ADVICE TO THOSE JUST BEGINNING THEIR CREATIVE JOURNEY – CREATE!

OCA Magazine: Please tell us the most important things about yourself and your creative work. What is your creative, life credo and motivation for your creativity?

Saltanat Khamzeyeva: Khamzeeva Saltanat Malikovna – editor, writer, Custodian of the Eurasian Creative Organisation, and representative of the international Lions Club for cultural affairs and communications.
Professional activity:
Editor-in-Chief of the magazine Open Eurasia
Editor of books by both domestic and international authors, including:

  1. A work on museum activity in Kazakhstan, authored by a professional art historian – head of museums of history and archaeology;
  2. The first book in Kazakhstan on private education, Tested by Time;
  3. Works of fiction – the detective novel The Bloody Circle by Korean writer V. Kim, short stories by young authors, the historical fantasy novel The Girl in Gold by American writer Lara Prodan (about a Saka princess), books on yoga, collections of poetry by contemporary authors and Turkish poets.

Author of her own books: Preserve My Hearth, The Adventures of a Dervish, mystical stories from the cycle Time, Steppe Tales, and In Search of the Lost City (published on Ridero.ru and other portals).

OCA: How did you choose your path and who is your role model in the creative field or in life?

SK: Since my youth, I had dreamed of working with the written word and writing books and went on to gain a higher education degree as a linguist and philologist.

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025?

SK: Work with the youth wing of the Guild is one of the opportunities to influence the development of the finest and most humane qualities in young people.

OCA: What is the main feature that makes you and your art/work unique?

SK: Goodwill and professionalism.

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?
SK: Participation in projects:
1.creation of the book Chronicles of the Guild,

2.work as Editor-in-Chief of the Guild’s magazine (Russian-language edition),

3implementation of the Cinema Future project,

4.the Guild’s literary festivals.

OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

SK: In the context of contemporary realities, art has become more in demand and more capable of challenging established forms, movements, and views, while allowing authors unlimited freedom of self-expression.

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

SK: My advice to those just beginning their creative journey: create! Express yourselves! Stagnation in creativity is harmful in every sense.

OCA PEOPLE: TATIANA EDEL

TATIANA EDEL: MY CREDO: TO SEEK TRUTH, GIVE HOPE AND KEEP FAITH ALIVE

OCA Magazine: Please tell us the most important things about yourself and your creative work. What is your creative, life credo and motivation for your creativity?

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Tatiana Edel: I am a Siberian woman with an open soul and a restless heart. The collapse of a long marriage and betrayal once left me with nothing but the need to write. One evening I picked up a pen, and words poured out faster than thought. That moment gave me my first story, which won a contest and became a book. Today I have thirteen books, three in English, and numerous screenplays. Writing has become my salvation and my passion — I spend 10–12 hours a day creating new worlds. My credo: to seek truth, give hope and keep faith alive.

OCA: How did you choose your path and who is your role model in the creative field or in life?

TE: I found my way to writing twice, and the second time it became my true calling. In Moscow, while working as a manager, I drafted letters for public figures, and words came easily, like birds landing on branches. I even brought my first book to a publisher, but when I learned of the symbolic fee, I walked away and erased writing from my life. Twenty years later, after betrayal and loss, life itself forced me back to the page — this time forever. My role model is Jack London: his path and devotion inspire me. My first book was published under the pseudonym Eden, in honor of Martin Eden, before I embraced my true name Edel.

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025?

TE: My main achievement in 2024–2025 is not only the awards and recognition my books and scripts received, but the letters and words of gratitude from readers. Knowing that my stories inspire people, give them comfort, or help them believe in themselves — this is the greatest reward. I am proud that my works have crossed borders and reached audiences in different countries. For me, positive impact means bringing hope, light, and compassion into the world through creativity. If even one heart feels less alone because of my words, that is true success.

OCA: What is the main feature that makes you and your art/work unique?

TE: What makes my work unique is the openness of my soul. I do not hide behind irony or distance — I write sincerely, with kindness and love for people, animals, and the fragile beauty of our world. My stories speak of trials and betrayals, but always carry hope, because I believe harmony is possible. I want my books and screenplays to be a quiet light in a noisy world, reminding us of compassion and humanity. For me, art is not escape but truth — and truth is what connects us.

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?

TE: In June 2021 I took part in the Eurasian Creative Guild (London) Literary Forum, where I received a diploma for second place in the Children’s Literature category. It was a turning point for me: the recognition of an international jury gave me confidence that my voice as a writer matters. Since then I have continued to publish books and develop screenplays, many of which have won international awards. For me ECG is more than a platform — it is a community that unites cultures and inspires creativity. Its support convinced me I am moving in the right direction.

OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

TE: I believe creative professions today are less about prestige and more about service. Artists, writers, and filmmakers are no longer distant figures — they are voices that bring comfort, reflection, and meaning. In a world shaken by crises, art has become a bridge between nations and a language of empathy. It gives us the chance to look at life through another person’s eyes, to heal wounds, and to offer hope for harmony and peace. Modern realities have made art not only a form of beauty but also a form of responsibility: to remind humanity that kindness and compassion still exist

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

TE: To all members of the Guild and those just beginning their creative journey, I wish courage and sincerity. Carry into the world not only stories or images, but ideas that nurture the soul — the timeless values of kindness, honesty, and humanity. Do not chase fashion or quick success: what lasts is what comes from the heart. Every page, every line, every brushstroke has the power to inspire, to comfort, and to awaken hope. Remember that your art is not only your voice but also a gift to others — a seed of the reasonable, the good, the eternal.

OCA PEOPLE: TATYANA CHABROVA

TATYANA CHABROVA: WARMTH AND KINDNESS, SUPPORTING MY TALENTED STUDENTS

tant things about yourself and your creative work. What is your creative, life credo and motivation for your creativity?

Tatyana Chabrova: I am a university lecturer and have been published since 1990. I participate in competitions, and my work has been included in textbooks and didactic games, for which I have received awards. In 2005, I was nominated for the Nobel Prize as part of a women’s project from Geneva.

I am involved in international projects; last year, I coordinated an international project on inclusive education. I have collaborated extensively with international organisations such as the UN, UNDP, UNICEF, UNESCO, the UK-based Save the Children Fund, and the embassies of the UK and Switzerland, among others.

I am the author of the children’s play “The Amazing Story.” Together with my students, I stage performances and organise children’s art exhibitions. I also conduct art therapy training sessions.

OCA: How did you choose your path and who is your role model in the creative field or in life?

TC: I have had many wonderful teachers, foremost among them my mother, Emilia Alexandrovna Girsh, with whom I worked closely for many years. Also, the academician, Doctor of Sciences, and professor Tamara Semenovna Komarova, as well as academician, Doctor of Sciences, and professor Svetlana Karimovana Annamuratova.

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025?

TC: My students are wonderful specialists who have won awards for their creative visual artworks. I have also published several textbooks on theatre and visual arts.

OCA: What is the main feature that makes you and your art/work unique?

TC: Warmth and kindness, supporting my talented students.

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?

TC: At creative gatherings in Tashkent.

OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

TC: Our country does a great deal to support creative professions. The Fund for the Development of Creativity and Visual Arts organises many exhibitions about Uzbekistan around the world. This summer, the President issued a decree to further develop this sector in our country.

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

TC: To continue on the path we have set for the next ten years, seeking and discovering, while supporting new talents.

THE ART OF BEING GENUINE: THE JOURNEY OF ZAMIRA BESHIMOVA

THE ART OF BEING GENUINE: THE JOURNEY OF ZAMIRA BESHIMOVA

In the world of art, there are figures whose creativity becomes a bridge between cultures and generations. Actress, writer, teacher, and public figure Zamira Beshimova is one of them. For over twenty-two years, she has worked in film and theatre, taught children acting at the Talents Project school, created magazines that bring people from different countries together, and written books for children. Today, Zamira is not only an artist but also an activist — host of the political talk show Agar and the podcast Rakurs, a participant in charitable initiatives, and a mother of four.

We met with her to talk about inspiration, values, and how art can become a way of life.
— Twenty-two years in the profession is almost an era. What does this journey mean to you?
— It is not just a matter of years but an inner road that lasts a lifetime. Every role and every project has taught me something: patience, courage, attentiveness to detail. An actor is always a bit of a philosopher — living dozens of lives in order to better understand their own.

— You run the children’s film school Talents Project. What is the most important lesson you try to pass on to your students?
— Sincerity. The camera senses falsehood instantly. I teach children not to fear mistakes and not to strive for some “perfect performance.” What matters is searching for truth — in yourself, in your roles, in life. A mistake is not a defeat, but the beginning of new experience.

— You are the editor-in-chief of two international magazines — The Addresses and Bazarstan. What makes them unique?
— The Addresses is a space for ideas and cultural exchange, where we tell the stories of people who are changing the world. Bazarstan, published in Chicago, is dedicated to entrepreneurs from Central Asia building businesses in the United States. For me, they are like two wings of the same flight: tradition and modernity, East and West.

— Your new children’s book Tishlar Saltanati has recently been published. What is it about?
— It is a fairy tale about the kingdom of teeth, where children learn, in an entertaining way, how to take care of their health. There is humour and imagination, but also important life lessons. I wanted little ones to smile and learn at the same time.

— Your works are often inspired by children. Does motherhood influence your creativity?
— Completely. My children are my co-authors. Their questions, fantasies, and laughter are an endless source of ideas. When they ask, “Mum, tell us another story,” I realise that what I write is needed not only by them, but by thousands of other children.

— You actively speak in defence of national values. What does national culture mean to you?
— It is our roots, nourishing the entire tree of life. I proudly wear Uzbek national dress and jewellery, because every ornament and every pattern holds our history. It is important to me to show the world that modernity and national traditions do not contradict each other — they complement one another. This is our identity and our wealth.

— You host the talk show Agar and the podcast Rakurs, where you tackle pressing social issues. Why is this important to you?
— Art and media should be not only a source of entertainment, but also a mirror of society. I am not afraid to speak about difficult topics — family, upbringing, culture, education. Only an honest conversation can help us grow and move forward.

— You are also active in charitable work. What drives you to do this?
— Helping others is not a feat, but a natural part of human life. I believe that if you have the chance to support someone, you should do it. The smile of a child who has been given hope is worth more than any award.

— What are your plans for the near future?
— I dream of turning my fairy tales into animated films, so that children all over the world can see them on screen. I want to develop international creative camps for children and, of course, continue acting. The actress within me is always alive.

Our conversation with Zamira Beshimova leaves a sense of lightness and inspiration. She knows how to turn experience into a story, and a story into a dream. Everything this woman does is rooted in love: for children, for art, for life.

The art of being genuine — that is her path.

OCA PEOPLE: ZINA KARAEVA

ZINA KARAEVA: MY CREATIVE CREDO IS TO WORK HARD AND MY LIFE CREDO IS TO HELP THE PEOPLE IF THEY NEED IT

OCA Magazine: Please tell us the most important things about yourself and your creative work. What is your creative, life credo and motivation for your creativity?

Zina Karaeva: I have been an English teacher for 55 years. I conduct classes in British and American literature, and Translation studies. I loved literature from my childhoo and wrote small poems at the secondary school. My creative credo is to work hard and my life credo is to help the people if they need it.

OCA: How did you choose your path and who is your role model in the creative field or in life?

ZK: As I graduated philological department I am interested in literature.I xstudied British literature as well as Kyrgyz . I learned a lot from the English and American literature. Comparing those classic writers like W.Shakespeare, G.G.Bayron, William Thackarrey, Charles Dickens and Jack london, Ann Bradstreet and others I came to the conclusion that Kyrgyz literature is full of interesting ideas, especially in their epics. Kyrgyz epical creations showed the best guidelines in my life.There are a lot of useful ideas that the whole world should know. The epic “Manas” and its parts and all the Kyrgyz small. epics influenced in my life. As the result of that I began to translate Kyrgyz small epics like “The warrior girl Saikal”,”Semetey” and others. I am fond of poetry and began to translate Kyrgyz poetry too. It was Guild that gave me great motivation to see the new world.

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025?

ZK: I conduct classes on world literature and on translation studies. I wrote a text book Comparative literature based on British, Americanand Kyrgyz writers. It is electronic form and I use it in my literature classes for the students. I am about to finish the text book “ The world of translation”. I hope the students of the philological department will gain interesting cases and it will be useful for all the students who are interested in translation studies. By means of literature young people will know useful ideas about Kyrgyz literature. In our Kyrgyz literature there are a lot of cases that young should know.

OCA: What is the main feature that makes you and your art/work unique?

ZK: When I conduct world literature in my classes I learn myself a lot from different cultured creations. There are so many useful ideas in Russian, Chinese, Arabic, German, French and other nations creations. I pay a lot of attention to folk creations of the world. They tell special ideas about the people’ life and their history, culture and life. Working hard makes my activities interesting.

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?

ZK: I am happy that I took part in the Eurasian Creative Guild contest.

In 2002 I translated Sultan Raev’s drama “Kurmanjan datka” and sent to the contest. There I won the first place in translation part. It motivated me to work creatively on translation very much. After being in London I began to translate epics to show the beauty of the Kyrgyz literature.

OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

ZK: Yes. Of course. All the creations of the world literature touch world problems that are typical for every nation. If young people didn’t the past life, history of their nation they can’t value anything. They should read not only their literature, they should read world literature. They call for peace all the people of the world they show the calamity of the war in the world. I think God is one and the globe is one. We should keep it safe and sound.

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

ZK: Take part in the contest. Believe in your future. If you work hard you will achieve good results. I wish success for every member of the Guild.

OCA PEOPLE: WARREN WILLS

WARREN WILLS: A TRUE ARTIST NEEDS TO CREATE
THE CONDITIONS OF TOTAL FREEDOM

OCA Magazine: Please tell us the most important things about yourself and your creative work. What is your creative, life credo and motivation for your creativity?

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Warren Wills: Most important thing about the work I’m doing at the moment is that music is one of the few areas of life where we can truly build bridges, bringing people together, sharing our culture, our humanity, dignity, and never before has this been more important than the time now of increasing division and conflicts. I wear two to distinct hats -; one is commercial music and the other being community music. I find myself recently increasingly drawn to the social nature of music and devoting as much work as possible to make life richer and more joyful the inside community

OCA: How did you choose your path and who is your role model in the creative field or in life?

WW: I didn’t choose my path, but in fact, at very young age, the age of four I was hypnotised, mesmerised by Chopin and thus compelled to enter the field of music and composition and Jazz and music theatre and the history of music, encouraging freedom of expression, improvisation and thus this has become an international travelling ticket for me.

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025?

WW: During the past 12 months which we’ve seen ever increasing division, and the alarming rise of hate throughout the world, I have been involved in this wonderful projects which address these issues head on. The most notable impact I would say were created by -; a concert that I did at Federation Square with a cast, a multiracial multiethnic multicultural cast of 100 people which was a resounding success -; then the further work that I’ve been doing with the Chinese and Korean community -; and the work I’m also doing with a visually impaired cohort and latterly to be working with the International Womens’ Federation of Culture and Industry. These projects demonstrates once again that music transcends borders, religion, language, and politics, and genuinely can be used to unite us.

OCA: What is the main feature that makes you and your art/work unique?

WW: Without wishing to enter directly into a technical musicological brief or to do a deep dive analytical view at the DNA of my musical composition I would suggest what makes my music unique Is the coalition of all the vast experiences of my life. One part of this experience is the influence of composes my life has been heavily influenced by Chopin , Keith Jarrett, Stravinsky, minimalism, Messiaen, Bach, Oscar Peterson, French Impressionism PLUS my involvement with Judaic, flamenco, gospel, and other religious influences, plus my living in London, the Middle East, Australia and having opportunities to mix with so many ethnically diverse cultures and communities. Finally having worked extensively in Music Theatre on Weill, Kander and Ebb, Gershwin, Billie Holiday, Sammy Davis, Josephine Baker, Ella Fitzgerald and many other. The interaction and absorption and expression of these influences creates a unique palate from which to musically create

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?

WW: It has been an honour over the past five years to be involved with the ECG. This has provided opportunities for me to come to Kazakhstan and experience the culture there on two different occasions- one being in Almaty and the other being in Astana. I was delighted to be able to work on a project of BÖRTE, the long-suffering wife, feisty, opinionated, revolutionary, and somewhat of a pinup girl for women’s rights and looking forward to progressive change with women. As well as music workshops in Burabay and the development of a number of other invaluable ideas. Looking further ahead I can see numerous points of hybrid collaboration between Australia, UK and Eurasia.

OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

WW: We live in the most challenging times, and history may will show us in the future that post -Covid we are living through what is, in fact, the most challenging period of history due to seismic change. It is therefore incumbent on all of us in the creative arts, to be resilient and flexible and to be able to share with an open mind in order to teach to learn and encourage others to be patient and resilient also, in this current climate of ever-growing division and hate, which seem to be part of a larger global plan. This puts a great responsibility on the creative arts professions. It is a privilege to work in these professions and thus be able to foster a slightly more philosophical, detached, and positive overview of humanity. It is here in these we muscle tirelessly pursue The expression of choice of freedom of clear, thinking of critical analysis of culture, a shared culture of appreciation and music of dignity, and of humanity.

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

WW: I would wish to other members of the Guild and other creative people who have just started their careers that first that they are able to pursue their artistic love and passion, untethered by suppression, toward the achievement of excellence and of free artistic expression. Further, that they are not blinded or influenced by the pressures – politically, social media or other nefarious influences, which my only box them, blind them, in or compartmentalise their development, in order to achieve both artistic excellence and the freedom of expression. A true artist needs to create the conditions of total freedom , to travel through all the “sides”, and not be attached to any side except to be able to honour and serve humanity

OCA PEOPLE: EDGAR ANPILOGOV

EDGAR ANPILOGOV: REMEMBER: TRUE INSPIRATION LIES WITHIN YOU

OCA Magazine: Please tell us the most important things about yourself and your creative work. What is your creative, life credo and motivation for your creativity?

Edgar Anpilogov: When you combine academic education with active, creative involvement in historical and cultural projects, meaningful civic engagement, and responsible work in a diplomatic mission, your path forward is shaped not only by the fact of your birth but also by the demand for your activity. This approach inspires many who recognise you as a leader.

Hence, my credo: by developing myself, I aim to influence the wider situation – moving forward despite circumstances and helping others who share the same goal to achieve equally dynamic progress. This, in turn, unites individual potential into a shared force.

OCA: How did you choose your path and who is your role model in the creative field or in life?

EA: My father, Sergey Igorevich Anpilogov, embodies my true teachers. From him, I draw an unwavering example of nobility and dignity. He serves as both a mentor and a living model of knowledge and skill – a guiding light of kindness and strength.

Alongside him, I admire legendary figures such as Winston Churchill, Bernard Montgomery, and their distinguished successor Valerii Zaluzhnyi. These individuals collectively exemplify the military and political genius of statecraft.

The gift of leading others and the possession of power are not the same. Heroes essential to their nation exemplify the highest standards of civilisation. In the context of the ongoing, bloody war my people are fighting, I interpret this through the lens of a very real struggle – one that determines the future of humanity itself.

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025?

EA: Most recently, I made a significant and productive contribution through my research into the Ukrainian diaspora’s life and interactions within the UK. This work explores how its traditional values blend with the fast-paced changes of modern society, with the hope of providing long-term benefits.

I devised a practical strategy to build advanced civic communities that are adaptable, balanced, and effective – capable of addressing current needs and future challenges.

My role on the Executive Committee of the Praesidium of Public Associations of Ukraine further supports this effort, where I oversee areas including youth affairs, focused on shaping our future.

OCA: What is the main feature that makes you and your art/work unique?
EA: Among the many nuanced meanings that capture the essence of ‘diplomacy,” one can aptly consider its synonym – uniqueness.

Through collaborative partnerships and collegial coordination, I have firsthand experience with the subtle art of communication, balancing interests, and aligning goals across professional, social, and personal interactions.

Diplomacy entails not only the skill to listen but also the more complex ability to hear genuinely. It involves being understood and accepted – being able to articulate key details clearly and adaptively, deliver a cohesive analysis of causes and effects convincingly, highlight advantages, neutralize challenges, and differentiate existing realities from desired outcomes amid the semantic complexities of negotiation.

The ultimate goal is to reach an agreement and establish its conditions, often unconventional. This represents the core of what makes diplomacy fundamentally unique: the capacity to identify and cultivate unifying solutions, ensure their viability, and implement their strategic usefulness.

This embodies the legacy of a Ukrainian diplomat rooted in the classical tradition – one who, guided by contemporary demands, forges ahead of the present.

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?

EA: Well-known international initiatives of this unique organisation open up an endless space for ideas and development.

The creative collaboration of representatives from different cultures produces a remarkable, limitless concentration of experience – amplified and elevated by the creative aspirations of each individual.

Yes, the Eurasian Creative Guild is a global phenomenon. Inevitably, I draw parallels with my diplomatic practice, where borders exist only on the map, but not in the realm of ideas and their growth.

Everyone perceives according to their own capacity.

OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

EA: But is it not radical that today’s generation embodies not only the future, but also the present – and, firmly and promisingly, the past?

Flexibility, courage, speed, pragmatism, and innovation – are these not fundamental qualities? And what of deep traditions, or forward-looking relevance? Are these not meaningful and adaptive concepts? And productive usefulness – is it not the very foundation of progress, the defining characteristic of young leaders today?

Who would deny this? The very wording of the question contains the essence of the answer.

In the twenty-first century, our generation will adapt the world to human values.

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

EA: It’s widely acknowledged that fearing mistakes can hinder progress – and that this fear might itself be a mistake. Embrace this insight as a guiding light and a source of inspiration for yourself and your teammates.

Forge ahead confidently by:

  • Taking that brave first step.
  • Unleashing your imagination without limits.
  • Bringing your visions to life.
  • Continuously refining and perfecting your work.
  • Sharing your successes generously to inspire others.
  • Viewing challenges as valuable opportunities for growth.

Remember: True inspiration lies within you. Trust in your potential and let it light your path.

OCA PEOPLE: NURLAN MUNBAEV

NURLAN MUNBAEV: I WISH YOU THE COURAGE TO
BE YOURSELF, THE PATIENCE TO FIND
YOUR OWN VOICE…

OCA Magazine: Please tell us the most important things about yourself and your creative work. What is your creative, life credo and motivation for your creativity?

Nurlan Munbaev: Expert on the Caspian and Aral Seas, international accreditation expert of the Institute of the Republican Association of Private Education of Kazakhstan, coordinator of UNESCO Clubs in Binom schools of Kazakhstan, coordinator of the American Mathematics Olympiad (University: UCLA-USA) in Astana, and brand ambassador of the business club “Altyn Orda” in Astana.

OCA: How did you choose your path and who is your role model in the creative field or in life?

NM: Since my school days, I have been fascinated by mathematics from the perspective of its practical application in everyday life. I believe in mathematical theory that serves society – a living mathematics. My role model was the great John Nash, Nobel Laureate in Economics and Fields Medal recipient, who saw the world in a nontrivial way through the microscope of socio-economic life.

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025?

NM: One of my most significant achievements was the application of mathematical models that accurately predicted flooding in eight cities across Kazakhstan. This discovery was later utilized in 2013 in the United States during the El Niño-related floods in the Eastern states. I received a letter of appreciation from the 44th President of the United States, Barack Obama, for the contribution my model made in saving tens of millions of lives in the region. The foundation of this work dates back to 1993, when I developed an economic-ecological mathematical tool commissioned by the Academy of Sciences of Kazakhstan. Under the leadership of Academician Schmidt Musaevich Aytaliev, Chairman of the Western Branch of the Academy, this tool enabled forecasts of the tenge and flood risks in the Atyrau and Mangystau regions.

OCA: What is the main feature that makes you and your art/work unique?

NM: To see the world in an unconventional way – beyond what most people perceive – is our true calling. We came into this world to make discoveries and drive innovation. Without this pursuit, humanity has no bright future.

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?
NM: As a Guardian of the Guild, it is my mission to scale the idea of the Eurasian Creative Guild in Kazakhstan – searching for geniuses, fostering collaboration and communication within a global cultural space. It is about discovering new stars and connecting East and West through a symbolic Greenwich, where the Eurasian Creative Guild in London serves as that Greenwich point.

OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

NM: Creative professions have been transformed by digitalization, globalization, and ecological awareness. Art has transcended traditional forms, embracing virtual reality, interactive media, and multicultural contexts. It has become not only a means of self-expression but also a tool for social change, sustainable development, and intercultural dialogue. Today, the artist is not merely a creator, but a mediator between technology, society, and the values of the future.
OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

NM: I wish you the courage to be yourself, the patience to find your own voice, and the belief in the power of art to change the world. May every step – even the uncertain ones – lead to growth, and may every mistake become a lesson. Surround yourself with inspiration, don’t be afraid to experiment, and stay sincere in your creativity. The world needs your perspective, your energy, and your stories. Create with heart – and the path will reveal itself.

OCA PEOPLE: OLEG NESTERKOV

OLEG NESTERKOV: TO REMAIN TRUE TO ONE’S
CREATIVE PATH

tant things about yourself and your creative work. What is your creative, life credo and motivation for your creativity?

Oleg Nesterkov: My public activities are connected with the promotion of Russian culture in the Republic of Belarus. I serve as an advisor on organisational and administrative matters to the Chairman of the Belarusian public association “Rus” in a voluntary capacity. In 2025, we have already held two major Belarusian-Russian cultural events dedicated to the 80th anniversary of the Great Victory: the music festival “Garmon Gathers Friends” and the Cossack Song Festival “Gaida.” This year, we plan to hold the Slavic ethnographic celebration “Bogach Radogost.” The programme includes an exhibition titled “Smolensk Flax: Provider and Teacher” from the Smolensk Regional Centre of Folk Art, as well as a concert of folk music featuring Belarusian and Russian ensembles.

OCA: How did you choose your path and who is your role model in the creative field or in life?

ON: What motivated me to engage in public activities was the desire to promote unity among people of different nationalities who are devoted to Russian culture, which holds worldwide significance.

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025?

ON: Besides culture, I am also involved in promoting sport and a healthy lifestyle among children and young people. In 2024, in Minsk, the Belarusian Public Association “Rus,” together with the sports public organisation “Territory of Sparta Plus” (led by world SAMBO champion Angela Paim-Kraskovskaya), organised the tournament “SAMBO League for the ‘Ratobortsy’ Cup,” dedicated to the memory of the heroes of the Battle of Kulikovo, Princes Andrei of Polotsk and Dmitry of Bryansk. Over 600 young athletes from Russia and Belarus took part in the tournament. This year, the next tournament for the “Ratobortsy” Cup is scheduled to take place in November.

OCA: What is the main feature that makes you and your art/work unique?

ON: A deep commitment to Russian culture and a desire to introduce it to as many people from different countries as possible.

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?

ON: I am ready and delighted to take part in the creative projects of the Eurasian Creative Guild.
OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

ON: Unfortunately, in recent years, artificial obstacles have arisen in the spread of Russian culture in some European countries. I am confident that this will soon become a thing of the past.

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

ON: To remain true to one’s creative path.

OCA PEOPLE: SULTAN RAEV

SULTAN RAEV: I BELIEVE KYRGRZ LITERATURE
IS A SIGNIFICANT BUT STILL
UNDERREPRESENTED PART OF THE WORLD’S CULTURAL HERITAGE

OCA Magazine: Please tell us the most important things about yourself and your creative work. What is your creative and life credo and motivation for your creativity?

Sultan Raev: I consider myself a creative person – a writer and playwright. For me, creativity is a vital and deeply meaningful calling to which I have dedicated, and continue to dedicate, my entire life. Since 31 March 2022, I have been elected Secretary General of TURKSOY, and now the development and promotion of Turkic culture has become not just my personal passion but also my official international mission – something I am proud to serve.

OCA: How did you choose your path and who is your role model in the creative field or in life?

SR: Every writer has their own spiritual compass. I was born and raised in Kyrgyzstan, and for me that compass has always been the work of Chingiz Aitmatov. I try to follow in his footsteps through my own writing. He was my spiritual teacher and remains, in my eyes, a writer of truly global scale – an example for all other authors. For us, Aitmatov is a symbol. I perceive his works as a legacy and a guide on how to be a true writer. When I work on something new, I always return to his books. For me, he will forever remain teacher number one.

OCA: What is your main achievement(s) or positive impact on the world in 2024–2025

SR: The past year has been a time of creative growth for me. My books have been published abroad and are now read not only in Kyrgyzstan but internationally. I receive warm feedback, and it is truly rewarding – as a writer, I want to help people change their lives for the better, to find answers to important questions, and to hold on to hope.

OCA: What is the main feature that makes you and your art/work unique?

SR: I believe Kyrgyz literature is a significant but still underrepresented part of the world’s cultural heritage. We must work to make it known in every corner of the globe. This path is difficult, but it is essential. Of course, a key role here is played by high-quality literary translation into world languages. But at the moment, only a few authors are able or ready to work at this level, and this is our challenge. I am convinced that we need to show a new face of Kyrgyz and Turkic literature to the world.

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?

SR: We share a common mission – to open up the unique culture of our countries to the world and ensure their proper representation on the international stage. The Guild brings together creative people. I am a member myself and am always glad to invite colleagues to join our events and initiatives.

OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

SR: The very nature of creativity – its themes, place, and role in people’s lives – is changing. Yet the mission of the artist remains the same: to preserve humanity in humankind. Literature plays a crucial role in this. It is the purest form of catharsis in human existence. Today, the world is undergoing processes that contradict human nature itself, eroding its foundations. Spiritual and value degradation is the most dangerous sign – when ideas lose their meaning, it signals decline. For me as a writer, this is an important issue. The sacred duty and mission of every writer is to preserve human values and qualities, to help people through their creative work, and to share their vision. My works are, above all, dedicated to people and humanity. Contributing to this mission is a spiritually essential part of my life.

OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

SR: Remember that the most important thing in creativity is to bring light and protect the souls of your readers. You create not for fame but because it is essential to your being – you simply cannot live otherwise. Creativity is work, and it must be treated with the utmost responsibility.

“The Black Cloak” at the Shaw Theatre: a parable about humanity beyond allegory

“The Black Cloak” at the Shaw Theatre: a parable about humanity beyond allegory

On 13 November, London’s Shaw Theatre welcomed the Kazakh company The Arts Stage, presenting The Black Cloak, based on Georgy Khugaev’s play and directed by Askhat Mayemirov. The performance became one of the standout events of the autumn theatre season, reminding us that profound theatre does not need loud effects to feel contemporary.

The play transports the audience into an allegorical world of animals whose actions and desires mirror human frailties. Through metaphors of power, loyalty, and inner conflict, the production speaks about the human condition more directly than many realist narratives. Mayemirov shapes the drama with philosophical precision and restrained intensity: movement and rhythm take the place of dialogue, the actors communicate meaning through physicality, and every gesture becomes a thought.

The scenography is deliberately minimalistic — only a few symbolic elements occupy the bare stage. This purposeful austerity underscores the allegorical nature of the production and frees the viewer’s attention. The music, rooted in ethnic motifs, creates a sense of sacred space and deepens the theme of humanity’s connection to nature and its origins.

After the main performance, the audience was invited to experience “Soul of the Steppe” — a fusion of live music, dance, and poetry. This segment allowed the production to unfold anew, transforming from a theatrical event into a broader cultural statement about spiritual heritage and tradition.

The Black Cloak does not aim to captivate the audience with spectacle or speed. Its rhythm is meditative, its ideas layered, its silences charged with tension. It is a work for those willing to listen — not only with their ears, but with their inner attention.

The evening at the Shaw Theatre became an example of how contemporary theatre can merge philosophy, national motifs, and psychological depth. The Black Cloak speaks in metaphor, yet feels utterly real — precise, delicate, and quietly penetrating.

#TheBlackCloak #ShawTheatre #TheArtsStage #KazakhTheatre #AskhatMayemirov #LondonArts #UKPremiere #TheatreReview #SoulOfTheSteppe #ContemporaryTheatre #CulturalHeritage #ModernStage #KazakhCulture

Silk Road Media Joins CA Oil & Gas Forum 2025

SILK ROAD MEDIA — MEDIA PARTNER OF THE FORUM CENTRAL ASIA OIL & GAS FORUM 2025: A Business Platform for Strengthening Regional Cooperation

As partnership among Turkic states actively strengthens, direct business communication is more important than ever. That is why the key sector event — the Central Asia Oil & Gas Forum — will take place October 30-31 in Tashkent, initiated by GLENMAR.

This is the only platform that unites the entire value chain:

  • Producers: National and international oil and gas companies.
  • Traders & Refiners: Key players in marketing and logistics.
  • Infrastructure & Finance: Transportation companies, investment and legal institutions.
  • Regulators: Representatives of ministries and agencies from across the region.
  • International Business: Companies from Central Asia, Caspian Region, Europe, India, China, and other countries.

The Forum is a platform for deals and contracts. It’s where partnerships are formed, investments are attracted, and new markets are found.

Key Discussion Topics:
🔷 Production & Proven Reserves: Realities and Prospects
🔷 Logistics & Trading: New Routes and Supply Chain Optimisation
🔷 Refining: Technological Challenges and Refinery Development
🔷 Financing & Legal Aspects of International Projects

EXCLUSIVELY FOR OUR SUBSCRIBERS!
When registering for the forum, use promo code SILKROAD10 to receive a 10% discount on participation.

Don’t miss your chance to be part of the dialogue on special terms.
Find out more, download the full program, and register on the official website:
https://glenmargroup.com/tashkent-forum/

One Night Only: London’s Unmissable Stage Event

Only One Night in London: a truly special event of the theatrical season, presented in a unique cast and stage version that will not be repeated.

The Arts Stage theatre presents the play “The Black Cloak”, based on the parable of the same name by renowned Ossetian playwright Georgy Khugaev. The production combines the mystical spirit of the Great Steppe with a contemporary minimalist format: almost no scenery, with the focus entirely on acting, movement, and voice.

“We don’t want to lecture; we want to speak through artistic imagery. To remind people of the values that are often forgotten in today’s hectic world,” says director Askhat Maemirov, one of the most striking figures on Kazakhstan’s contemporary theatre scene. Lovers of modern theatre will have only one chance to immerse themselves in the authentic atmosphere of this powerful production – don’t miss it!

The Black Cloak

13 November 2025

Shaw Theatre, 110 Euston Road, London NW1 2AJ

Tickets: https://surl.li/emxhyi 

“THE BLACK CLOAK”: A CAPTIVATING PERFORMANCE ABOUT LOYALTY, BETRAYAL AND ETERNAL VALUES

“THE BLACK CLOAK”: A CAPTIVATING PERFORMANCE ABOUT LOYALTY, BETRAYAL AND ETERNAL VALUES

The Arts Stage Theatre invites you to the unique premiere of the play “The Black Cloak”, where legendary animals come to life on the British stage, revealing the secrets of human nature. Expect incredible acting transformations, a story filled with passion and pain — about devotion and honour — and a magical journey through past and present, where different eras and civilisations collide.

ONE NIGHT ONLY at the legendary London Shaw Bernardo Theatre. Be among the exclusive audience and discover a new dimension of contemporary theatre.

🗓️ Date: 13 November 2025, 19:00

📍 Venue: London, The Shaw Theatre.

FINDING HOME: THE INTERNATIONAL SCHOOL EXPERIENCE IN TASHKENT

When diplomatic families, international professionals, and global businesses relocate to Tashkent, they discover a city rich in history and opportunity. Among the considerations for these families is finding an educational environment that honours their international perspective while preparing children for an increasingly connected world.

The Tashkent International School (TIS) emerged from this need in 1994, when embassies from the United States, the United Kingdom, South Korea, Germany, and the United Nations recognized the importance of establishing an educational institution to serve their growing international community.

A NATURALLY INTERNATIONAL ENVIRONMENT

What makes an international school authentic? At TIS, the answer lies in the organic diversity of its community. Students representing 47 nationalities learn alongside one another, creating an environment where cultural exchange happens naturally, from classroom discussions to playground conversations conducted seamlessly in English.
The International Baccalaureate framework provides structure to this global learning experience. The IB curriculum supports critical thinking and developing the whole child. TIS students regularly outperform world averages and have been accepted to highly selective universities as well as universities that best fit their needs. The school’s approach emphasizes authentic language development through immersion, where English becomes not just an academic tool but a living language of community and friendship.

Campus facilities reflect the school’s commitment to comprehensive education—purpose-built science laboratories, arts studios flooded with natural light, and athletic fields that host both daily activities and regional tournaments.

LEARNING BEYOND BORDERS

The school’s co-curricular program reflects its students’ diverse interests and ambitions. From Model United Nations conferences where students represent nations they may have lived in, to robotics competitions that showcase innovative thinking, these activities develop skills that extend far beyond any single subject area.

The athletics program brings together students who may speak different languages at home but share a universal love of sport. Recent achievements in regional basketball and football tournaments demonstrate how collaboration transcends cultural boundaries.

A COMMUNITY INVESTMENT

As a non-profit institution, TIS operates on a simple principle: educational resources are invested back into the learning experience. This approach has enabled continuous campus improvements and attracted educators from around the world who are drawn to the school’s mission and international environment.

The college counselling program reflects this investment in student futures, providing personalized guidance that has helped graduates transition to universities across North America, Europe, Asia, and beyond.

LOOKING FORWARD

For families navigating international careers, schools like TIS represent more than educational institutions—they become bridges between cultures and stepping stones to global opportunities. The students who walk these halls today carry with them not just academic credentials, but an understanding of how to thrive in an interconnected world.

Families interested in learning more about the TIS community are welcome to visit and experience firsthand how international education unfolds in Tashkent.

THE END OF MASSIFICATION OF HIGHER EDUCATION IN CENTRAL ASIA AND BEYOND

The two largest Central Asian countries have embarked on a higher education spree. In Uzbekistan since 2020 almost 100 new universities have opened, swelling the number of BA candidates in the country by some 400,000. In Kazakhstan, hardly a week goes by without an announcement from the Ministry of Education ballyhooing the opening of another foreign campus on Kazakh soil. In taking this path, Kazakhstan and Uzbekistan are a bit late to the party, but they are joining a world-wide consensus, shared among students, universities, governments, society, and business, that more BA graduates are a good thing. Nonetheless, there are signs that this consensus is coming apart, and this could lead to serious complications both in Central Asia and beyond.

Image of multiethnic group of young cheerful students standing and waving outdoors. Looking at camera.

THE CONSENSUS. WHY GET A BA?

From a student perspective the incentives look obvious. With a BA under their belt they will likely get a well-paying job (all of which require such credentials). A degree acts as proof of social adequacy and, frankly, will also provide the student with 3 or 4 years to have fun, socializeand develop a sense of self. Moreover, the degree course will usually enable the student to learn to think in deep and complex ways

From a university’s perspective BA students pay the bills, allowing for expansion and more knowledge creation. The best BA students further the university’s knowledge creation functionand loyal and succesful alumni can provide significant resources.

Society and business also benefits – Successful economies need more knowledge workers.

They help to provide social stability – students studying keep young people off the streets during a volatile period of their lives. After graduation they work, have families and pay taxes and some graduates become social, academic, economic and political leaders. Finally, graduates have skills businesses need to expand and grow. They require supplemental training, but if universities didn’t produce graduates, businesses would have to do it themselves at a much higher cost.

WHAT IS UPSETTING THIS CONSENSUS?

The useful half life of the knowledge and skills students get from their BA has been getting shorter, however. If the reason to get a BA from the student’s perspective is about getting a better paid job, the investment of time and money may soon not be worth it. As for credentials, already in the technology/IT world, companies simply do not care whether students have a degree if they can do the work. More frightening, AI is increasingly able to do a satisfactory job filling posts in the knowledge economy. For many graduates there may soon be nothing relevant to do. Only those who enrolled to learn and think deeply about complex subjects who have worked exceptionally hard will be in demand. It is of course possible that AI will create new jobs (as earlier technological leaps did) and this will lead to a demand for a further expansion of the knowledge workforce. But this is not the expectation of those investing billions in AI development.
For students, social adequacy may remain relevant for some time, as there will be a lag between the loss of relevance of the BA and its waning social prestige. But is the ecosystem of the massified university necessary for this? Perhaps there are other ways to provide socialization without the expense of offering degree programs that most students neither need nor want.

Keeping people beneficially engaged, learning skills and not idle is valid but not everyone wants (or needs) a degree. Is there a better way to identify the group of people who can and will benefit without wasting resources on the 85% who never wanted this kind of education but had to pretend they did in order to get the better paid jobs? And how should they be trained? There are university projects in the world, including inVision U in Kazakhstan, trying to answer these questions, but they are few and far between.

Taken together, these factors will likely lead to a reduction of demand among students for BA places, first in countries where costs are paid out-of-pocket, and later where taxes subsidize education if governments perceive that these investments are not producing economically beneficial results.

The consensus will also come under pressure from within universities. Universities are conservative. While they may not love the implications of fewer students, the alternatives appear much worse, so until and unless students begin voting with their feet universities won’t change much. British and American institutions have been hedging against a graduate downturn by exporting excess capacity, but this will not work when students there, too, realize that a BA is no longer a reliable meal ticket. Since most universities can’t attract more serious students, they will likely respond to lower demand by offering shorter and cheaper programs but this will a) cut revenue and lead to fewer faculty and b) begin to cut into the social benefits for students (perhaps the only function universities might be able to fulfill better than anyone else). To survive, universities will need to reinvent themselves to reach different audiences with programs relevant to societies in which AI, overseen by a small and elite cadre of truly brilliant and well-educated humans, does most of the knowledge work.

From society’s perspective, the situation is even more complicated. If an expanding knowledge workforce is no longer needed, what will societies do with upwardly mobile citizens? The problem will be particularly acute where there is a surplus of young people (as in Central Asia). Erstwhile BA students do not want to work as plumbers or farmers but the knowledge economy may not be able to absorb them. Most likely some form of universal basic income will have to be provided to deal with social stability. Perhaps shorter-term programs that produce humans who need to fulfill knowledge-related tasks will grow, but the resources that encouraged the enormous expansion of BA populations will dry up.

But if society is going to invest in the creation a new educated elite, there will be a demand that a much higher percentage of the remaining BA students get a superb education. And business will want an even bigger say in what and how they learn, as they will hire people only when a human can outperform AI.

For Central Asian countries the new normal will be jarring. Significant resources have gone into a robust expansion of mediocre BA-level programs in the hope that new graduates will help lift these countries into the middle-tier of economies. Unfortunately, however, what will likely be needed going forward is not a large group of acceptable BA graduates, but a small number of exceptionally well-trained individuals who can do things AI will, for now, not be capable of. Can these countries shift from quantity to quality? What will happen to the bulge of young people who had hoped to take their place in the ranks of high earning knowledge workers?

by Andrew Wachtel, President, inVision U

TURKMENISTAN PURSUES COOPERATION WITH EUROPEAN EDUCATIONAL INSTITUTIONS

As part of the development of international cooperation in the field of higher education, Turkmenistan participated in the Education World Forum on May 18-21, 2025 in London. This is an annual gathering of ministers, deputy ministers and other high-level education officials from more than 100 countries.

According to the Turkmen Ministry of Education, a Turkmen delegation, led by Deputy Minister of Education Azat Atayev, took part in the forum’s plenary sessions and bilateral meetings aimed at expanding international educational cooperation and exchanging best practices amid the digital transformation of education.

The Turkmen delegation met with the Organization for Economic Co-operation and Development (OECD) representatives to discuss prospects for cooperation in education-quality assessment. The Turkmen side confirmed that PISA goals have been incorporated into the Concept for Improving Teaching Methodology for General-Education Programmes in Turkmenistan until 2028. The parties agreed to explore ways for Turkmenistan to study PISA methodology with OECD methodological support.
A working meeting was also held with representatives of Times Higher Education (THE), the international university-ranking agency. The discussion focused on developing the global academic profile of Turkmen universities. THE experts shared analytical materials on universities impact on economic and human-capital development and proposed an online workshop for Turkmen institutions on improving their positions in international rankings.

Turkmenistan has taken significant steps to bolster educational collaboration with Great Britain. In March 2025, the British Embassy in Turkmenistan celebrated the successful completion of the British Council’s Accelerating English Language Learning in Central Asia (AELLCA) project at the Dovletmammet Azadi Turkmen National Institute of World Languages. The project was funded by the UK Government and implemented by Nottingham Trent University.

At the closing ceremony, the British Ambassador, Stephen Conlon noted that educational cooperation between the United Kingdom and Turkmenistan has been steadily progressing, with significant achievements since last year. According to the British Embassy, the event showcased the remarkable strides made in English Language Teaching (ELT) at the Dovletmammet Azadi Turkmen National Institute of World Languages. The Ambassador presented teachers with well-deserved certificates from Nottingham Trent University, recognizing their dedication and hard work.

As part of the project, the British Council also arranged study visits to the UK for members of the Dovletmammet Azadi Turkmen National Institute of World Languages and the International University for Humanities and Development, to enhance their understanding of school-based continuing professional development practices.

An important part of educational cooperation between Great Britain and Turkmenistan is the Chevening Scholarship Program, which supports Turkmen students pursuing graduate studies in the UK. For the 2024/25 academic year, twelve Turkmen citizens were awarded Chevening scholarships.
Turkmenistan has also established cooperation with universities from other European countries. From June 1-12, a delegation of the Oguz Khan University of Engineering and Technology of Turkmenistan visited the Technical University of Graz, one of Austria’s leading higher education institutions in the fields of engineering and technology, natural sciences, precision and biomedical sciences, the electronic newspaper Golden Age reported.

The purpose of the visit was to evaluate joint research activities and discuss further plans for cooperation between the two universities. During the visit, teachers and students of the Oguz Khan University and the Institute of Electronics at the University of Graz conducted scientific research in areas related to measuring electric and magnetic fields at close range, measuring electromagnetic radiation emitted by electronic devices of various geometric shapes, as well as antenna design and measurements in this field. In May, a meeting with representatives of the University of Le Havre (France) — Vice President Jean-Nicolas Castorion and Director of International Relations P. Barthelemy — was held at the Magtymguly Turkmen State University in Ashgabat.

According to the Turkmen Ministry of Education, the parties discussed priority areas of cooperation, noting that in different years, along with other foreign languages, the Turkmen State University trained highly qualified specialists in French language and literature.

by Sergey Khvan

CULTURAL RENAISSANCE IN CENTRAL ASIA: TOLIBKHON SHAKHIDI AND THE TRANSFORMATION OF MUSIC EDUCATION

In recent years, Central Asia has experienced not merely a surge of interest in music, but a cultural renaissance in which music itself becomes a pivotal element in educational reform, social transformation, and soft power projection. At the heart of this process lies not only the revival of genres once confined to folklore, but also a new institutional framework designed to bring academic rigour to musical art and expand its international presence.

Traditional genres such as shashmaqam which is a six-mode classical system of Uzbekistan and Tajikistan, painstakingly revived after decades of neglect and the celebratory “toy” music, dutar and dombra, are once again gaining recognition thanks to the concerted efforts of both state and private cultural organisations. Among the most significant developments is the emergence of structures capable of systematically teaching, preserving, and promoting this music. One of the most prominent initiatives is the Aga Khan Music Initiative, launched in 2000 to preserve the living musical heritage, introduce masterclasses, document traditions, and foster the dissemination of traditional repertoires – all while maintaining a modern, professional approach with academic precision.

Investment in masterclasses, festivals, and educational programmes, from ustad-shagird (master-apprentice) schools to more technology-driven initiatives has created a platform for sustainable growth. Notable examples include the Aga Khan-funded ensembles of veteran performers, joint recordings with Smithsonian Folkways, and the ten-volume anthology of Central Asian music. Simultaneously, festivals such as Sharq Taronalari in Samarkand have leveraged the region’s potential, transforming historical memory into a driver of cultural tourism and international cooperation.

The development of musical education is progressing in parallel. Conservatories in Kazakhstan, Uzbekistan, and Tajikistan are implementing new courses that bridge folk traditions with academic technique, as well as forming international exchange programmes. Crucially, tangible results are emerging as students are mastering not only the dutar, dombra, or shashmaqam, but also skills in score analysis, ensemble performance, and orchestral practice.

Tolibkhon Shakhidi stands out as a particularly compelling example of successful integration of these models. Born in Dushanbe in 1946, he is a graduate of the Moscow Conservatory, where he studied under Aram Khachaturian, whose famous inscription-“Tolib, your time is precious”- became a guiding principle of his career. His music, which blends Eastern modal traditions with Western orchestral discipline, embodies the cultural synthesis at the heart of today’s renaissance.

Shakhidi’s participation in international festivals and his educational initiatives offer a vivid illustration of this trend. He performs on academic platforms, conducts lectures and leads masterclasses, maintaining generational continuity and transmitting the ustad-shagird heritage to future musicians. At the same time, his involvement in film (including the Georges Delerue Award for his soundtrack to Two-Legged Horse, 2008) enhances the region’s cultural diplomacy through media.

It is important to emphasise that this cultural renaissance is not an episodic surge of nostalgia, but rather a strategic, integrated development model that encompasses educational modernisation, international exchange, and the growth of cultural tourism. Music festivals attract foreign experts and tourists, creating conditions for new partnerships and blended funding mechanisms, both grant-based and commercial.

While precise economic indicators remain difficult to quantify, the renewed interest in music positions Central Asia as a proving ground where cultural competitive advantage directly intersects with educational appeal and the region’s brand image. The model practised by institutions like the Aga Khan Music Initiative and by artists such as Shakhidi demonstrates a strong cohesion of craft and tradition, academic rigour and innovation, local colour and global platforms. Such synergy ensures a lasting impact across the educational landscape, in international visibility, and, ultimately, in regional economies.

Today’s musical renaissance in Central Asia represents a systematic cultural and educational movement that brings together heritage and innovation. At the forefront of this process are the artists, educators, and institutions whose coordinated efforts are shaping a new trajectory of development which is culturally, academically, and strategically significant for the region. The example of Tolibkhon Shakhidi – striking but by no means isolated – shows how one individual and their platform can become a catalyst for transformative change, creating a resilient, scalable model of cultural development and educational capacity.

BRIDGING CULTURES, BUILDING FUTURES: THE BRITISH COUNCIL IN KAZAKHSTAN

BRIDGING CULTURES, BUILDING FUTURES: THE BRITISH COUNCIL
IN KAZAKHSTAN

For over three decades, the British Council has played a key role in strengthening the relationship between the United Kingdom and Kazakhstan. As the UK’s international organisation for cultural relations and educational opportunities, it connects people and institutions, promotes mutual understanding, and contributes to Kazakhstan’s aspirations. Its work across English language, arts, higher education, and exams is designed to deliver long-term impact at multiple levels.

Kazakhstan’s goal to be among the world’s top 30 economies by 2050 places human capital at the centre of its development. The British Council aligns with this ambition, working alongside government bodies, educational institutions, and the creative sector to enhance learning, innovation, and international collaboration.

ENGLISH FOR A GLOBAL FUTURE

English is a vital skill for international cooperation, business, and education. Recognising its strategic importance, Kazakhstan has placed a strong emphasis on English language learning across its education system. The British Council contributes to this goal through policy advice, training, and a wide range of initiatives that strengthen the quality of English teaching and learning across the country.

One key initiative is the collaboration with the Ministry of Education of Kazakhstan to enhance English teacher training. A specialist expert working group of Educators from across Kazakhstan has been researching and producing recommendations to bolster high-quality Continuing Professional Development (CPD) programmes, to help equip teachers with ongoing training and adapted systems. Ultimately this aims to improve teaching and learning at large scale.

TeachingEnglish is the British Council’s platform for English teachers and teacher educators. It offers free lesson plans, professional development courses, webinars, podcasts, and research insights. For teachers at all career stages, this huge resource helps teachers build skills and connect with peers worldwide. It is accessed by tens of thousands of English teachers in Kazakhstan every year.

The British Council also delivers internationally recognised English assessments. IELTS, one of the most trusted qualifications for academic and professional mobility, is offered in 12 cities, with plans for further expansion in 2025–26. Tens of thousands of exams are delivered annually, supported by a growing network of registration and delivery partners. Other exams include APTIS, which is used by institutions for benchmarking English levels, and a range of professional exams, such as ACCA qualifications.

Supporting growth and quality in Higher Education
With transnational education a national priority, the British Council has helped establish over 30 partnerships between Kazakhstani and UK universities since 2022. These collaborations are enabling the development of dual degrees, joint research projects, and new approaches to inclusive education.

A further key initiative is to work alongside the Ministry of Science and Higher Education to build a strong framework for Quality Assurance for UK – Kazakhstan international partnerships. A framework which is shared across Higher Education in both countries will facilitate the implementation of university partnership working in future, making systems, processes and standards clear for all.

The British Council also promotes opportunities for individual learners. Since 2022, sixteen Kazakhstani women have received prestigious Women in STEM scholarships, enabling them to complete Masters degrees in the UK in fields such as engineering, energy, and information technology. A further important strand of work is connecting and supporting UK Alumni, through the annual Study UK Alumni Awards and alumni events held through the year.

The Creative Economy: A platform for exchange
Culture and creativity are powerful drivers of connection and innovation. In Kazakhstan, the British Council works with artists, institutions, creative entrepreneurs, and decision-makers to enhance skills, build professional networks, and encourage international exchange.
Through festivals, exhibitions, exchange programmes and conferences, British and Kazakhstani creatives are brought together, enabling dialogue and shared skills and experiences.

The Creative Economy programme in 2025–26 also aims to strengthen the capacity of Kazakhstan’s cultural sector by offering training and networking opportunities for creative entrepreneurs. The creative industries are a growing driver of economic development, and the British Council supports initiatives that enable entrepreneurship in this sector. Through training, conferences and international exposure, Kazakhstani artists and cultural professionals are empowered to develop sustainable careers while contributing to the national creative economy.

A PARTNERSHIP FOR THE FUTURE

As Kazakhstan continues its journey of growth and transformation, the British Council remains a key partner, ensuring its work aligns with national priorities, contributing meaningfully to education, economic growth, and cultural enrichment.

By investing in people – from teachers, academics and education leaders to creative professionals and entrepreneurs, the organisation plays a role in building a future where knowledge, creativity, and collaboration are key drivers of success. Through education and culture, the ties between Kazakhstan and the UK continue to grow.

Kazakhstan’s potential is vast, and its aspirations are bold. The British Council’s commitment to this dynamic nation is a testament to the enduring power of international cooperation and cultural exchange in shaping a shared and prosperous future.

by Robert Taylor,
Country Director of the British Council Kazakhstan,
MSc. in Organizational Psychology, member of the British Psychological Society, the European Academy of Occupational Health Psychology, and the International Society for Coaching Psychology

IT’S NONE OF YOUR BUSINESS!

CHALLENGES OF BUSINESS EDUCATION
IN UZBEKISTAN: A SYSTEMIC ANALYSIS
AND MODERNIZATION STRATEGIES

There are many challenges in business education within Uzbekistan, including outdated curricula (only 15% updated annually), a shortage of instructors with practical business experience (25% compared to 60% in OECD countries), language barriers (92nd globally in English proficiency), and regional disparities (60% of universities concentrated in Tashkent). Drawing on data from the World Bank, UNESCO, and Uzbekistan’s State Statistics Committee, the study proposes solutions such as integrating dual education models, digitizing academic processes, and fostering university-business partnerships. Special attention is given to successful collaboration cases in Uzbekistan, including the Asian Development Bank’s $100 million educational modernization project and initiatives with IT-Park Uzbekistan.

Business education serves as a critical driver of economic growth as Uzbekistan transitions to a market-based economy. Despite an increase in the Human Development Index (HDI) to 0.727 (2022), the current system of professional training lags labor market demands. Out of 142 universities, only 30 offer management programs, while 70% of employers rate graduates as insufficiently skilled (Uzbekistan Chamber of Commerce and Industry, 2023). Addressing these gaps requires synthesizing global best practices with localized initiatives.

Key Challenges in Business Education:
Data-Driven Insights
Outdated Curricula and Lack of Practice-Oriented Training
85% of programs exclude modules on digital transformation or Big Data analysis (World Bank, 2023).
Example: At the Tashkent Financial Institute, 80% of courses remain theoretical.
Faculty Shortages
Only 12% of MBA instructors hold international certifications (CIMA, PMP).
Regional Disparities
In Samarkand, one university serves 450,000 residents, compared to 120,000 in Tashkent (State Statistics Committee, 2024).
Limited Business Integration
Just 18% of universities maintain long-term agreements with companies (UNDP, 2023).

University-Business Collaboration: Global Models and Local Adaptation
Global Case Studies
Germany: Volkswagen’s dual system ensures 80% employment of graduates at partner enterprises.
USA: MIT and Microsoft’s partnership has led to 30% of student projects being commercialized.

Uzbekistan: Initial Steps
ADB Project: Since 2023, $100 million has funded Entrepreneurship Centers at universities. The National University of Uzbekistan now offers internships at banks like KapitalBank.
IT-Park Uzbekistan: Annual joint courses in digital marketing train over 500 students.
Case Study: Inha University in Tashkent collaborates with Uzum on FinTech student projects.

Recommendations
Implement Dual Education Models
Pilot program at Andijan Mechanical Engineering Institute with UzAuto Motors: 20% of study time allocated to factory internships.
Digitize Education
EduHub.uz platform (EBRD-supported) aims to cover 50 universities by 2025.
Incentivize Business Partnership
Tax breaks for companies investing in universities (modeled after Kazakhstan’s success, which saw a 25% rise in partnerships within two years).

Modernizing business education in Uzbekistan demands systemic reforms: updating curricula, integrating business expertise into course design, and expanding regional infrastructure. Successful collaborations (e.g., ADB, IT Park) demonstrate the potential of the “university-enterprise” model, warranting broader implementation.

References
World Bank. Report “Doing Business 2023.”
State Committee of the Republic of Uzbekistan on Statistics. Educational Statistics, 2024.
UNDP. “Human Capital Development in Uzbekistan,” 2023.
Official ADB Documents on Education Modernization Projects.
Uzbekistan Chamber of Commerce and Industry. “Employers and Graduates: Bridging Competency Gaps,” 2023.

Note: All statistical data are updated as of 2023–2024.

by Timur D. Yadgarov, PhD in Economics, Chairman of Experts Board, National Assessment Center, Tashkent, Uzbekistan

Khasanmansur T. Yadgarov, PhD Student, Project manager, National Assessment Center, Tashkent, Uzbekistan

CAN PARTNERING REALLY UNLEASH CENTRAL ASIA’S TALENT?

Challenges and Opportunities in Establishing International Partnerships Among
Central Asia’s Educational Institutions

Central Asia, an area abundant in history and cultural variety, stands at a critical juncture in its educational progress. Central Asia, which includes countries like Kazakhstan, Uzbekistan, Kyrgyzstan, Tajikistan, and Turkmenistan, is seeing its education systems adapt to historical influences and contemporary needs. This article examines the present condition of education in Central Asia, the difficulties encountered by the region, and the prospects for development.

Education System in Central Asia

Education systems across Central Asia—shaped by Soviet pedagogy and post-independence reforms—operate on a standardized 12-year framework, featuring state-funded compulsory education for ages 6–18 (primary and secondary) that achieves near-universal youth literacy (98.2% regionally, UNESCO 2023). While all five nations guarantee this foundational access, Soviet-era teaching methods persist through rigid teacher-centred instruction, though Kazakhstan (since 2015) and Uzbekistan (since 2017) now integrate competency-based curricula. Higher education reveals stark regional disparities: Kazakhstan leads with 125+ institutions (35 public), investing 4.1% of GDP ($2.8bn/year) to achieve 45% tertiary enrolment among 18–24-year-olds, while Uzbekistan shows rapid growth—27% more universities since 2019—reaching 28% enrolment with 2.9% GDP investment. Conversely, Tajikistan and Turkmenistan struggle with severely limited infrastructure (25 institutions total), chronic underfunding (1.5% GDP), and enrolment below 18%, exacerbated by Turkmenistan’s isolationist curriculum and Tajikistan’s rural access gaps where only three universities exist outside Dushanbe. Kazakhstan’s global integration is evidenced by 75+ international partnerships (notably Nazarbayev University), contrasting sharply with limited foreign affiliations elsewhere. Systemic challenges include brain drain (42% of Tajik STEM graduates emigrate, ILO 2022) and urban-rural divides—78% of Kyrgyzstan’s universities cluster in Bishkek, creating a 5:1 admission disadvantage for rural students—while gender gaps persist in Tajikistan (female tertiary enrolment: 13% vs. male 22%).

Current Challenges in Central Asian Education:

Although advancements have occurred, the educational systems in Central Asian countries encounter numerous difficulties. A significant concern is the standard of education. Numerous institutions are short on contemporary facilities, revised curricula, and skilled educators, which can hinder the progress of education over time. In nations such as Uzbekistan, efforts are being made to update the education system, although the speed of transformation differs greatly throughout the region as well as other factors, such as access to educators.

Another major issue is the alignment of curricula with the job market. Numerous graduates feel unready for the challenges of the job market, resulting in elevated unemployment rates among youth. The gap between education and employment is a crucial matter that Central Asian nations must tackle to guarantee that students develop the skills required in the current competitive job market.

Moreover, socio-economic elements like poverty, political turmoil, and insufficient funding for education intensify the difficulties encountered by the region. In rural regions, the availability of quality education is especially restricted, with numerous children unable to go to school because of financial difficulties or insufficient transportation.

Establishing international partnerships among educational institutions in Central Asia presents both opportunities and challenges. While the region holds significant potential due to its strategic location, rich cultural heritage, and youthful population, several obstacles hinder smooth collaboration. Here are the key challenges:

  1. Political and Regulatory Barriers
    Bureaucratic red tape: Complex visa regulations, inconsistent accreditation standards, and restrictive legal frameworks can impede mobility and institutional collaboration.
    Geopolitical tensions: Varying degrees of political alignment with global powers can affect partnerships with Western institutions.
    Lack of autonomy: Many universities are tightly controlled by state bodies, limiting their flexibility to engage in international cooperation.
  2. Funding Constraints
    Limited national budgets: Most Central Asian countries allocate modest funding to education, affecting the ability to support exchange programs or joint research initiatives.
    Dependence on donor aid: Over-reliance on foreign aid may lead to unsustainable partnerships or uneven power dynamics.
  3. Language and Communication Barriers
    Diverse languages: The region includes a mix of Turkic, Persian, Russian, and local dialects. English proficiency is often low among students and faculty.
    Translation and communication challenges: These can slow down collaboration or lead to misunderstandings in academic agreements.
  4. Differences in Educational Systems
    Curriculum mismatch: Different credit systems, course structures, and academic calendars make aligning programs difficult.
    Recognition of qualifications: Degrees and certifications are not always easily recognized across borders, limiting student and faculty mobility.
  5. Infrastructure and Technological Gaps
    Limited digital infrastructure: Inadequate internet access and IT resources can hinder online collaboration, which has become crucial post-COVID.
    Facilities and research capabilities: Many institutions lack modern laboratories, libraries, and equipment, making it hard to participate in advanced joint research.
  6. Cultural and Institutional Mind-sets
    Resistance to change: Some institutions may have conservative or insular attitudes toward internationalization.
    Lack of awareness or interest: Faculty and administrators may not see the value in partnerships or may lack experience in international networking.
  7. Talent Retention and Brain Drain
    Outmigration of skilled individuals: Students and academics often leave for better opportunities abroad, making it hard to sustain domestic capacity.
    Limited incentives for returnees: Professionals educated abroad may not return due to inadequate pay or professional opportunities.
  8. Security and Stability Concerns
    Regional conflicts or instability: In countries like Afghanistan and parts of Kyrgyzstan or Tajikistan, safety concerns can deter foreign partners.
    Perceived risks: Even in relatively stable countries, negative perceptions can affect the willingness of international institutions to collaborate.

Overcoming these challenges requires a coordinated approach involving policy reforms, investment in capacity building, improved language training, and digital infrastructure. Regional cooperation mechanisms, such as the Central Asia Regional Economic Cooperation (CAREC) could play a significant role in fostering educational ties.

As the area progresses, prioritizing education will be crucial for promoting economic growth and social advancement. By focusing on quality, relevance, and accessibility, Central Asia can create a strong educational system that empowers its young people and enhances the entire community.

Dr Dababrata Chowdhury (Daba), PhD
Canterbury Christ Church University and Ravensbourne University London, UK
& Mr Raza Syed, Editor, London Post, UK

EDUCATING ONE HALF OF THE NATION THE ECONOMIC CASE FOR WOMEN’S ACCESS TO UNIVERSITIES

EDUCATING ONE HALF OF THE NATION
THE ECONOMIC CASE FOR WOMEN’S ACCESS TO UNIVERSITIES

In the classical culture of the East, the image of an educated woman has always been held in high esteem. She could write poetry, engage in philosophical discussions, teach or heal – and be a true cornerstone for her family and society. Yet in recent years, certain countries in Central Asia have seen a worrying turn: under the growing influence of Islamisation, women’s education is increasingly viewed not as a necessity, but as a luxury.
It is precisely now that we must take the time to analyse how the rise of religious conservatism in Central Asia is affecting women’s access to education and the future of entire generations. This is not a critique of religion. On the contrary, in Islam the pursuit of knowledge is one of its fundamental values. However, interpretations that have become popular in conservative circles are increasingly distancing young women from university classrooms – and, along with that, from equal opportunities for the future.

The university is closed? Then the road to progress is closed for the entire country

“You’ll be staying at home anyway – why would you need a diploma?” – such phrases are increasingly heard in villages and small towns across the region. According to the World Bank (2022), the proportion of women among university students has been declining in several Central Asian countries in recent years. This trend is particularly noticeable in rural areas where conservative norms are strengthening. Girls are more often steered towards early marriage and domestic responsibilities, under the guise of restoring a patriarchal family model seen as essential to strengthening the state. Global statistics, however, tell a different story: when the share of women with higher education declines, it affects the entire economy, as the lack of qualified personnel – especially in medicine, education, science and entrepreneurship – slows down the development of entire sectors.

Women are not only part of the labour force, but also a source of innovation, academic thought, and nuanced understanding of social dynamics. And when a girl does not make it to university, the country loses not just a future specialist, but also the potential transformations her work could bring.

During the Soviet period, women in Central Asia had equal access to professions, studied at technical universities and often held leadership positions. Today, according to the International Labour Organization (ILO), the situation has changed: women are more frequently employed in low-paid and informal sectors, face restrictions in career choices, and earn less than men with equal qualifications. In countries where social conservatism is gaining ground, these disparities are becoming the norm, while state policy often fails to keep up with new challenges. And not only because of the absence of women themselves, but also because of the effects of raising boys in such environments.

Mother, book and future

But the consequences are not always immediately visible. They unfold over decades – across generations. UNICEF research shows that up to 90% of a child’s neural connections are formed in the first six years of life. And the main facilitator of this process is the mother.

If a woman is denied proper education, if her horizons remain narrow, if she does not engage in meaningful conversations with her child, the child grows up in an environment where knowledge is replaced by routine and emotional intelligence remains underdeveloped. The child learns to repeat, but not to ask questions. To obey, but not to dream. And this is no longer the problem of a single family – it is the problem of an entire nation’s future. Often, replacing a child’s cognitive development with a focus only on physical care (being fed, clothed and healthy) leads not only to a decline in intellectual abilities, but to a tendency to resolve conflict through force, simply because alternative intellectual resources are lacking. In other words, this results in increased levels of domestic violence and criminality.

Jobs exist – but wages do not

Limited access to education is only the first rung of the social ladder. The next is the labour market. Here too, women face barriers: a limited range of professions permitted by religion, low pay, and restricted opportunities for career advancement. Even with equal qualifications, as the ILO report shows, women in the region earn 25–30% less than men. The issue lies not in ability, but in the system.

While during the Soviet period women could be engineers, doctors, pilots and professors, today many receive social or familial prohibitions on working in roles that involve interacting with unfamiliar people, especially men, or face social condemnation if circumstances compel them to do so. At the same time, they often lack both the qualifications and the time for remote work, due to domestic responsibilities.
Religion is not the enemy. Ignorance is

Talking about Islamisation must be done with care. The issue is not faith itself – Islam, from its earliest days, has championed the pursuit of knowledge. Great women of the Islamic world – Aisha, Rabia al-Basri, Fatima al-Fihri, and during the Soviet period, Tursunoy Akhunova, Safo Umarova, Zulfiya and many others – left behind formidable legacies.

The problem arises when faith becomes a tool of suppression. When books, conversations and freedom of choice are banned in the name of “tradition.” When a woman is denied a voice simply because she might say something “unnecessary.”

But in those same Central Asian countries, other examples are emerging – religious leaders opening schools for girls, educators combining Islamic values with modern teaching methods, families who encourage their daughters to pursue higher education not despite their traditions, but because of them.

What can be done?

There are many possible solutions – and they do not require revolutions. We need support programmes – scholarships and women’s universities, mentorship projects, dialogue with parents. We need teaching staff willing to work in rural areas. We need public campaigns that show how women, while maintaining their identity, can achieve professional success.

It is essential that traditions are not set in opposition to modernity, but rather complement it. That a girl in a headscarf can hold a book just as confidently – or a microphone at a conference. That the question “Why do you want to study?” turns into “What do you want to learn?”

It is impossible to build a prosperous society while denying half its citizens the right to develop. Women’s education is not a threat to culture. It is its continuation, its renewal, and its future. The greatness of a nation begins not with wealth, but with the breadth of thought. And breadth comes only through learning, dialogue and freedom of choice.

by Taina Kaunis

FROM ERRORS TO INNOVATIONS: HOW KYRGYZSTAN IS RESHAPING EDUCATION

Since gaining independence, the countries of the post-Soviet space have focused significant attention on finding and building an optimal strategy for developing their education systems. Dastan Bekeshev, Member of the Jogorku Kenesh (Parliament) and Deputy Chairman of the Budget Committee of the Kyrgyz Republic, spoke with OCA Magazine about the main challenges and achievements on this path.

OCA Magazine: In your opinion, what unique characteristics does the education system of the Kyrgyz Republic possess, distinguishing it from other post-Soviet countries?

Dastan Bekeshev: After gaining independence, the CIS countries sought to reform their education systems to adapt to market-based economic relations. The Kyrgyz Republic was no exception. We faced the challenge of publishing our own textbooks, creating our own education model, and placing particular emphasis on studying our native language. However, it must be said that the reforms in education, largely financed by international donors, did not yield significant results. We developed our own school textbooks and established national education standards, but these textbooks were often copied from Russian editions and simply translated into Kyrgyz. They were published with numerous errors, leading to criticism from parents. In terms of understanding and perception, these textbooks proved unsuitable, as they were written in overly complex language and failed to impart practical skills.
Textbooks became a business opportunity for many entrepreneurs, while the government could not provide them to all students. At the same time, teachers were, and still are, paid a demotivating salary—one so low that it discourages them from upgrading their qualifications. Their heavy workload leaves them occupied from morning till night with paperwork and routine tasks.

These circumstances led to the poor results of Kyrgyz schoolchildren in the 2009 PISA assessment. Now we are undergoing this assessment again, and I hope the reforms undertaken recently will yield positive outcomes. The situation has started to change, with teacher salaries being discussed at the highest level, and the Cabinet of Ministers is looking for resources to increase them in 2026. The 2023 increase was overshadowed by high inflation. Furthermore, textbooks are being revised, and Singapore’s education system has been taken as a reference point. We are no longer simply translating or copying textbooks—we are adapting them to our reality. From this year, teachers will be provided with laptops to ease their workload, and artificial intelligence will start assisting with lesson planning. The Ministry of Education is also discussing a new document that significantly reduces the reporting burden on teachers. However, problems with infrastructure remain and there is a shortage of kindergartens and schools. We still lack a significant number of school facilities.

OCA: What achievements and challenges do you see as key for education development at this stage?

DB: One achievement is that there are increasingly more resources being allocated from the republican budget to education. Within its financial capacity, the Cabinet of Ministers has begun investing in the education sector. Currently, the goal has been set to move to a 12-year school education system, which in turn will require even more financial investment and efforts to improve teacher qualifications. This year marks the start of the transition to 12-year schooling and the updating of textbooks, but our schools are not yet ready. Classes are already overcrowded, and this transition will place even greater demands on existing infrastructure.

The development of artificial intelligence may help ease the load and orient school education towards a more individualised approach. The Minister of Education understands the current global trends and is already trying to integrate AI into the curriculum. As a parliamentarian, I also encourage the Minister to use AI in schools and to teach the essential life skills that are most needed.

OCA: What are the main trends you see in the transformation of the education system, and what might they lead to in 10 years’ time?

DB: With the rise of artificial intelligence, which is influencing every sphere of life, including education, it is difficult to make precise predictions for the next 10 years. However, one thing has become clear: we must provide knowledge not only based on market demand, but also on the broader goals of the country’s development. Kyrgyzstan needs to strengthen its human capital, which has been significantly depleted over the years. We must train specialists in mining, agriculture, medicine, and information technology—areas that are crucial for the country’s development.

OCA: How does Kyrgyzstan envision the development of international cooperation in education? What factors could facilitate or hinder this?

DB: Kyrgyzstan aims to swiftly absorb the experience of developed countries. Undoubtedly, we would like to collaborate with leading universities, education experts, governments, and companies willing to share their expertise.

MOLDOVA IS LEARNING

The path taken by the Republic of Moldova in developing its education system differs significantly from that of other post-Soviet countries. Here, reforms were neither radical nor rapid — yet it is precisely this gradual approach that has allowed Moldova to shape a model combining Soviet-era legacies, European benchmarks, and distinct national features. However, despite a number of notable developments and original solutions, the Moldovan experience remains largely underexplored and scarcely represented in the international discourse on education. It is rarely written about, seldom included in comparative studies, and almost never cited as an example. Yet a closer look at this system could offer valuable insights — not only for researchers, but also for education practitioners in other parts of the world.

The Republic of Moldova traces the beginning of its modern statehood to 27 August 1991 — the date of its declaration of independence from the Soviet Union. Every era has its own goals and challenges, and the education of new generations is a crucial part of achieving them. The newly formed state required a new educational system, though in many ways it inherited the structure of the previous one.

Today, education in Moldova is mainly state-funded. As elsewhere, it follows the stages of growing up: home-based care from birth to the age of 2–3, then nursery school is possible; from the age of 7 — general education, which is mandatory under the Constitution of the Republic. From years 1 to 4 is primary school with a 3-point grading system, years 5 to 9 — the gymnasium stage with a 10-point grading system, and after that the state attempts to align education with the choice of a future profession.

One can continue studies in the same school during the lyceum cycle (years 10 to 12), and afterwards — upon passing final exams — study at a university, or obtain practical training in a vocational school or college, which today are called Centru de Excelență (Centres of Excellence), for example, in energy and electronics, where study may last one to three years longer.

At the end of this educational path, lyceum pupils (and students at colleges and vocational schools after the third year) take the baccalaureate exam, which also serves as a qualifying grade for university entrance.
In total, students take five exams:

the national language and literature (today called the Romanian language),
the language of instruction (which may be Romanian, Russian, Ukrainian, Bulgarian, English or Gagauz),
a foreign language (usually English, French, German, Turkish or Italian),
mathematics (for science-focused profiles); history or geography (for humanities); specialised subjects for sports or arts profiles,
an elective subject related to the chosen university profile — biology, chemistry, physics, geography or history (for science students), or informatics, mathematics (for humanities students).

During Perestroika and in the years immediately following, nearly all graduates aspired to reach year 10 and enrol in a Moldovan university. Today, however, that tendency has been replaced by the desire to find employment as soon as possible — and then see what happens. Nowadays, wealthy parents and ambitious students prefer universities abroad: in Europe, Asia, or Russia. But many secondary-school graduates do not even seek to enter the lyceum — not so much for education, but to “extend childhood”.

As a result, the number of private universities, which mushroomed in the 1990s, has shrunk to just four by the first quarter of the 21st century. In 2024 alone, four private universities ceased to exist. Sadly, in this agricultural country, 2023 saw the closure of the Agrarian University, whose faculties were absorbed by the Technical University of Moldova.

In total, for the 2024/25 academic year, Moldova has 16 higher education institutions: 12 public universities — 8 of them located in the capital, Chișinău, and one each in Bălți, Cahul, Comrat and Taraclia — and 4 private universities, also based in Chișinău. This is five fewer than the previous year, since, as noted, one public university was merged into another. (Statistics do not account for universities in Transnistria.)

However, according to the latest data from the Statistics Bureau, the number of students in Moldova increased in the 2024/25 academic year — primarily due to foreign students. For example, a large group of Indian students is currently studying at the Medical Institute.
At the same time, the number of students at public universities increased by 5.4%, while in private universities it fell further — by 1.3%.

Full-time education prevails in public institutions, whereas in private ones, part-time study is more common. Overall, 63% of students study full-time, while almost 37% study part-time. Less than 1% of students this year are taking courses through distance learning — a format that is gaining popularity.

Among the most sought-after academic disciplines are business, administration and law — attracting 41% of students. The least popular areas are agriculture and forestry, aquaculture, veterinary studies, natural sciences, mathematics and statistics — with just over 1% of students enrolled.

Many of the problems faced by pupils are linked to the shift in focus within primary education: children are now expected to work more independently, to search for sources of information and draw conclusions — all before acquiring the basic knowledge such analysis requires. Or, conversely, they are asked to accept ideologically slanted narratives that may contradict the values of their families — creating mistrust toward the educational process at too early a stage in their cognitive development.

Until quite recently, the authority of the teacher — particularly in rural areas — was extremely high. But in recent decades, especially in urban settings, the internet has transformed education into a trend-driven activity. Still, as the proverb goes, “learning is always useful”.

Marina Podlesnaya, Writer, public figure, museographer at the A.S. Pushkin House Museum, historian, Master of Philology

THE PARADOX OF INNOVATION DEVELOPMENT IN POST-SOVIET REPUBLICS

In recent years, there has been increasing discussion about the development of an innovation-based economy, about how to increase the share of high-tech products in GDP, raise labour productivity, turn knowledge into money and elevate the economy to a new level. One might think, what could be simpler? After all, science and innovation are indeed the most important drivers of economic growth. However, if one takes a closer look at the countries of the former USSR, the situation turns out to be far from straightforward and linear.

Many post-Soviet republics actively declare their commitment to innovation, but in practice, the knowledge intensity of their economies remains extremely low. Paradoxically, even with chronic underfunding of science, economic growth in a number of countries continues — which at first glance seems puzzling. Why does this happen and how can this phenomenon be explained?

In the Soviet Union, science and technology were a national priority. By the late 1980s, the USSR employed about 1.5 million scientific staff — almost a quarter of all scientists in the world. Thanks to these investments, the Soviet Union was able to compete with the USA in the most advanced fields: nuclear energy, space exploration, physics, mathematics, biology and others. After the collapse of the USSR, it seemed that each republic would at least retain part of its scientific potential, develop it and use it as a basis for an innovation breakthrough. But things turned out differently.

Most countries in the region have sharply reduced their spending on science, and the share of R&D in their GDP does not exceed 0.2–0.3%. Even in Russia, despite its scale and economic ambitions, this figure does not reach 1.1%. Only certain sectors, such as the aerospace industry or nuclear energy, stand as exceptions. In Belarus, over the past three decades, the number of scientific personnel has decreased from 70,000 to less than 27,000. The average age of researchers has increased, and a significant proportion of doctors of science have passed the age of 70. The economy effectively continues to rely on the achievements and groundwork established back in Soviet times.

So how is it that under such conditions some countries still manage to show economic growth? The answer lies in the effect of “deferred investments” in science and human resources made during the Soviet era. These investments are still yielding results today — for example, Nobel Prizes awarded for discoveries whose roots trace back to the Soviet period: quantum dots, graphene, achievements in physics and chemistry. But it is important to remember that this resource is gradually being depleted. The potential of the old scientific school is declining, and new investments are often too modest to compensate for the losses.

The charts and diagrams presented in the article clearly show that, for example, in Belarus, GDP is demonstrating steady growth, while the share of high-tech sectors in its structure continues to decline. This breaks the familiar model: “the more science, the higher the economic growth.” Does this mean that science is no longer important? Absolutely not. In fact, it merely proves that at the current stage of economic development, other factors are starting to play a decisive role: the institutional environment, political stability, social policy, effective allocation of resources and personnel policy.

Belarus demonstrates an important feature: even with minimal funding, science is still able to support the economy thanks to the groundwork laid in the Soviet era. However, this trend is not endless. To move forward, countries need new investments, support for young researchers, modernisation of scientific infrastructure, and increased international cooperation. Without this, the “deferred effect” will stop working, and countries will face an acute shortage of technology, a brain drain, and a decline in competitiveness in the global market.

The experience of the post-Soviet republics shows that supporting science is not just a line in the state budget, but a strategic investment in the future. Every decision in this area affects growth rates, living standards and the country’s position in the global economy. And the sooner politicians and businesses understand this, the greater the chances of preserving and multiplying the legacy rather than squandering it to the end.

Alexander Kozlov,
Candidate of Economic Sciences, Associate Professor,
Deputy General Director of the State Scientific and Production Association “Scientific and Practical Centre of the National Academy of Sciences of Belarus for Materials Science” for Economics and Production, Minsk.

BRIDGING CONTINENTS A COMPARATIVE LOOK AT EDUCATION DEVELOPMENT IN EAST AFRICA AND CENTRAL ASIA

Education remains a cornerstone of national development, social equity, and economic growth. While East Africa and Central Asia are separated by geography and history, their education systems reveal striking parallels in challenges, reform efforts, and aspirations. As both regions strive toward achieving Sustainable Development Goal 4 – a quality education for all – they are navigating a complex mix of inherited legacies, limited resources, and shifting societal needs.

East Africa’s education system, shaped by British colonial rule, has evolved through decades of policy reform and expansion. Countries like Kenya, Uganda, and Tanzania have achieved near-universal primary enrolment, yet secondary and tertiary education remain out of reach for many. Similarly, in Central Asia, the remnants of the Soviet education mode – once considered robust and uniform – have undergone significant transformation since the 1990s. Nations such as Kazakhstan, Kyrgyzstan, and Uzbekistan have embarked on reform journeys to modernize outdated curricula, decentralize education governance, and boost access to higher education.

Despite different origins, both regions face common hurdles. Rural-urban disparities are pronounced, with infrastructure gaps, overcrowded classrooms, and undertrained teachers more prevalent in remote areas. Gender inequality also persists, especially among pastoralist communities in East Africa and in conservative parts of Central Asia. Moreover, language continues to pose a challenge – whether it’s harmonizing local languages with English in East Africa or balancing Russian and native tongues in Central Asia.

To address these issues, both regions are embracing innovation. East Africa has seen a surge in mobile learning platforms, particularly in Kenya and Rwanda, where students in remote areas access lessons via SMS or radio. Meanwhile, Central Asia is integrating technology through initiatives like Kazakhstan’s digital schools and Uzbekistan’s online education hubs. Public-private partnerships are flourishing, with non-governmental organizations and international donors playing a vital role in building schools, training teachers, and enhancing vocational education.

Another shared concern is the disconnect between formal education and the labour market. Youth unemployment remains high, even among graduates, in both regions. In response, there is a growing focus on Technical and Vocational Education and Training (TVET), aimed at equipping young people with practical skills and entrepreneurial mindsets. Efforts in Uganda and Tanzania to revamp vocational institutions mirror similar developments in Kazakhstan and Kyrgyzstan.

Global cooperation also features prominently. Central Asia benefits from European Union-supported education platforms, while East Africa collaborates under the East African Community’s educational frameworks. Both regions align their strategies with UNESCO guidelines and frequently exchange expertise with international partners.

Encouragingly, success stories are emerging. Rwanda’s nationwide shift to digital learning and Kenya’s new competency-based curriculum reflect bold steps toward future-ready education. Likewise, Uzbekistan’s liberalization of higher education and Kazakhstan’s Nazarbayev Intellectual Schools highlight promising reform models in Central Asia.

Ultimately, while East Africa and Central Asia differ in cultural and historical context, their shared challenges – and solutions – demonstrate the global nature of education reform. Their stories underscore the importance of inclusive policies, innovation, and cross-border collaboration in ensuring that education not only reaches more learners, but prepares them for a changing world.

by Gareth Stamp