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 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?
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.
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
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
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
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:
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.
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.
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.
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.
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.
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.
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.
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
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.
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.
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
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.
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.
In recent years, Uzbekistan has become an increasingly important cultural and economic crossroads in Central Asia, attracting diplomats, international organizations, and businesses from around the world. As the country opens its doors to greater international engagement, the need for high-quality Uzbek language education has never been more pressing. Meeting this need is Methodica, a pioneering language school based in Tashkent, dedicated to teaching Uzbek to foreign learners.
Founded by Tatyana Abbasova, a historian specializing in the history of Uzbekistan, Methodica was born out of a desire to make the Uzbek language more accessible to the global community. With a big love for Uzbekistan and a detailed understanding of the country’s cultural and historical context, Abbasova envisioned a school where language learning would be more than grammar and vocabulary – it would be a gateway to understanding the Uzbek culture.
Methodica was founded in 2016, since its inception, Methodika has established itself as a trusted partner for embassies, international NGOs, corporate clients, and private individuals seeking to communicate effectively and respectfully in Uzbek. The school offers a range of flexible programs, including online and offline instruction, private and group classes, and specialized courses for diplomats, business professionals, and newcomers to the country.
What distinguishes Methodica is its pragmatic, culturally-informed methodology. Lessons focus on real-life communication, situational language use, and cross-cultural competence. The instructors – all trained in teaching Uzbek as a foreign language – bring a learner-centered approach, adapting materials and pace to each student’s goals and background.
Importantly, Methodica was the first local school in Uzbekistan to launch a comprehensive Summer Program for foreign learners, combining intensive Uzbek language study with cultural immersion. The program includes travel across Uzbekistan, allowing students to experience the country’s diverse regions, and offers creative, hands-on workshops that connect language learning with art, music, and traditional crafts – making it a truly immersive and memorable educational journey.
Beyond language instruction, Methodica plays a key role in cultural diplomacy. The school organizes language cafés, cultural workshops, and educational events that foster meaningful exchange between locals and internationals. In doing so, it serves not only as an educational institution, but as a cultural bridge.
As Uzbekistan continues to grow as a regional hub, Methodica stands at the forefront of linguistic and cultural integration, equipping global citizens with the tools to engage more deeply and authentically with this dynamic country.
Uzbekistan’s tourism targets are well known: President Mirziyyev has repeatedly stated that he aims to attract 15 million international arrivals a year by 2030, which represents a more than 100% increase from 2023. More valuable metrics for the economy, however, are the financial contribution that travel and tourism (T&T) make to gross domestic product (GDP); and, in parallel, the number of high-quality jobs that the sector creates. It is estimated that by 2033, T&T will account for 290,885 direct jobs in Uzbekistan (almost 2% of total employment, and 60,000 jobs more than present), and indirectly support 902,008 jobs (6% of total employment) in related sectors such as construction, supply chains, etc.
One of the major challenges that Uzbekistan must overcome if it is to realise these ambitious goals is to ensure that it has a workforce capable of developing and delivering the products and services which will drive tourism growth. Uzbekistan’s national workforce is increasing by around 250,000 people per year. Although the official unemployment rate has moved between 4.5-6% in recent years, only 41% of the population is classed as economically active, and many of those are underemployed. What is more, tertiary education enrolment is 31.5%, far below the regional average of 80% across Europe and Central Asia, and skills in critical areas are underdeveloped: according to the World Bank, just 15% of the population demonstrates basic competencies in ICT, for example. This means that any effective tourism development strategy in Uzbekistan must include a substantial education component, to train a workforce with the knowledge and practical skills which businesses desperately need.
Registan Ulugh Beg Madrasah, Sher Dor Madrasa and Tilya Kori Madrassah is a parts of Registan ancient city, Samarkand in Uzbekistan
In recent years, Uzbekistan has established a small number of high-quality educational institutions delivering programmes in tourism and hospitality. Samarkand’s Silk Road International University of Tourism and Cultural Heritage is a prime example, with impressive facilities and faculty which attract students from abroad as well as from across Uzbekistan. However, Silk Road University can only educate 450 students at any one time. Although it may be able to scale up, the model needs to be replicated many times nationwide to meet demand for undergraduate and postgraduate programmes, and it needs to be accompanied by adequate vocational training, including for those who are already employed in the tourism workforce but need to increase and broaden their skillset. After nearly two decades of work in tourism in Central Asia, with partners in both the public and private sectors, I have three priorities for tourism education reform and expansion in Uzbekistan.
Firstly, there needs to be an increase in the number and variety of available courses, and in enrolment. Educational institutions must offer short courses, evening courses, and hybrid and online courses, in addition to conventional 9-5 in-person teaching, so that students can choose flexible options that fit around their professional and family commitments. These courses need to be well marketed, accessible, and affordable, so that high achieving school students, graduates, and others with foreign language skills are inspired to consider a career in tourism, and engage enthusiastically with tourism training.
Secondly, we have to recognise that most tourism and hospitality course curricula in Uzbekistan are not fit for purpose and require a dramatic overhaul. New curricula need to be developed with input from the private sector and relevant associations (for example the Hoteliers Association of Uzbekistan, and the Adventure Travel Trade Association) to ensure that students learn skills the industry needs, and thus are employable on graduation. There needs to be a shift away from predominantly classroom-based learning to practical tasks, problem solving, and creative thinking, combined with intensive foreign language and digital skills training. To deliver this curriculum, institutions will have to modernise their facilities, including creating model hotel rooms and kitchens for simulation activities; and upskill teaching staff, many of whose own experience is outdated. Curricula should not be viewed as static, but should be regularly updated in response to industry and student feedback, keeping up with industry trends and real-world demands.
Lastly, tourism and hospitality education needs to be much better integrated with the private sector. Site visits to hotels and tourist attractions, industry placements and work experience, classes taught by industry professionals, and one-to-one mentoring should be core training components. Students need exposure to how the tourism sector really works, so that they can understand where and how they might fit within it. They need to be able to network with tourism professionals so that they can learn from them and increase their employability. And they need to meet actual tourists, to be reminded why they want to enter the tourism sector, to increase their cultural competencies, and to practice the skills they will need to enter the tourism workforce and be productive and successful.
If there is a mismatch in the supply of and demand for skills, Uzbekistan’s tourism sector will not be able to grow and realise its potential for delivering economic growth and jobs. Too often, the tourism and education sectors are regarded separately, without a coordinated strategy to link them together and achieve their shared objectives. This explains the low employment rate of existing tourism and hospitality graduates, but also the frustration the private sector faces in being unable to recruit staff with appropriate knowledge and skills. With a young, confident, and increasingly outward looking population that is proud of its national identity and welcoming of foreigners, and great but as yet underutilised natural and cultural assets for tourism, the Uzbek Government owes it to its people to ensure that the missing piece in the tourism jigsaw — rigorous, relevant education – is a top priority.
TRANSFORMING SAKEN SEIFULLIN KATRU: FROM A RESEARCH UNIVERSITY TO A WORLD-CLASS INSTITUTION IN AGRICULTURE
Kazakhstan, a country with deep agricultural roots, is rapidly emerging as a major agro-industrial hub. This transformation necessitates the development of a new generation of professionals who are knowledgeable in advanced technologies, scientific innovation, and international standards. Within this context, Saken Seifullin Kazakh Agrotechnical Research University (KATRU, Seifullin University) plays a crucial role in shaping the future of agricultural education, scientific research, and workforce development. The transformation of KATRU aims to elevate it from a research university to a world-class institution.
OCA speaks with Mr. Kanat Tireuov, Doctor of Economics, Professor, Academician of the National Academy of Sciences of the Republic of Kazakhstan, and Chairman of the Board – Rector of KATRU, about the university’s strategic direction, academic transformation, and international ambitions.
OCA: How would you describe Seifullin University in its current state?
Kanat Tireuov: Saken Seifullin Kazakh Agrotechnical Research University, originally established in 1957 as the Akmola Agricultural Institute, is now the leading agricultural university in Kazakhstan. Over the past 68 years, the university has trained more than 100,000 specialists in various sectors of the economy. Today, KATRU is a multidisciplinary institution and plays a crucial role in the modernization of agriculture in Kazakhstan.
OCA: What strategic changes are being implemented to address the challenges of modern education?
KT: We focus on specifically training specialists for each economic sector, especially the agro-industrial complex. Our programs aim to identify promising, in-demand professions by utilizing foresight studies of technologies, equipment, and processes relevant to agriculture. KATRU offers a total of 142 educational programs across 17 fields of study, which include 56 bachelor’s programs, 52 master’s programs, and 34 doctoral programs. Approximately 33% of these are new initiatives, including joint and double-degree programs developed in collaboration with universities from the Americas, Europe, and Southeast Asia. Additionally, 20% of our teaching staff are foreign scientists, and major employers actively participate in the educational process.
OCA: How does the university rank in international standings?
KT: Thanks to the dedicated efforts of our team, Seifullin University has established a strong position in global rankings. In the 2025 QS World University Rankings, we were placed in the 1201+ category. In the QS Asia Rankings, we rank 281st, and we hold the 16th position in Central Asia. Notably, our reputation among employers has improved significantly, rising by 276 positions, which places us among the top 800 universities worldwide in this category. Our strategic goal is to break into the top 500 universities globally by 2029.
OCA: KATRU holds the status of a research university. Could you describe your research ecosystem?
KT: We have established a robust ecosystem for scientific research and technology commercialisation, particularly in agriculture, food processing, and related industries. Our infrastructure includes modern laboratories, experimental workshops, and production centres. This foundation enables students and researchers to create start-ups and bring scientific advancements to market.
In recent years, our research funding has doubled. A key initiative is the establishment of Kazakhstan’s first agricultural Technopark and engineering centre, which focuses on organic production and processing. This major project will foster scientific collaboration, attract investment, implement research practically, and train a new generation of scientists.
OCA: What steps are being taken to modernise academic processes? KT: One of our recent innovations is the dual-training model “2.5 + 1.0 + 0.5”. This model allows students to spend a full year in hands-on training at agricultural enterprises, complementing their academic studies. This system benefits both students and employers: graduates are better prepared, and companies can reduce onboarding and training costs.
OCA: What new educational programmes and partnerships have you forged recently?
KT: KATRU is actively updating its educational content to align with international trends. We collaborate with universities from various countries, including the US, Germany, France, Sweden, Canada, Italy, Portugal, China, South Korea and Russia.
One of our new specialisms is “Agricultural Attaché”, a timely and in-demand field in Kazakhstan. We are also launching a programme in “Water Diplomacy” for sustainable water resource management, in collaboration with leading universities in Europe and Asia. Additionally, we are developing a programme focused on “Aquaculture and Aquatic Bioresources” to support the revival of fish farming in the country.
Other innovative programmes we offer include “Agrobiotechnology”, “Modern Landscape Architecture and Urban Environment Design”, and “Agribusiness”. We take particular pride in our international three-level training model. For instance, in the field of crop production, we have: A bachelor’s programme in “Advanced Agronomic Science”, created in partnership with AgroParisTech (France). Masters programmes in “Agrobiotechnology” (offered with RUDN, Russia) and “Agronomy” (in partnership with Northwest A&F University, China). A doctoral programme in “Plant Science,” offered in collaboration with the University of Alberta (Canada).
This model aligns with the President’s initiative to revitalise breeding and seed production, which is crucial for food security, agricultural sustainability, and Kazakhstan’s competitive presence in the global market. Furthermore, we have partnered with the German University of Weihenstephan-Triesdorf to offer a double-degree master’s programme in “Agrarian Management”, preparing specialists for both the Kazakhstani and international agricultural sectors. Graduates will also have the opportunity to pursue doctoral studies in Germany.
OCA: How successful are your graduates in the job market?
KT: Our graduates are highly sought after both in Kazakhstan and internationally. Many secure positions in esteemed institutions such as Parliament, the Presidential Administration, the Government, and global organisations. Others choose to return to their hometowns to develop family farms, where they make a significant impact on local agriculture.
This strong employability stems from our rigorous academic programmes, which are aligned with global standards and developed with input from industry stakeholders. Additionally, we have established strong connections with over 140 major employers and partner organisations.
KATRU’s long-term goal is to rank among the top 500 universities in the QS World University Rankings by 2029. To achieve this, we will invest in research, enhance international cooperation, and modernise education through practical learning and digital technologies. KATRU aims to advance Kazakhstan’s agricultural sector and establish itself as a global centre for agrotechnical research and innovation.
Interview: Zhanseit Tuimebayev, Chairman of the Board-Rector of Al-Farabi Kazakh National University
OCA: What are the main challenges and prospects of the educational services market that are most significant in your segment? What practices do you use to overcome these challenges?
Zhanseit Tuimbayev: Al-Farabi Kazakh National University (KazNU), Kazakhstan’s leading multidisciplinary institution, combines research and education to train specialists. With over 27,500 students, including 4,000 international learners from more than 50 countries, the university enhances competitiveness through increased enrolment. To address AI, digitalization, and emerging industries, KazNU updates its 500+ academic programs to align with national and global priorities. Advancing towards the era of digital universities, KazNU is busy automating processes and expanding digital resources, offering 127 online courses through the Open KazNU platform and collaborating with Coursera to provide a national digital education initiative.
Generative AI enhances academic programs, improving teaching, learning, and preparing skilled professionals, boosting national and global competitiveness. KazNU offers 60 dual-degree programs with top institutions like Wismar University, University of Lisbon, Sapienza University of Rome, University of Lorraine, Northwestern Polytechnical University, and Lomonosov Moscow State University.
Following the directive of the President of Kazakhstan to establish branches of top foreign universities by 2025, branches of Russia’s National Research Nuclear University “MEPhI” and China’s Northwestern Polytechnical University are now present at our university. Expanding internationally, branches have been opened in Istanbul and Bishkek, with a new branch at Omsk State University planned for September 2025.
KazNU’s academic programs benefit from advanced research initiatives like the Centre for Engineering Competencies in Industrial Robotics. The 5,000 square metre Farabi HUB supports innovation in AI, start-ups, and creative industries with state-of-the-art labs and collaborative spaces. In collaboration with China, KazNU hosts Central Asia’s most powerful supercomputer (1.94 Petaflops), aiding research in AI, biotechnology, energy, and other key sectors, placing Kazakhstan at the forefront of scientific advancement.
KazNU strengthens ties between science and industry through its “Chemical Coating Innovations” centre, producing galvanic coatings and integrating advanced technologies. The Farabi Chem Science cluster, with nine labs, fosters innovation in fire-resistant materials for energy storage and medical solutions. The Kazakh-Chinese Remote Sensing Technologies lab conducts research to enhance risk forecasting. The Faculty of Geography and Nature Management operates the “Sustainable Development and Rational Nature Management” centre, featuring 10 specialized labs tackling climate, digital mapping, hydrology, and geo-ecology to address ecological challenges.
OCA: What are the main trends that, in your opinion, will change the education system in the next five to ten years? What are you doing now to be prepared for the future?
ZT: The education system is transforming due to technology, global challenges, and societal shifts: AI and big data is enabling personalized learning paths tailored to each student’s strengths and future career potential. I expect that the future of education will blend digital and physical learning, with VR providing immersive training in fields such as medicine and science. As the job market evolves, micro-credentials and stackable degrees will likely streamline IT education.
While AI won’t replace workers, those who master it will lead. Ultimately, automation may increase the need for irreplaceable human skills: creativity, empathy, and collaboration. At KazNU, therefore, we look to help create the future. Through digital innovation, global partnerships, and sustainable growth – including our KazNU-grad 2.0 expansion – we shape a world-class hub where students address tomorrow’s challenges today. OCA: What strengths of the university, its team and you as a leader do you consider the most significant in terms of achieving success and maintaining a high level of educational services?
ZT: KazNU excels by combining academic heritage, strategic leadership, and collaborative innovation. As Kazakhstan’s oldest university, we have a legacy of trust among students, partners, and the global community. Our reputation features distinguished alumni like Tattym Shaiken, a senior research fellow at the University of Houston, known for pioneering cancer research; Arkhat Abzhanov, an associate professor at Harvard University and renowned molecular biology innovator; and Vitaly Khutoryansky, a professor at the University of Reading, who has made breakthroughs in polymers, nanomaterials, and pharmaceuticals.
Our faculty comprises seasoned experts and young innovators, with 80% holding advanced degrees and 30% trained abroad. Leadership requires a long-term vision and adaptability. The rector should promote dialogue among students, faculty, and partners from academia, business, and government to ensure transparent decision-making and strategic growth. KazNU exemplifies a unique blend of heritage, adaptability, and visionary leadership, shaping the future of global education innovation.
OCA: What benefits do you offer to the many partners who have joined with your efforts?
ZT: We build sustainable relationships with top global universities and research centres, currently having over 700 partnerships in Europe, North America, Asia, and the Pacific. Our scientists engage in global research via Erasmus+, Fulbright, and DAAD schemes, positioning the university as an innovation hub. Key collaborations include: the “Centre for Legal Research of China and Central Asia,” Xi’an Jiaotong University, the joint “Kazakhstan Research Centre” with Beijing Language and Culture University, and the “Remote Sensing Technologies and Their Applications” lab with the Xinjiang Institute of Ecology and Geography.
In collaboration with a French lab, we launched the ZooStan Archeozoological Centre to study Central Asia. KazNU prepares students for global success through exchanges, internships, and practical training, with over 2,500 participants in academic mobility programs (250 undergraduates, 1,500 master’s, 750 PhDs) since 2022.
KazNU hosts over 700 exchange students from abroad, providing full access to labs and research facilities. Our partnership with the American Council for International Education also brings 120 U.S. students for Kazakh/Russian language training (Flagship Program) and an additional 300 under the RLASP program for cultural and historical studies.
OCA: What advice can you give to students to help them choose the right university?
ZT: Choosing a university is a life-changing decision that shapes your career and worldview. First, define your professional goals. Aspiring IT professionals should seek universities with strong programs and industry connections, such as partnerships with leading companies. Global rankings like QS, where KazNU ranks 166th, can provide guidance. Also consider dual-degree options, academic mobility, and campus infrastructure—digital resources, libraries, and student life. The best university isn’t always the highest-ranked but should be where you can unlock your potential.
I’m delighted to introduce another brimming issue of OCA Magazine, where we continue our commitment to exploring the dynamic and critical role of education in Central Asia and the Caucasus. As nations across Central Asia seek to modernise and diversify their economies, education lies at the heart of these ambitions — not only as a tool for development but as a vital means of preserving identity, fostering innovation, and connecting with the wider world.
The landscape of education in Central Asia has changed dramatically over the past three decades. The post-Soviet era ushered in a wave of reform, with countries across the region working to re-establish their national languages, histories, and educational priorities. New universities have been founded, international partnerships forged, and ambitious reforms launched. Yet, challenges persist — from unequal access in rural communities to outdated curricula and under-resourced institutions. Indeed this issue looks at the risks of educating and developing only half the population as some areas go backwards in how they address and limit access for women in education.
Now, as we find ourselves in a rapid global technological revolution, the question for Central Asia’s educators and policymakers is how to harness new tools, particularly artificial intelligence, while safeguarding the region’s rich cultural heritage. AI has the potential to transform education — from personalised learning systems that can adapt to a student’s needs, to improved data management and research capabilities for universities seeking to elevate their global standing. But, as with any powerful tool, its integration must be thoughtful, inclusive, and aligned with local values and culture.
In this issue, we shine a spotlight on the people and institutions leading this charge. You’ll find profiles of universities, told by their rectors and staff, that are not only bringing international standards of teaching and research to the region but doing so while remaining deeply rooted in local traditions and languages. These institutions understand that a truly world-class education does not mean abandoning heritage, but rather finding new ways to express and share it.
We also examine the broader societal impact of these developments. How can Central Asian countries ensure that rural and marginalised communities are not left behind in the digital age? What role can AI and technology (like Methodica) play in reviving traditional languages and driving cultural diplomacy? And, crucially, how do young people themselves perceive these changes, as they navigate between the worlds of ancient nomadic poetry and cutting-edge coding academies?
As ever, OCA Magazine aims to present a balanced, people-centred view of these issues. Our contributors this issue include educators, entrepreneurial innovators and students — each offering their perspective on how the region might strike this delicate balance between progress and preservation. We also compare East African learnings on education that can be applied in the region and examine Moldova’s gradual approach of combining Soviet-era legacies, European benchmarks and distinct national features into their education system.
I hope this edition inspires thoughtful reflection and sparks new conversations about the future of education in Central Asia. The challenges are real, but so too is the potential for this region to become a leader in demonstrating how tradition and technology can coexist — and indeed, enrich one another.
Happy reading.
NICK ROWAN EDITOR–IN–CHIEF OPEN CENTRAL ASIA MAGAZINE
Donald Trump’s inauguration as the United States’ 47th president has done little, so far, to reduce the global volatility we see both politically and economically. If anything, he has augmented the uncertainty the world faces today. Those who have studied his distributive (“I win you lose”) rather than integrative (“how do we all gain”) approach to negotiation and diplomacy have noted how difficult it will be for his administration to really garner the sort of collaborative approach to the world’s problems that is sorely needed. Politics is not a real estate deal. There is only one Canada – if you deal with your closest neighbour and partner in a way that they lose, you can’t go and find another Canada to trade or deal with. Everybody becomes more insular, and everybody will likely become poorer.
During his first term, Trump’s administration demonstrated a somewhat unfocused approach towards Central Asia, with minimal substantive changes in bilateral relations. If anything it could be described as diplomatic neglect of the region. Rex Tillerson, Trump’s then Secretary of State, did not focus on meeting with Central Asian leaders.
However, Trump’s second term, will need a change in focus. A more pragmatic and business-oriented approach, emphasizing economic co-operation and regional security mechanisms if he is to counter the influence of China and Russia in the region while addressing geopolitical challenges in Afghanistan. If Trump does shift his policy in Central Asia, then there are potential opportunities for Central Asian countries to enhance their bilateral relations with the United States and strengthen their multi-vector foreign policy strategies.
China, nonetheless, remains the region’s largest trading partner, hitting $89 billion in 2023 compared to $54 billion with the EU, $44 billion with Russia and a meagre $4 billion with the United States. Although the EU’s share of trade is higher than Russia, its geographically near neighbour, Russia remains a more robust and reliable partner. There are reasons to believe that a significant share of the EU trade is actually transhipments to Russia that aim to circumvent Western sanctions. Georgia plays a critical role in facilitating trade from the West, but the ongoing Armenian-Azerbaijani dispute over what Baku terms the “Zangezur Corridor” poses challenges for this route in the future. Unless it can be resolved, China will be the biggest winner and that will not sit well with the Trump Administration.
The US will have to make some tough, and potentially controversial, choices as to whether handicapping China is more important than the Russian “problem”. Russian sanctions haven’t worked as punitively as intended. As noted above, trade with Russia has boomed, and the EU trade routes have likely facilitated this indirectly. If the US fails to act, then China’s position in the region will inevitably become more dominant, providing easier access to energy and minerals and providing a suitable conduit for increasing trade with Iran. China’s existing dependence on energy imports by sea provides the US Navy significant leverage in any potential conflict with China, including via a blockade of the Malacca Strait chokepoint.
When it comes to investments, Central Asia tends not to rely too heavily on the US, having had declining relations over recent years and seeking investment partners through international financial institutions such as the World Bank and the Asian Development Bank. Kazakhstan might be a little more susceptible, however, due to its reliance on major US investors.
Finally, Trump’s decision to freeze foreign aid will have some impact on development of civil society and improving the region’s stability and prosperity (albeit it is not the major donor to the region). It would likely have the greatest impact on Tajikistan and Kyrgyzstan.
One thing for sure is that the rollercoaster continues and it Is sure to have plenty of bumps and loops before any sense of stability can be reached.
As the Navruz holidays approach, may I take this opportunity from all of us at OCA Magazine to wish you a Happy Navruz! Enjoy the issue.
NICK ROWAN EDITOR–IN–CHIEF OPEN CENTRAL ASIA MAGAZINE
The best investment you can make is in yourself. It cannot be lost, and even in our unpredictable world, personal capital remains the most reliable asset. Many outstanding individuals from various fields prove this statement true. Some invest in education, others in expanding their horizons, and some in developing their talents. In the creative industries, having talent is important, but knowing how to cultivate and utilize it is even more crucial.
Lusine Aleksanyan is a young, yet already recognized author. Her fourth book, “And a Butterfly Soared”, was published in August 2024 in the UK. It is now available not only on Amazon but also in major bookstores such as Waterstones, Barnes & Noble, and others. This is a significant achievement for a writer who started her career in a country with a relatively small book market. However, what makes her story even more remarkable is that literature is not her primary occupation.
Lusine is a maxillofacial surgeon, a practicing doctor with an intense work schedule. Her daily routine includes surgeries, consultations, and scientific research. Yet, despite her demanding profession, she finds time for writing—because she simply cannot live without it.
“I never wrote with the intention of being published. Every line was born at the peak of emotion when I didn’t know where to release my feelings, so I poured them onto paper. I think that’s what makes my works stand out—they are sincere, emotional, and filled with genuine experiences that cannot be faked.”
This deeply personal approach makes her books resonate with readers. However, raw talent and emotions alone are not enough to break into the international literary scene. Lusine achieved this milestone through a combination of factors.
First, she writes about what she knows best. The world of medicine in her novels is portrayed without embellishment: students entering medical school, their first night shifts, first surgeries, the fear of failure, their initial successes, and the tragedies that shape them. Her characters are young doctors facing not only professional challenges but also personal struggles—first love, heartbreak, and situations where their decisions determine the fate of others. The authenticity of these experiences makes her books compelling and relatable.
Second, she has found a way to balance two seemingly incompatible worlds. Between working at the clinic, conducting research, and defending her PhD thesis, Lusine continues to write. Despite her limited free time, she has already published four books and is currently working on her next novel.
“I know that one day I will take off my white coat. But even after that, books and my passion for writing will always remain in my life!” Her journey proves that even the busiest schedules can accommodate a dream if pursued consistently, step by step.
But writing alone is not enough to reach an international audience. One must also be willing to promote their work. In 2021, Lusine participated in the “Open Eurasia” competition organized by the Eurasian Creative Guild, where she became a finalist in the “Prose” category. Her talent was recognized with a special award from the international organization “Generals of the World for Peace” for her contribution to promoting tolerance.
Two years later, she decided to try again—and this time, she won. In 2023, Lusine became the laureate of the Open Eurasia Super Cup, and her participation in the “Open Eurasian Literature Festival & Book Forum” was a milestone event. This victory paved the way for her to publish And a Butterfly Soared in the UK, granting her access to a global readership.
Today, her books are read far beyond Armenia. Her success is proof that even a small stage can lead to a large audience if one takes the right steps. Lusine’s story demonstrates how international competitions and literary festivals can serve as powerful platforms for both professional growth and global recognition.
However, perhaps the most significant factor in her success is the support of her loved ones. “The only person who believed in me from the very beginning was my husband. Through all my ups and downs, he has always held my hand firmly.”
These words echo the experiences of many great writers whose success was shaped not only by their own efforts but also by the unwavering support of those closest to them. Even the strongest individuals experience self-doubt, and in those moments, a solid support system can make all the difference.
Lusine Aleksanyan’s journey is not just a story of a talented individual. It is a testament to the power of perseverance, strategic self-investment, and the courage to seize opportunities. She has proven that creativity is not merely about inspiration — it is about discipline, determination, and believing in oneself.
If you have a story to tell, if you have a dream you don’t want to put off for later, Lusine’s path serves as a powerful reminder: no matter how challenging your circumstances, you can always find time, opportunities, and the strength to achieve your goal.
THE SHIFT OF THE INVESTMENT LANDSCAPE IN CENTRAL ASIAN AND CIS COUNTRIES: CURRENT TRENDS AND FUTURE OUTLOOK
Things are moving fast in Central Asia and the former Soviet Union (CIS) countries. The investment landscape has undergone significant changes driven by geopolitical shifts, economic reforms and evolving global market trends. Both traditional and non-traditional capital is finding its way into the region, with inflows generally finding homes in the energy, infrastructure, digital technology and agriculture sectors. A variety of factors sit behind this, but government diversification efforts, shifts in international alliances, and the post COVID-19 economic response are key as well as the ongoing effects of the war in Ukraine.
GEOPOLITICAL AND ECONOMIC SHIFTS: A NEW REGIONAL DYNAMIC
Much of the last two decades have seen investment flows into the region driven by Russia and China. Russia’s economic influence was underscored by its energy exports and trading hub role, while China increasingly extended its Belt and Road Initiative (BRI) into Central Asia. Since 2022, however, there has been a notable shift. The war in Ukraine and Russia’s growing isolation from the West has accelerated the diversification of investment sources. Central Asia and CIS countries, many of which have historically been close to Russia, have sought to reduce their economic dependence on Moscow, looking to alternative partners.
China, was already a major player in the region and has seized the opportunity to expand its economic footprint. Western countries, such as Turkey, South Korea, and even the Gulf States now also find themselves courted by the region. It is no secret that Uzbekistan and Kazakhstan want closer ties with the European Union, and the rise of the UAE and Qatar as key investors in Central Asia reflects the growing importance of the Gulf as a source of capital and technology.
ENERGY TRANSITION AND INFRASTRUCTURE DEVELOPMENT
Energy has long been the backbone of the region’s economy, particularly in countries like Kazakhstan, Turkmenistan, and Azerbaijan, with rich oil and gas resources. However, there is now a clear shift towards energy diversification with the transition to renewable energy and green technologies. Central Asia has abundant solar and wind energy potential and could become a new hub for green energy investments. Kazakhstan has been seeking international partners to develop not just its oil and gas sector but also solar and wind. Turkmenistan has sought to improve its gas extraction efficiency and reduce flaring and carbon emissions. Meanwhile Uzbekistan has been modernizing its energy infrastructure, including power plants, in order to meet domestic energy needs and expand export capacity. The Central Asia Regional Economic Cooperation (CAREC) Program, which involves multiple Central Asian countries along with international financial institutions like the Asian Development Bank, has been a key framework for developing cross-border infrastructure projects. TECHNOLOGICAL TRANSFORMATION: THE DIGITAL REVOLUTION
A growing tech-savvy population, and government-backed initiatives, have brought a digital and technological revolution to the region. Kazakhstan and Uzbekistan have invested heavily in digital infrastructure and the development of tech hubs. Kazakhstan, in particular, has established itself as a regional leader in terms of digital innovation, with the government fostering a start-up ecosystem in Almaty and Astana, as well as pursuing large-scale digitalization in public services and banking sectors. The country has been keen to export its FinTech expertise to neighbouring markets.
The creation of a more favourable regulatory environment for fintech and e-commerce has attracted international venture capital. Uzbekistan has focused on the development of a digital economy and digital payment infrastructure. In 2020, the country introduced reforms modernising its IT sector, with new laws promoting the use of blockchain and crypto technologies. Although some way behind due to infrastructure challenges and political stability, Kyrgyzstan, Tajikistan and Armenia are making initial strides in this arena. AGRICULTURAL DEVELOPMENT: A STRATEGIC FOCUS
Agriculture has been (and remains) a critical sector in many CIS and Central Asian economies, particularly for countries like Kyrgyzstan, Tajikistan, and Uzbekistan, where it accounts for a large portion of GDP and employment. The last five years have seen modernisations with better irrigation and higher value production. Uzbekistan has reformed its cotton farming to reduce export reliance and improve yields through better technology and farming practices. Kazakhstan has diversified away from grain export to organic products, seeing increased demand internationally. The region is advantaged by its strategic position between Europe, China, and the Middle East.
Water scarcity issues have been significant in the region. Investment in better water-efficient irrigation systems, as well as precision farming technologies, is key to the sector’s future growth.
A REGION THAT CONTINUES TO RISE
The investment landscape will continue to evolve through: Increased Geopolitical Engagement: The Ukraine conflict has shown the fragility of depending on past partners and the region will have to balance relationships with Russia, China, the EU, and other regional powers. No doubt Central Asian countries will need to forge deeper ties with emerging markets, especially in Africa and the Middle East, to boost trade and investment.
Diversification: The region will need to continue its efforts to diversify away from energy dependence through technology, renewable energy, and sustainable agriculture. Central Asia’s natural resources will continue to attract investment, but there will be a growing focus on value-added industries, such as manufacturing and tech-driven services.
Digitalization and Innovation: As digital infrastructure improves, the region should become a hub for digital start-ups and innovation. Fintech, e-commerce, and AI will likely drive economic growth.
Sustainability: Although governments are slowing down or reversing policies on climate change and sustainability, the trend towards green investments (especially renewable energy, sustainable agriculture, and eco-friendly infrastructure) is likely to continue.
However, challenges do remain. The regions markets are small, infrastructure is limited, property rights are not clear and there are regulatory and fiscal hurdles to overcome. We shouldn’t underestimate the role that regional trade as an economic bloc will have as protection from outside influences and the closer cultural ties and understanding will give neighbours an advantage. With its strategic location, rich resources, and a burgeoning digital economy, Central Asia is positioning itself well as a key player in the regional and likely global investment map in the years to come.
SILKROADLAND: MIXING ADVENTURE AND KNOWLEDGE TO CREATE “EDUTAINMENT”
The modern world, despite certain economic and political tensions, supports the idea of developing intercultural relations and preserving global cultural heritage. One of the most effective, accessible, exciting and, at the same time, investment-attractive formats of such work is the theme park. For example, Disneyland – one of the most popular amusement parks in the world – generates revenues of approximately $253 billion annually and provides jobs for more than 300,000 people, according to various sources. There are only a few such magical places in the world: in California, Tokyo, Hong Kong, Paris and Florida. There are parks dedicated to ecology, zoology, dinosaurs and many other subjects, but there is still no park that promotes one of the greatest eras in world civilization history and culture, which in many ways defined modern progress.
BIG IDEA
This, of course, is the subject of the Great Silk Road. For more than fifteen centuries, this economic (and political) network linked countries from China to Britain, carrying the latest scientific ideas and the unique beauty of each nation along caravan routes over land and sea. And although it is generally accepted that the Silk Road ended on the west coast of mainland Eurasia, the Roman Empire also provided access to the territories of the modern United Kingdom (still home to many treasures and relics, and actively integrating the best minds from around the world into its system).
In 2016, at the request of her grandson, Sultan, to create a silk cocoon of immortality, Gulchekhra-begim Makhmudova (PhD in Art science), who has been studying the processes of integration of Eastern and Western cultures for many years, collected ancient legends she had heard from her grandmother into the first volume of the children’s book ‘The Legends of Great Silk Road. Adventures of the Spirit of Time’. Almost immediately, the idea of creating an educational and amusement theme park ‘SilkRoadLand’ on the Disneyland model was born. As in the case of Disney, the presence of attractive characters from ancient legends, as well as main characters of modern times make up the basis of this theme park.
The idea of the park was developed and visualised by the famous French company ‘Voltere by Egis’, and the copyright for it was registered in 2018 year by the Intellectual Property Agency of the Republic of Uzbekistan SUE (#000864). The international community expect the project to find success not just at home but also abroad.
CONCEPT
The park will be the world’s first oriental edutainment park and an attractive tourist destination. It will be filled with exciting immersive attractions as well as educational centres such as the Ulugbek Stars Observatory, Avicenna Clinic, Al-Ula Incense Centre and many others on Caravan Silk Road and Maritime Silk Road areas. Treasure hunting in search of a silk cocoon of immortality with scientific discovery will be the leitmotif that will guide visitors through the park. The main format will be immersive shows where children and their parents will become active participants in a journey through time with specially trained animation guides. The impressive ‘SilkRoadLand’ complex is designed to be more than just a weekend entertainment experience, but an adventure area capable of capturing the public’s interest and ensuring that visitors return to the park several times. Its educational purpose will make it a project that preserves the heritage of the Silk Road countries and passes it on to future generations.
WORK IN PROGRESS
To date, the visualisation, feasibility study and timetable are fully ready. The project was actively supported by the Ministry of Tourism of the Republic of Uzbekistan, and information about it was sent to all Embassies in Uzbekistan to attract potential international partners. Thanks to this, in February 2024 the Embassy of Qatar invited the author of the project Gulchekhra-begim Makhmudova to a meeting with Power International Holding, where a memorandum of understanding was signed. Within the framework of the memorandum, at the insistence of the project author, it was agreed that the first oriental Edutainment ‘SilkRoadLand’ park will be launched in Uzbekistan, and then start franchise parks in other countries.
Not only technical issues, but also the creative component has been detailed and expanded. Since the registration of the project, Gulchekhra-begim has written four fairy tale books about history adventures of the Spirit of Time named Zaman Bobo and his young friends. The first two 3D animation films of the same name have already been shown to audiences, and parts 3 and 4 are in production with consolidated resources of Uzbek Film and the Association of Animation of Uzbekistan. More than that, four seasons of the animated series are in the works, each of which will consist of ten short cartoons available for kids aged 6+. This strong media background makes the project interesting not only in terms of the direct investment into SilkRoadLand park, but also in monetization heroes of the Spirit of Time through merchandise, printing production and various visual content.
Now the Ministry of Tourism of Uzbekistan is actively working on attracting international partners from Turkey, India and Azerbaijan. Kazakhstan has also expressed interest in the implementation of this project. The project is open for co-investors and partners in all kinds of areas.
RECOGNITION
The project has already received high praise from French and Qatari partners, with influential woman May Musk expressing interest.
Attempts to replicate the project within Uzbekistan have also become a symbol of recognition. In the spring of this year, the construction of a water park ‘The Grand Serai’, was announced in Tashkent, very similar in style and name to one of the fragments of ‘SilkRoadLand’. That project is much more decoration shopping scale, than the original idea, but the visualisation of the project is clearly inspired by the images developed by ‘Voltere by Egis’. Anyway, that is to compliment the SilkRoadLand project with a wise oriental proverb – “If others find value in copying you, it means your work is highly regarded”.
Meanwhile, the‘Adventures of the Spirit of Time’book series has been published in the UK and nominated for Best Adaptation for Children award by Hertfordshire Press. This will make the characters and the concept of the park itself, which is a recurring theme in the ‘Adventures of the Spirit of Time’ books, as accessible and relevant to an international audience as Walt Disney’s characters. This approach will transform ‘SilkRoadLand’ from a local project for a domestic audience into an international tourist attraction with strong franchise treasures potential for active and future co-investors.
CENTRAL ASIA PROVIDES A RARE HIGHLIGHT IN TODAY’S CHALLENGING REAL ESTATE INVESTMENT CLIMATE
For many, the housing and wider real estate markets have had a miserable year. Interest costs have increased alongside inflation of general running costs and buyers are few and far between, making prices look frothy. But Central Asia is providing a rare ray of sunshine in this sector.
KAZAKHSTAN
The real estate market in Kazakhstan is active and dynamic across several sectors. Astana continues to grow as a ‘new’ capital (population 1.1mn) with many new residential projects whilst Almaty (population 2.3mn) short of free land, still presents excellent opportunities for Developers can secure prime sites by clearing old ‘private sector’ property, compensating existing owners with negotiated fair market value. The fastest-growing commercial sector is logistics with current prices for warehouse space surpassing prices in Manchester and Dubai. This is credited to Kazakhstan’s central location on international trade routes such as the Trans-Caspian International Transport Route and connecting China to the EU. Rental prices have increased by 2.7% since 2022 and are predicted to grow further.
Offices in Kazakhstan are the most developed sector with more than 1.6 million square meters of supply between Astana and Almaty alone. Rental rates have been growing since the pandemic, which can be attributed to supply not meeting the demand (especially for A-class office space) and high occupancy rates meaning that rental rates increase. Current A-class lease rates are up to $70 per square metre per month. The residential market in Kazakhstan is unique as there is 95% homeownership. The market experienced a rapid price increase in 2020-2021 due to increased demand but prices decreased in 2022 and 2023 as the outstanding demand was met and the market has slowed down. Average sale prices for comfort class are approximately $2,000 per square metre (sqm), whilst elite class is up to $5,000 sqm. Mortgages are still very expensive with annual interest rates of 18-20% so most buyers use cash or take advantage of instalment schemes offered by developers on new-build projects.
Tourism has been noticeably increasing in Kazakhstan both International and domestic tourism especially in Almaty particularly after the pandemic. Domestic tourism makes up 70% of the total number of visitors to Almaty. This, coupled with state-supported initiatives, will lead to growth in tourism and an increase of demand for hotels in Kazakhstan and specifically Almaty. There are at least 3 new five-star hotel projects which should be realized in the next 2-3 years.
Retail and shopping centres have been seeing rapid growth due to the economic progression of the country with 28 shopping and entertainment malls being commissioned in 2023 alone (the highest in the last 9 years).
UZBEKISTAN
The real estate market in Uzbekistan is still in a ‘boom’ period which started around 5 years ago soon after President Mirziyoyev became the new leader. Tashkent (population 3mn) is currently a ‘sea of cranes’ and this scene is also reflected countrywide. A new airport opened in the 2nd largest city Samarkand (population 600,000) in 2022 with an investment of $83mn whilst the popular high-speed Afrosiyab train line is also being extended along with many other important infrastructure projects.
Uzbekistan with a 37mn population is the largest market in Central Asia. An annual growth of 500,000 people has created strong demand for every property type, including foreign investors. New residential developments are the most popular sector with both economy class prices now doubled up to $1,000 per square metre (sqm) whereas as luxury units such as the stylish Mirabad avenue have sale prices up to $3,000 sqm.
The catalyst for this construction explosion was a visionary project called Tashkent City IBC built on a-80-hectares site of old private sector housing demolished in the city-centre. 3 metro stations are conveniently adjacent.
The site was divided into 8 plots and sold off to private developers under an approved ‘green-hearted’ masterplan creating a vibrant attractive mixed-use zone with exciting options for all city residents. Most of the construction was completed from 2018-2022 with the vast 225,000 square-metre Tashkent City Mall opening in March this year. Nearby is the two-storey Congress Centre which comprises a spectacular 70-by-70 metre sub-dividable main hall, sitting adjacent to the 22-storey 5-star Hilton hotel. Next-door is the iconic 51-floor Nest One tower which has high-class offices, apartments, hotel, restaurants and a luxury shopping gallery.
Another major construction project underway is the $290 mn Olympic village in Tashkent for the 2025 Asian Youth Games. Unfortunately, due to pandemic-related delays these games have recently been relocated to Bahrain. However, these state-of-the-art facilities will now be focussed on developing Uzbek sports to a new level and will be fully prepared to host major international sports events in the future.
Finally, ‘Tashkent New City’ is a new twin capital for Uzbekistan. This masterplan is on a vast expanse of 20,000 hectares of land immediately east of the existing city. A new airport city, trade district, CBD and administrative district covering 300 hectares represents the first phase of this amazing legacy project which will ultimately almost double the city population to 5.5mn.
TAJIKISTAN
Tajikistan has experienced strong growth in its real estate market in recent years with it now valued at $66 billion. The residential market represents about 90% of this figure. Over the next 5 years it is also expected to grow on average at about 4.75% per year. There has been good demand for luxury apartments in the capital Dushanbe (population 1mn). Current trends are for high-rise construction plus an emphasis on green buildings. There has been increasing investment from China with agriculture, infrastructure and manufacturing seeing a lot of new projects.
The construction ‘boom’ has been further supported by the government under a simplification of procedures for obtaining construction permits and specific tax incentives. As in other Central Asian countries the demand for housing has been driven by a growing population and an increasing number of young professionals seeking affordable and modern housing options. Recent economic growth has resulted in an increase in disposable income and improved living standards.
A major catalyst for property development in the country was definitely the first mixed-use project built by Qatari Diar more than 10 years ago. Diar Dushanbe is a unique construction in a stunning location on the shores of Lake Javanon comprising premium residences, serviced apartments, commercial space, retail units and a boutique hotel with 117 rooms and 69 serviced apartments. ADB has, however, identified key constraints facing the general housing sector including limited stock, lack of affordability, poor maintenance and weak institutions. The average monthly salary is $120-150 while the average cost of a new residential building in Dushanbe is in the range $500-1,000 per square metre. The 22% interest rate and short tenure of housing mortgages make them inaccessible for most citizens. The housing stock has in general been poorly maintained and about 50% of multi-storey houses plus 22% of single storey homes are more than 50 years old.
However, leading the current residential boom especially in the high-rise residential sector are progressive national companies such as Armon Development and Elite Story Servis whilst another Qatari developer Qamar Group is also prominent. This will help the country immensely increasing its level of urbanisation from a low 26% now up to 43% as projected by 2050. Busy exciting cities should be the engine driving further economic growth and prosperity.
by Roger Holland, Founder & Managing Partner leading dynamic property advisory firm
V WORLD NOMAD GAMES: A KAZAKH PARODY OF THE OLYMPICS?
The 5th World Nomad Games (WGN), held in Astana in September 2024, attracted participants from more than 80 countries. The event attracted the attention of local and international media, as well as social media users. Rather than a celebration of ethno-sports, however, it was a source of scandal and criticism for its poor organisation.
WHERE DID THE FANS LIVE?
Sport, spectacle and a unique national flavour – these were the components that made the World Nomad Games popular with the public and attracted athletes. Since 2014, when the first competitions of this kind were held in Cholpon-Ata, their popularity has grown. The number of participants has also increased. The inaugural VIK gathered 583 athletes on the coast of Issyk-Kul, while the fourth Games, to be held in Turkey in 2022, attracted more than 3,000 participants from 102 countries. In terms of the number of athletes, Astana, which hosted this year’s WIC, lagged behind. According to the official website of the Games, 2.5 thousand athletes from 89 countries arrived to take part in this event.
At the same time, Kazakhstan boasted an incredible number of foreign tourists attending the Games. According to the Ministry of Tourism and Sports, 597,000 foreign tourists visited Astana during the two weeks. And, as Deputy Minister of Tourism and Sports Yerzhan Erkinbaev explained, 68,000 people arrived via the international airports in Astana and Almaty, while the rest used other modes of transport such as rail and road.
The figure is impressive, but when compared with other official statistics, it seems exaggerated. Very much so.
First of all, according to the National Statistics Agency of the Russian Federation, the number of rooms in the Kazakh capital does not exceed 10,000. They could hardly accommodate all the tourists registered by the Kazakh Ministry of Tourism at the same time. So, the question of how many foreign and non-resident fans actually visited the VIC remains open.
THE MEDIA WERE NOT SATISFIED
Media coverage of the VIC was inadequate. The ganes were barely discussed in the international press, indicating a complete lack of promotion. And when the games in Kazakhstan were compared with those in Kyrgyzstan, Astana lost out in terms of coverage by major international media.
The media coverage of the first VIC in Kyrgyzstan – in Cholpon-Ata – was quite modest. Such an event had never been held before, and the Kyrgyz authorities were able to attract only Kyrgyz journalists and reporters from the countries participating in the ethno-competitions to cover the Games. Despite the very limited PR, the games created a furore and more than 650 media representatives gathered to cover the Second World Nomad Games, of which more than 300 worked for 90 foreign publications from 35 countries. The Third World Nomad Games attracted 500 media representatives, including media from 35 countries.
According to official data, 1,285 journalists were accredited to the V World Nomad Games – 933 of them Kazakh and 352 foreign. It can be said that the media interest in the competitions was even higher than before. However, judging by the feedback from journalists working in the Kazakh VIC, they were not happy with the working conditions created for them by the organisers.
In Astana, journalists and photographers faced access restrictions and interference from security forces. Many were banned from filming key events, including the finals, which angered both local and foreign journalists. They stressed that the lack of shooting areas and the lack of support from the organisers made it impossible for them to cover the Games.
NOT ENOUGH AUTHENTICITY
The choice of Astana, the capital of Kazakhstan, as the venue for the World Nomad Games was also not very successful. All previous games were held in cities that did not have capital status. In Kyrgyzstan it was the tourist centre of the republic – Cholpon-Ata, in Turkey – the city of Iznik in the province of Bursa, which also attracts tourists. Astana does not fit into this category at all. The city is not a resort, not burdened with a rich cultural and historical heritage. Kazakhstan’s capital is about administration, business and technology, not the energetic sports of nomadic peoples.
The question of the authenticity of the WNG is probably the most important one from the point of view of tourism. For locals, games like kokparu are not exotic, but foreigners enjoy the national flavour. That is why the competitions and infrastructure of the games should have been as authentic as possible.
In addition, the organisers did not seem to consider that the foreign guests they were betting on were unlikely to enjoy little-known sports that were incomprehensible to those watching them for the first time. There was no provision for the rules of the national competitions to be explained in English. And this was a great waste, as it severely limited the understanding of foreign spectators.
OLYMPIC DREAMS
In general, of course, the V World Nomad Games as an ethnic competition should not only have become a test of agility, speed and strength for the athletes, but also another excursion into the culture of the nomads with their identity and hospitality. Instead, it turned out to be a completely inappropriate officiousness that nullified the ethnic component of the VIK.
Comparisons with the Olympics were not made in a complimentary way. Blogger Mirlan Sharshenbayev wrote that the Astana event was more reminiscent of the classic Olympics than the World Nomad Games. He noted that the similarity between the two sporting events was that many of the competitions were held indoors, which is unthinkable for traditional nomadic disciplines. Mass-wrestling, tug-of-war in a building is nonsense, it destroys the very concept of nomadic sports, which should only take place outdoors.
After the WNG, the Ministry of Tourism reported that Kazakhstan spent 5.7 billion KZT ($11.8 million) on organising the games. At the same time, tourists spent $15.5 million, or 7.5 billion KZT, on accommodation, transport, food and entertainment. According to general calculations, the participants in the World Nomad Games also contributed an additional $625,000 to the country’s economy. In general, Kazakhstan made back the money they invested, at least if we believe the official figures.
INAUGURAL TIMES HIGHER EDUCATION FORUM HELD IN UZBEKISTAN
In October, Tashkent hosted the inaugural Central Asian Universities Forum, organized by Times Higher Education in partnership with New Uzbekistan University. This landmark event brought together over 350 delegates from 25 countries, including 60 leaders of international organizations and representatives from 97 higher education institutions, including some from the top 10 global universities. The forum provided a unique platform for exchanging ideas and fostering collaboration across the fields of education, public policy, and business.
The central theme of the forum was shaping the future of higher education in Central Asia, addressing pressing issues and exploring innovative solutions to help universities in the region advance. These discussions culminated in recommendations aimed at boosting educational development in the region. Uzbekistan, in particular, has made significant strides in education reforms in recent years. As a result, the country’s higher education enrolment rate has more than quadrupled, rising from 9% in 2016 to 38%. This increase has translated into a 1.3 million rise in the number of students. Hilola Umarova, Minister of Pre-school and School Education and Rector of New Uzbekistan University, emphasized the importance of these reforms: “Step by step, we are building a fundamentally new education system, sharing best practices with our regional colleagues, and launching student exchange programs to ensure the region’s presence in the global community. Science and education are historically strong pillars of development for our country and all Central Asian states. We are revitalizing this legacy by investing in the education and future of our children.”
Phil Batey, head of international relations at Times Higher Education, highlighted Tashkent’s potential as an emerging education and technology hub. He noted that Central Asia has seen impressive progress in the past five years, with the region’s universities rapidly advancing in global rankings. “Central Asia is attracting more international students, its research base is growing, and its universities are reforming to meet high international standards. This region is becoming an important bridge between East and West,” he said.
The forum also facilitated bilateral meetings, leading to cooperation agreements between Uzbek universities and foreign institutions. Ibrahim Al Hajri, President of Khalifa University (UAE), discussed the region’s educational potential, noting: “Education in the countries of Asia and the East has historically been strong and has consistently ranked highly in global assessments.” He underscored the importance of Central Asia as a partner in education, confirming agreements with New Uzbekistan University for student exchange and joint research projects.
The forum also addressed the challenges that Uzbekistan’s education system might face as it continues to grow. Rita Almeida, Head of the World Bank’s Global Education Practice for Europe and Central Asia, spoke optimistically about the region’s future, noting that its growing demographics will contribute significantly to growth and development. However, she stressed that this growth would necessitate a strategic approach to university enrolment and effective use of the region’s human potential. “The higher education sector, along with skilled professionals, will be critical to economic diversification,” she said.
MIT’s Vice President, Professor Eric Grimson, who led a delegation from the Massachusetts Institute of Technology to Tashkent, also spoke at the forum. He highlighted the importance of education meeting industry needs. “Today, cooperation between education and industry is essential across all sectors, not just for technological professions,” he said. Grimson noted that MIT sees great potential in the region and is keen to support Central Asian universities as they develop.
As a result of the forum, three Uzbek universities made notable progress in the Times Higher Education rankings: the Tashkent Institute of Irrigation and Agricultural Mechanization Engineers entered the Top 600, the National University of Uzbekistan secured a spot in the Top 1,001, and the Tashkent University of Information Technologies was ranked in the Top 1,501.
A HIGHLAND FLING: SCOTTISH INVESTMENT IN CENTRAL ASIA
Drone shot of Eilean Donan Castle, Scotland
As of this year, Great Britain has enhanced its focus and attention on Central Asia. David Cameron, the UK Foreign Secretary and former Prime Minister, conducted a high-profile visit to all five Central Asian states and Mongolia in April 2024. His visit was to talk about investment and build economic relations in light of Central Asia’s increasing importance in world trade. It was the first time a British Foreign Minister visited Tajikistan. No doubt he was also trying to increase Central Asia’s independence from Russia as well, given the situation in Russia-Ukraine. He announced GBP50 million in investment during the visit, to boost growth and trade over the next three years. Cameron also signed new memorandums of understanding and economic agreements with Tajikistan, Kyrgyzstan, Uzbekistan, and Kazakhstan, expanding cooperation.
In the past, Scotland has been very influential in Kazakhstan’s and Azerbaijan’s oil sector, particularly the given its experience in North Sea oil. Quite a few Scottish oil services companies operate in the Caspian. As North Sea operations wind down, given the shrinking rate of recoverable oil, some Scottish Oil & Gas companies have sought opportunities in Central Asia.
For 10 years I worked on the Board of Directors of Wood & Co, a global oil and gas engineering co largely based in Aberdeen, which ran a very successful Kazakhstan Joint Venture. Wood provided leading oil & gas services from around the world to Kazakh oil & gas companies Upstream and downstream companies, including Kashagan, Chevron TCO, and Karachaganak.
Scottish investment in the CIS, and therefore Central Asia, are subject to the increasingly fraught state of relations with the Russian Federation and not just Central Asia’s increasing geopolitical influence. The West, the UK, and Scotland, have increasingly tried to participate in Central Asia’s economy, including through multi-national economic or infrastructure projects such as the Central Asian CASA-1000 Hydro Project.
Scotland’s fund and asset management sector has been relatively active in Asia. Only recently has it become obvious to what extent Central Asia justifies an allocation from these funds. If it weren’t for the Russian risk, these allocations would probably go up.
Central Asia’s Belt & Road projects give a Chinese angle to Scottish investment in the region. To an extent, given the increasing importance of Chinese investment in Central Asia, Central Asia is seen as a proxy investment in China to some extent. Given the historical relationship between Scottish companies and the “Hongs” of Hong Kong, such as Jardine group, there might be similar opportunities in the future for Scottish companies given China’s rapid expansion in Central Asia. However, deeper participation with China trade has its risks.
There is the subject of sanctions circumvention and dual-use goods, but this does not really apply to Scottish companies. They don’t have the historical relationship with Russian trade that creates this risk to the same extent as local companies.
Opportunities in the Middle Corridor, and cross Caspian trade, are an increasing opportunity for Scottish companies. An alternative to the Russian trade route, the Middle Corridor is seeing an increase in traffic. This goes hand in Hand with the growing international presence of Central Asian imports and exports. Other western nations are also recognizing Central Asia’s increasing importance. This includes President Biden’s September meeting with the Central Asian heads of state, the U.S. establishment of the Critical Mineral Dialogue, and the EU’s €10 billion Central Asia infrastructure investment in January. Scottish investment would be alongside such interest. The UK’s parliamentary Foreign Affairs Committee, which includes Scottish participation, published a report November 2023 that recommended greater engagement with Central Asia.
Scottish investment in Central Asian oil & gas is likely to continue, with new opportunities in other sectors of the Central Asian economies opening up. Some Scottish oil & gas companies are expanding into mining, such as Wood & Co. There are certainly mining opportunities in Central Asia. Edinburgh’s financial sector hasn’t traditionally been that involved in Central Asia’s new financial hubs, or maturing property sectors, but there are an increasing number of opportunities emerging. As the Central Asian economies seek further independence from their two powerful neighbours, Scotland has a lot to offer. There is an opportunity to build new and enduring economic relationships in Central Asia as these new nations mature and grow.
CAN TURKMENISTAN SHRUG ITS ANTI-FOREIGN INVESTMENT IMAGE?
As of this year, Great Britain has enhanced its focus and attention on Central Asia. David Cameron, the UK Foreign Secretary and former Prime Minister, conducted a high-profile visit to all five Central Asian states and Mongolia in April 2024. His visit was to talk about investment and build economic relations in light of Central Asia’s increasing importance in world trade. It was the first time a British Foreign Minister visited Tajikistan. No doubt he was also trying to increase Central Asia’s independence from Russia as well, given the situation in Russia-Ukraine. He announced GBP50 million in investment during the visit, to boost growth and trade over the next three years. Cameron also signed new memorandums of understanding and economic agreements with Tajikistan, Kyrgyzstan, Uzbekistan, and Kazakhstan, expanding cooperation.
In the past, Scotland has been very influential in Kazakhstan’s and Azerbaijan’s oil sector, particularly the given its experience in North Sea oil. Quite a few Scottish oil services companies operate in the Caspian. As North Sea operations wind down, given the shrinking rate of recoverable oil, some Scottish Oil & Gas companies have sought opportunities in Central Asia.
For 10 years I worked on the Board of Directors of Wood & Co, a global oil and gas engineering co largely based in Aberdeen, which ran a very successful Kazakhstan Joint Venture. Wood provided leading oil & gas services from around the world to Kazakh oil & gas companies Upstream and downstream companies, including Kashagan, Chevron TCO, and Karachaganak.
Scottish investment in the CIS, and therefore Central Asia, are subject to the increasingly fraught state of relations with the Russian Federation and not just Central Asia’s increasing geopolitical influence. The West, the UK, and Scotland, have increasingly tried to participate in Central Asia’s economy, including through multi-national economic or infrastructure projects such as the Central Asian CASA-1000 Hydro Project.
Scotland’s fund and asset management sector has been relatively active in Asia. Only recently has it become obvious to what extent Central Asia justifies an allocation from these funds. If it weren’t for the Russian risk, these allocations would probably go up.
Central Asia’s Belt & Road projects give a Chinese angle to Scottish investment in the region. To an extent, given the increasing importance of Chinese investment in Central Asia, Central Asia is seen as a proxy investment in China to some extent. Given the historical relationship between Scottish companies and the “Hongs” of Hong Kong, such as Jardine group, there might be similar opportunities in the future for Scottish companies given China’s rapid expansion in Central Asia. However, deeper participation with China trade has its risks.
There is the subject of sanctions circumvention and dual-use goods, but this does not really apply to Scottish companies. They don’t have the historical relationship with Russian trade that creates this risk to the same extent as local companies.
Opportunities in the Middle Corridor, and cross Caspian trade, are an increasing opportunity for Scottish companies. An alternative to the Russian trade route, the Middle Corridor is seeing an increase in traffic. This goes hand in Hand with the growing international presence of Central Asian imports and exports. Other western nations are also recognizing Central Asia’s increasing importance. This includes President Biden’s September meeting with the Central Asian heads of state, the U.S. establishment of the Critical Mineral Dialogue, and the EU’s €10 billion Central Asia infrastructure investment in January. Scottish investment would be alongside such interest. The UK’s parliamentary Foreign Affairs Committee, which includes Scottish participation, published a report November 2023 that recommended greater engagement with Central Asia.
Scottish investment in Central Asian oil & gas is likely to continue, with new opportunities in other sectors of the Central Asian economies opening up. Some Scottish oil & gas companies are expanding into mining, such as Wood & Co. There are certainly mining opportunities in Central Asia. Edinburgh’s financial sector hasn’t traditionally been that involved in Central Asia’s new financial hubs, or maturing property sectors, but there are an increasing number of opportunities emerging. As the Central Asian economies seek further independence from their two powerful neighbours, Scotland has a lot to offer. There is an opportunity to build new and enduring economic relationships in Central Asia as these new nations mature and grow.
by Bruce Gaston
Turkmenistan remains the only state in Central Asia with no free economic zones operating in the country. Although the Law on Free Economic Zones (FEZs) was enacted in Turkmenistan in October 2017, no free economic zones are known to be in operation, according to the U.S. Department of State’s 2024 Investment Climate Statements: Turkmenistan.
The Law guarantees the rights of businesses, both foreign and domestic, to operate in free economic zones without profit ceilings. It also forbids the nationalization of enterprises operating in the FEZs and discrimination against foreign investors. The Law defines the legal, organizational, and economic foundations for the creation of FEZs in the country.
According to the Law, free economic zones can be created on the territory of Turkmenistan, including free trade zones, industrial production zones, technology parks, zones specializing in the provision of financial, banking, tourism, and recreational services, as well as transport and logistics zones.
A U.S. Department of State’s report states that Turkmenistan is currently considered high risk for U.S. foreign direct investment (FDI) due to near total government control of the economy, strict foreign currency controls, endemic corruption, opaque and onerous bureaucratic processes, and a weak commercial law and regulatory regime. “The government has not taken serious measures to attract or incentivize foreign direct investment (FDI) and there is no significant U.S. or other FDI in the country aside from several petroleum related production sharing agreements (PSAs).”
The report adds that the most serious impediment to any investment in Turkmenistan is the government’s strict foreign currency controls which have resulted in a widely used secondary exchange rate for U.S. dollars that averaged over five times the official rate in 2023. This unofficial secondary rate, which appears to be controlled by the government, is not accessible through any financial institutions. This results in foreign investors being unable to repatriate profits or to convert local currency to USD to import supplies or equipment.
Turkmenistan regularly announces its desire to attract more foreign investment, but in practice there have been no new projects involving foreign investors for at least 10 years, the report continues. Foreign companies with approved government contracts generally receive government support and do not face problems or significant delays when registering their operations in Turkmenistan. Foreign companies without approved government contracts that seek to establish a legal entity in Turkmenistan must go through a lengthy and cumbersome registration process involving approval by a commission that includes the Ministry of Foreign Affairs, the Agency for Protection from Economic Risks, law enforcement agencies, and industry-specific ministries.
In spite of that, Turkmenistan has moved to step up efforts to create much-needed free economic zones. This task was set by President Serdar Berdimuhamedov at a meeting of the Cabinet of Ministers on December 23, 2022, after reviewing the draft State Program for the Creation and Development of Free Economic Zones.
Turkmen media reported that Berdimuhamedov stressed the importance of continuing work in this area and noted that free economic zones are currently an integral part of global economic relations and are among the key factors of rapid economic growth. The president said that to achieve these goals, it is necessary to intensify interaction with foreign partners to exchange information and technology, deepen integration economic processes, and increase international trade turnover.
However, as the U.S. Department of State’s report says, there are no known active incentives for foreign investors in Turkmenistan. According to the country’s Law on Foreign Investments, foreign investors, especially those operating in the free economic zones, may enjoy some incentives and privileges, including license and tax exemptions, reduced registration and certification fees, land leasing rights, and extended visa validity. “However, currently no free economic zones are known to be in operation,” the report concludes.
In the meantime, Turkmenistan has moved to establish free trade zones with neighboring countries. In November 2023, Turkmenistan put forward an initiative to create trade and economic zones on the border with Iran, and in August 2024, the governor of Iran’s Golestan province, Ali Mohammad Zanganeh, announced plans to establish a joint free trade zone (FTZ) with Turkmenistan.
Iranian media reported that the proposed free trade zone in Iran’s Incheh-Borun, a critical gateway to Central Asia, is projected to create 47,000 jobs and boost the exchange of goods via railways to 13.7 million tons and by road to 6.3 million tons.
In October 2022, the presidents of Turkmenistan and Uzbekistan reached an agreement on the establishment of a cross-border trade zone. By his decree dated February 28, 2024, the president of Uzbekistan approved the establishment of a free trade zone called “Uzbekistan-Turkmenistan” in the Shavat district of Uzbekistan’s Khorezm region, near the border with Turkmenistan.
Turkmen media reported that the free trade zone will be created for a period of 30 years with the possibility of extension. It will sell products produced only in Uzbekistan and Turkmenistan. Citizens of Turkmenistan will be allowed to stay in the zone visa-free for up to 15 days. The project is planned to be completed within the next two years.
A similar joint project at the border of Turkmenistan’s Lebap province and Uzbekistan’s Bukhara region is currently under development. While Turkmenistan has glimpses of potential to attract FDI, a lot of work remains if it is to build real credibility with the international investment community.
CREATIVE INDUSTRIES PARK: THE FIRST STEP TOWARDS REFORMING KYRGYZSTAN’S CREATIVE ECONOMY
Kyrgyzstan’s creative industries are beginning to play an increasingly important role in the country’s economy, although their contribution to gross domestic product is still very small. This has led to the creation of the Creative Industries Park, which opens up new opportunities for the development of sectors such as design, advertising, cinema and architecture.
In Kyrgyzstan, the contribution of the creative industries to gross domestic product has remained at just 1 per cent for the past five years. In absolute terms, however, it has grown from 4 billion soms to 6.2 billion soms. The sector receives about half a million US dollars a year in foreign direct investment. The main sectors of the creative economy that attract FDI are activities related to software development and publishing, as well as mass media activities. In general, the creative economy sector in Kyrgyzstan is represented in twelve sectors of activity, including publishing, information and communication technologies including computer games, music, photography, communications, architecture, advertising, design and fashion, art, cinema, jewellery, and includes 20 types of sectoral specialisation of creative industries.
Bishkek is the leader in the creative sector, with 49% of the total number of registered enterprises. The creative sector is least developed in the oblasts of Batken (3%), Naryn (3%) and Talas (1%). This is due to the fact that the potential for the development of creative industries in these regions is weak due to limited opportunities and demand.
If we look at the general trend, the production of innovative products in the country is decreasing. For example, according to the State Intellectual Property and Innovation Service ‘Kyrgyzpatent’, the largest volume of innovative products was achieved in 2016, when it amounted to 2.4 billion KGS. Since then, the production of this type of products has been steadily decreasing.
The sector officially provides jobs for about 14,000, or 0.6% of the total working population. Moreover, these are women (60%) and young people (40%). Among the creative industries, software development is the most interesting. They attract the most employees because they are willing to offer the most favourable working conditions, namely high salaries compared to other sectors.
As a result, this sector is now the fastest growing of the creative industries in Kyrgyzstan. This is largely due to the creation of the High Technology Park (HTP) in 2013. This is a kind of free zone with its own tax regime for companies specialising in information technology. HTP residents are completely exempt from VAT, income tax and sales tax. Their only obligations are a 1% contribution to the park’s management and 5% personal income tax.
Special economic regimes are an exception. Thus, following the example of the Hi-Tech Park, it was decided to extend its positive experience in Kyrgyzstan. In 2022, for example, Kyrgyz President Sadyr Zhaparov signed a decree on measures to develop the creative economy, and the Cabinet of Ministers approved the Creative Economy Development Concept for 2022-2026, which sets the direction for future initiatives. In the same year, at the end of July, deputies of the Jogorku Kenesh passed the law on the Creative Industry Park, which was signed by the President. Already at the beginning of 2023, the Tax Code was amended to simplify conditions for participants in the park, as was the Law on Tariffs of State Social Insurance Contributions.
The Creative Industries Park (CIP) itself has been fully operational since April this year, when its management was established. Today it is home to 20 companies and three individual entrepreneurs. They operate under the conditions of a single tax, which for all creative industries is 0.5%, income tax for them is set at 5%, the social fund tariff is $43, as well as the obligation to contribute 1% to the PKI Directorate.
Since the park and its residents have been operating under these conditions for about six months, it is too early to talk about results. However, since the inauguration of the park, six new companies have become its residents. They have already paid 2 billion 39.96 million soms to the budget in the form of compulsory payments and taxes, and all PKI residents have contributed 12 billion 504.5 million soms to the treasury for ten months of the year. This is 2.6% more than last year.
Despite the fact that one of the prerequisites for the Creative Industries Park in Kyrgyzstan was the positive example of the Hi-Tech Park, the challenges are different, says economic expert Iskender Sharsheev.
“The hi-tech park is indeed proving its effectiveness, especially for digital nomads and IT specialists, including those who move from Russia, for example, due to current events. This regime remains relevant and shows its effectiveness in developing a strategically important sector in our country. For IT specialists, legal work is much more attractive than working in the black economy. The situation is different in the creative industries. As a rule, people in this sector do not pay taxes because they do not keep records, do not acquire patents and do not register their activities. Turnover in this sector can reach $4 billion, but almost no taxes are paid. That is why it was important to bring order to this sector,” says Iskender Sharsheev.
Today, many countries at different levels of development are demonstrating success in developing the creative economy. The UK, for example, is considered one of the world’s leading countries in the development of the creative economy. The creative sector contributes 6% of the country’s GDP and employs over 2.04 million people, 25 per cent of them in London. One of the key factors in the successful development of the creative sector in this country has been the observance of the principle of non-interference by the state in the economy, the availability of favourable conditions for financing start-ups and tax benefits.
Another example is Georgia. In Georgia, the creative economy has been boosted by reforms aimed at developing start-ups and SMEs through easier registration, simplification of the tax system and the provision of affordable credit.
The creation of such special zones can help fiscalise hard-to-manage sectors such as the creative industries. This will not solve all the problems, but it is an important step towards reducing the informal economy, which will ultimately benefit society,’ Sharsheev concluded.
SCOTLAND HOSTS EURASIAN CREATIVE WEEK FOR THE FIRST TIME
From 28 to 30 November 2024, the VIII Eurasian Creative Week took place in Greenock, Scotland. The event brought together artists, writers, poets, diplomats and creative figures from 15 countries: Canada, France, Russia, Kazakhstan, Kyrgyzstan, Belarus, Israel, Uzbekistan, Tajikistan, Scotland, England, and Ukraine. The festival included a range of exhibitions, book presentations, an award ceremony and a film screening.
Eurasian Creative Week opened on 28 November at the Beacon Arts Centre, West Scotland’s main cultural centre. Paintings from the art catalogue ‘The Great Steppe Treasure’ by Maria Muchinskaya, Seidbek Atambayev, Polina Lakhtina, Shaizada Baikenova and Larisa Pak were presented, as well as works by Oksana Zhukova, Timur Akhmedjanov, Anna Gharib and Anastasia Kalinovskaya. Participants watched a video message from art curator Klavdia Kuvshinova, writer Alikhan Zhaksylyk and public figure Nurym Taybek.
In the evening, there was an author’s meeting with ECG Guardian Alexander Kazarnovsky, who spoke about his art and read from his book ‘War will show the plan’.
On 29 November, the cultural programme continued at the OYO Gin House Hotel. Guests enjoyed an art exhibition and author meetings. One of the most anticipated events was the presentation of books by Hertfordshire Press published between 2022 and 2024. Readers and participants were interested in the literary trends in Eurasia.
Editor Laura Hamilton and translator Anton Kovalenko presented a collection of novels and short stories ‘Zinziver’ by Viktor Slipenchuk.
The premiere of a unique film project was also screened – the first film created with the use of artificial intelligence technologies, based on Viktor Slipenchuk’s poem ‘Chingis-Khan’. The film screening became a highlight of the festival, arousing keen interest of the audience, inspiring them to think about the role of personality in history and modernity.
The festival featured a new issue of OCA magazine, dedicated to Jizzakh, one of Uzbekistan’s fastest-growing regions. OCA People also celebrated its anniversary with a special edition featuring 40 outstanding personalities, including Natasha Hart MBE.
The main event on 29 November was the Hertfordshire Press Awards, including the Jonathan Fryer Medal and the Barbara Yurkowska-Nawrocka Medal. The ceremony honoured artists who have helped cultural exchange in the Eurasian region. Traditionally, the ceremony was held to support Eurasian Creative Guild projects for children with autism.
Hertfordshire Press Awards Winners
Bestseller category was awarded to the novel ‘War will show the plan’, Kazarnovsky Alexander (Israel).
The Gold Certificate of Achievement in this category was awarded to Timur Akhmedjanov (Uzbekistan), a young artist originally from Uzbekistan, for the second volume of his charity comic book ‘Elish and the Wicker Tale’.
The Critics’ Choice category went to the collection of novels and short stories “Zinziver”, Viktor Slipenchuk (Russia). Translator Anton Kovalenko, who travelled to the festival from Toronto, received the award.
The Gold Certificate of Achievement in this category was awarded to the young writer Alikhan Zhaksylyk (Kazakhstan) for his novel ‘Is It Necessary to Worship at Notre Dame?’. The award was presented to Bruce Gaston, a journalist from France.
The Best Adaptation for Children’ category went to Gulchehra-Begim Makhmudova (Uzbekistan) for her first book in the series of children’s stories “The Legends Of The Great Silk Road: Adventures Of The Spirit Of Time”. Anna Lari, ECG Festival Director, received the statuette on her behalf.
Gulsifat Shahidi (Tajikistan) won the Best Love Story category for her collection of works, Labyrinths of Loneliness. Her family member, who had travelled from Dushanbe, introduced her at the ceremony.
The poem ‘Narqyz’ by Nurpeis Baiganin won the ‘Best Epic’ category. The author’s grandson Yerbolat Baiganin, a famous Kazakh film producer, also took part in the ceremony.
The Best Female Author’ category went to the collection of psychological fairy tales “Wise Tales For Children And Adults”, Marina Alyassova (Kazakhstan). It is noteworthy that the book was published as part of the Maria Shevel Award from 2023. Marina won in the category ‘Children’s Literature’ of the literary contest ‘Open Eurasia’. The book was presented at the awards ceremony by editor and translator Jonathan Campion, who worked on the English-language adaptation of the work.
Hertfordshire Press would like to express special thanks to Margo Hamburgskaya (Uzbekistan) for making the award statuettes for the Hertfordshire Press Awards ceremony.
Marta Brassart, Chairman of the Guild, presented the Medal named after Barbara Jurkowska-Nawrocka to designer Alexandra Rey and artist Anastasia Kalinowska.
ECG Vice Chairman Marat Akhmedjanov presented the Jonathan Fryer Medal to public figure Farhod Tashtemirov and poet Oksana Zhukova.
The Belarusian Embassy in the UK supplemented the cultural programme by organising an exhibition and a gala reception. Guests were treated to traditional Belarusian dishes, and Dmitry Kozlovsky, Consul of the Republic of Belarus, gave an inspiring speech, noting the importance of cultural exchange in strengthening international ties and noting the Guild’s role in promoting the legacy of Arkady Kuleshov through the almanac ‘Voices of Friends’.
The evening ended with a celebratory dinner where participants were able to discuss their experiences and make new creative connections.
On 30 November, the last day of the event, a tour of the town of Greenock took place, participants were able to learn more about Scotland’s heritage and visited the Watt Institution Museum, which was a great opportunity to relax and be inspired before returning home.
There was also an exhibition of books and national art dedicated to the countries of Eurasia held throughout the VIII Eurasian Creative Week festival. The exhibition showcased works from Uzbekistan, Kazakhstan, Kyrgyzstan and other countries in the region, offering a vibrant reflection of the cultural diversity and creative potential of Eurasia.
The 8th Eurasian Culture Week in Scotland was a great success and a big step forward in building cultural ties between countries in the region. It was a fantastic opportunity to showcase creativity and exchange ideas and experiences, which will help to strengthen international cultural cooperation.
We’re already looking forward to the next one in Greenock in August 2025, when we’ll be hosting the 14th Open Eurasian Literature Festival & Book Forum.
The Professional School of Business Coaches of the Centre for Training and Consulting and the Eurasian Creative Guild have been working on this event for several years. While we were gaining professionalism and conducting scientific research in the field of andragogy, the Guild was gaining experience in organising large-scale international events.
At the first championship we decided to see which coaches and trainers would come to us, at what level they would lay the foundation for further championships. One of the important messages of the championship was to show that coaching and business coaching are professions with their own rules, standards, requirements and creativity.
Evaluation criteria were developed to enable the jury to assess the participants’ performance from a professional perspective. What methods and techniques were used? How interesting and innovative was the content of the masterclass? How was communication within the group organised? What professional or flexible skills were developed? How was the time management handled? How was the development of the participants monitored? What objectives were achieved?
The jury members from Belarus, Uzbekistan, Russia and Kazakhstan, who met for the first time at the championship, showed great responsibility, dedication and discipline. This enabled the jury to conduct the event strictly according to the schedule. Three members of the jury held masterclasses for participants and guests of the championship: Victor Grebennikov (guru of Kazakh psychology and coaching), “About money: general and individual financial traumas”; Kuralay Nurkadilova (fashion expert and financial coach), “How to become a global brand”; and Taina Kaunis (expert in branding for creative people), “From unpacking personality to brand packaging”.
Nodira Abdullaeva (Director of the Professional Training Centre in Tashkent) and Maria Muchinskaya (Ambassador for Peace and mentor of young poets) brought a calm reliability to the hard work of the jury. What was the professional individuality of the participants of the championship?
PERSONAL PARTICIPANTS:
1ST PLACE. VLADISLAVA BAIMAGANBETOVA. KAZAKHSTAN. Theme: “Creation of accessories from epoxy resin”. Vladislava showed excellent command of the audience, created an active work within the group, prepared the equipment of the master class to the last detail. Vladislava showed an excellent command of the audience, created an active work within the group, prepared the equipment of the masterclass in detail. All the participants were as enthusiastic as children. And everyone got the result.
1ST PLACE. NATALIA GERASIMOVA, ISRAEL Topic: “Emotional intelligence – a success factor”. Natalia had a good combination of theory and practice. The practical exercises were well chosen and helped the guests to consciously and easily create joy as a feeling that creates the world.
2ND PLACE. ARTYOM VOLSKY, KAZAKHSTAN Theme: ‘Planning for the week’. Artyom chose a very topical subject – business planning. He presented it systematically and consistently during the masterclass. Practical work was carried out, inspiring the participants to manage their affairs in a qualitative way.
2ND PLACE. MARINA ALYASOVA, RUSSIA “The joy of living in a time of change”. Behind Marina’s gentleness and professional magic was visible quality training and experience. The trainer revealed the possibilities of everyone’s development in the era of change. Everyone received inspiration and deep peace of mind, which is very important in our era of change.
3RD PLACE. GENNADY GOROVOY, ISRAEL The topic was “How to turn defeat into victory”. Gennady demonstrated excellent command of the audience, charisma and individuality. Gennady’s every sentence is filled with emotional commitment to the audience. Personal, vivid examples and stories of amazing encounters inspired people to dare to be more themselves. 3RD PLACE. MARINA GALII, KAZAKHSTAN Theme: “The phenomenon of lying”. Marina opened the championship and immediately involved the participants in a dialogue about truth and lies. The trainer demonstrated an excellent command of the material. Marina asked questions that encouraged thinking beyond stereotypes. The theory was demonstrated through practical tasks.
The extramural participants presented methodological developments of a training module to the jury. The format and topic of the module was free.
1ST PLACE. ANNA GHARIB, GREAT BRITAIN The topic “Methodological development of the first session with a coach”. Anna described the topic in a detailed and methodical way. The structure of the session was visible, questions and detailed comments of the expert were highlighted. It is easy to read and understand, even for experts from other fields. This shows the quality and thoughtfulness of the participant’s work.
2ND PLACE. SUSANNA HAKOBYAN, ARMENIA The topic “Programme of preparation, organisation and holding of professional championships”. The jury was surprised by the choice of the topic, its breadth and scope. The entrant used diagrams and clusters to present complex information in a visually simple way. The work is the basis for a serious didactic development. The jury took note of the participant’s video introduction.
3RD PLACE. INDIRA LAKTAEVA, USA Theme “Master class “New Beginning””. The plan of the master class is written considering the requirements of the design of methodical developments. The structure is highlighted, the content of each stage of work is visible. The pedagogical approach in the design of the document is very valuable.
At the end of the championship, a round table was held on “The state of additional education in the world”, where the guest of honour was Svetlana Lonchar (Uzbekistan, World).
The first World Coaching Championship concluded successfully therefore. Each participant, guest, organiser and partner invested in its creation and was professionally, emotionally and intellectually enriched. The warm and relaxed atmosphere that prevailed during the championship, despite the excitement of the participants, has been noticed. The championship is over and a new chapter in professional life has begun for the participants and for us, the organisers.
Last September, the serene landscapes of Burabay National Park in Kazakhstan became a hub of artistic expression as the thirteenth Open Eurasian Literary Festival & Book Forum and the fourth international festival Voices of Friends: Poetry & Art unfolded from the 15th to the 18th September. These remarkable events brought together poetry, visual arts, cinema, and literary discourse, uniting creators from across the globe.
Organized by the British non-profit Eurasian Creative Guild (London), with support from the Higher Pedagogical College of Shchuchinsk and key hospitality partners, the festival served as an extraordinary cultural exchange platform. Among its highlights were the 13th Open Eurasian Literary Festival and Book Forum, the III Burabay International Short Film Festival (BISFF), the debut of the Future Cinema Youth Film Festival, and the Discovery Travel Forum, dedicated to exploring the intersection of tourism and creative industries.
A GATHERING OF GLOBAL TALENT
This year’s festival welcomed over 50 poets, novelists, artists, musicians, and filmmakers from 15 countries, including Kazakhstan, the UK, the USA, Ukraine, Israel, and Canada. The program commenced at the Skala eco-hotel in Burabai village with an introductory meeting, offering guests a glimpse into the festival’s diverse itinerary.
The official launch took place on September 15th at the Higher Pedagogical College in Shchuchinsk, where the Future Cinema youth film screenings showcased an eclectic mix of international works. Films from the USA, Iran, Kazakhstan, Lithuania, Israel, and Russia captivated audiences, setting the stage for an inspiring four days of artistic exploration.
A key moment of the day was the presentation of Burabay’s creative community by Yussuf Krykbesov and Elena Tsygvintseva, reinforcing the region’s commitment to fostering artistic growth. Meanwhile, parallel sessions immersed attendees in the magic of poetry, fairy tales, and autism awareness, while a game-technical presentation by ECG Guardian, Saltanat Khamzeyeva, added an interactive twist.
FILM, LITERATURE, AND CULTURAL EXCHANGE
Cinema remained a festival highlight, with BISFF screenings featuring over 80 submissions. Noteworthy films included In Search of Healing Water: Chunja-Burabay-Dushanbe by Al Art and Teacher on Stage by Alen Adilbekov, offering fresh perspectives through cinematic storytelling.
Prominent artists and writers, such as Aida Reger, Elena Makarova, and Olga Shpakovich, showcased their work both online and offline. The festival’s grand opening coincided with the BISFF award ceremony, where distinguished guests like Taina Kaunis of Silk Road Media Holding and ECG Vice Chairman Marat Akhmedjanov addressed the audience. The evening concluded with a concert by Shchuchinsk’s talented musicians, Kirill Doroshkevich and Arina Romanova.
September 16th was marked by engaging masterclasses at the ECG Horizons Art Residence. British photographer Hannah Davis captured festival moments, while Taina Kaunis led an insightful session on transitioning from creativity to creative business. The Hertfordshire Press book presentation at the boutique hotel House by the Lake, drew literature enthusiasts, sparking discussions on tourism and cultural exchange.
The evening’s literary salon featured Austrian wine tasting, guided by sommelier Artem Volsky, blending intellectual and sensory indulgence. The highlight of the night was the Barbara Nawrocka-Jurkowska Medal presentation to Komil Sindarov, Rector of Angren University, a moment underscoring the festival’s commitment to honoring literary and artistic contributions.
BRIDGING CULTURES THROUGH ART
On September 17th, the festival’s younger audience was engaged through the introduction of the Junior Guild Expert Council, led by Paulina Geible-Kravts. Literary highlights included poetess Raushan Nukenova-Burkitaeva’s captivating reading and an enchanting celebration of Sukkot, presented by ECG Guardian Alexander Kazarnovsky. A lively charity auction featuring unique items from the ECG Horizons Art Residence brought the day to a heart-warming close.
The final day, September 18th, offered a cinematic reflection on Burabay’s beauty through British filmmaker Carrie Kendall’s documentary, the culmination of two years of dedicated filming. Literary presentations continued, with Marsel Salimov unveiling his new book With a Smile Around the World in celebration of his 75th birthday. The festival concluded with an emotional tribute to cultural diplomacy, as the Jonathan Fryer Medal was awarded for outstanding contributions to Eurasian creative exchange.
A LASTING LEGACY
With over 500 attendees across four days, ‘Open Eurasian Literary Festival & Book Forum’ and ‘Voices of Friends: Poetry & Art’ 2024 proved to be a resounding success. Through its fusion of poetry, literature, cinema, and visual arts, the festival created a space where diverse cultures found common ground. As artists, writers, and filmmakers parted ways, they carried with them not only new friendships and collaborations but also the inspiration to continue shaping the global creative landscape.
This extraordinary event, rooted in artistic dialogue and cultural celebration, reaffirmed Burabay’s status as a meeting point for international creatives—a legacy set to grow in the years to come.
BISFF FILM FESTIVAL WINNERS:
BEST SHORT FILM 2024 – As Easy As Closing Your Eyes, directed by Parker Croft (USA) BEST SOCIAL DRAMA 2024 – Connection (Bailanysh), directed by Zhandos Dzholdoshov (Jandos Djoldoshov) Kyrgyzstan BEST DOCUMENTARY 2024 – The Saviouress The Mystery Of A Buddhist Icon, directed by Anna Koryakovtseva (Russia) BEST ANIMATION 2024 – The Forest Of The Honey Bees, directed by Erwan Le Gal (France)
SPECIAL PRIZES: The certificate for the best demonstration of Burabaya’s cultural and historical heritage was awarded to ‘In Search of Healing Water: Chunja-Burabay-Dushanbe’, the award went to Al Art. Aizhan Art, and was presented by Natalie Bays, founder of the Romford Film Festival.
A certificate in recognition of an outstanding demonstration of female destiny was awarded to the film ‘Teacher on Stage’, the award was presented to Alena Adilbekov by directors Timur Akhmedjanov and Carrie Kendall.
And later there was a zoom presentation of Nina Yagolnitzer’s work ‘Our Ridiculous Enchanters’. The inclusion was from Israel, bringing together online and offline participants.
CHEVALIERS OF THE ECG MEMORIAL MEDAL NAMED AFTER JONATHAN FRYER: Shavkat Ismailov Raushan Burkitbayeva-Nukenova Marina Alyasova Elena Soboleva Alexander Kazarnovsky Gennady Gorovoy Bakhtygul Makhanbetova
THE WINNERS OF THE CINEMA FUTURE FILM FESTIVAL: Winners in the age group 11-13 years old 1st place ‘Yes, we are different’ (Kazakhstan) 2 place ‘Next Time’ (Lithuania)
Winners in the age group 14-22 years old 1st place ‘The Phantom of the Queen Mary’ (USA) 2nd place ‘Being 22’ (Iran) 3 place ‘BEYNE’ (Kazakhstan)
BEST CINEMATOGRAPHY – Ray Art, ‘In Search of Hidden Beauty’ (Canada) BEST DIRECTOR – ‘Please. We are worried’ ( Kazakhstan) BEST ACTOR – Noam Minkin (Israel), the film ‘Spelling Surprise’. AUDIENCE AWARD – ‘Fair Crime’ (Kazakhstan)
WINNERS OF ‘IV VOICES OF FRIENDS’
The Audience Award was won by Maria Muchinskaya.
‘Poetry’ category 1st place Mikhail Ananov (Georgia) 2nd place Anetta Mor (UK) and Nadia Roth (Germany) 3rd place Indira Laktaeva (USA)
Visual Arts category 1st place Shaizada Baikenova (Kazakhstan) 2nd place Marina Yanovskaya and Anastasia Kalinovskaya (UK) 3rd place Rosa Red (Russia) and Olesya Davidovskaya (Lithuania)
WINNERS OF ‘XIII OPEN EURASIA’
Children’s Prose category (Maria Shevel Prize) 1st place Irina Gurkova (Russia) and Elena Makarova (Uzbekistan) 2nd place Nina Yagolnitser (Israel) 3rd place Valeria Strekalovskaya (Ukraine)
Non-Fiction category 1st place Tatiana Linchik (Russia) 2nd place Olga Shpakovich (Russia) 3rd place Alex Arlev (USA)
‘Prose’ category 1st place Anna Garib (UK) 2nd place Saltanat Khamzeyeva (Kazakhstan) 3rd place Afina Abduldaeva (Kyrgyzstan) and Aida Reger (Kazakhstan)
Kazakhstan’s creative economy is gradually becoming a powerful engine of economic growth, transforming traditional approaches to the country’s development. A look at the data and trends in the sector raises the question: could Kazakhstan become a new centre of creative power in the region?
Creative industries’ contribution to global GDP is 3.1 per cent – an impressive figure, especially given the sector’s annual growth of 9 per cent. In Kazakhstan, however, the figure is still a modest 1 per cent. Herein lies both the challenge and the potential.
BUILDING ON HERITAGE
Kazakhstan has a rich cultural heritage, from music to traditional applied arts. Combined with rapidly growing digitalisation and a young population, the country is ready to embrace the challenges of modernity. Astana, for example, is already actively building ecosystems for creative start-ups through the Astana International Financial Centre (AIFC).
FROM DIGITAL ADVERTISING TO VIDEO GAMES
There are four leading trends in Kazakhstan: digital advertising, music, cinema and video games.
Digital advertising is growing steadily and is expected to reach $700 million by 2028. Platforms such as TikTok and Instagram are already becoming the standard for brands.
The music industry, like the rest of the world, is embracing streaming. Spotify and Yandex Music are leading the way, but local artists are also growing in popularity. Cinema is also experiencing a renaissance, with national films taking a growing share of the box office. Audiences want to see their stories, and producers are actively seeking support from the government and private investors.
Video games, however, remain underinvested despite the huge demand. This sector has the potential to become the leading one, with a market of $317 million by 2027.
CHALLENGES AND OPPORTUNITIES
Underinvestment remains the main challenge for the creative sector. In Kazakhstan, the creative sector is largely underinvested. However, there are emerging opportunities for venture capital funds and government initiatives. Legislation to protect intellectual property and mechanisms to tokenise assets through the MFCA are already being discussed.
TAX RELIEF: A CATALYST FOR GROWTH
In 2024, Kazakhstan introduced tax breaks for 40 economic activities related to the creative industries. These measures led to a 15 per cent increase in the number of CI companies, or 6,000 new entrants.
An important question, however, is how to categorise the creative industries. International experience shows that there is no single methodology. Kazakhstan’s Ministry of Culture is guided by UN approaches, but emphasises national interests such as uniqueness and export orientation.
To expand the list of activities, Senate deputy J. Asanova held a meeting to discuss the inclusion of production centres, dance, advertising and PR agencies. The new draft law, prepared by the Ministry of Culture, has already been sent to the presidential administration. Its adoption will be an important step towards systemic support for the sector.
International cooperation: the road to global recognition
In 2024, the Ministry of Culture held negotiations with the embassies of the USA, Italy, Great Britain and representatives of the Republic of Sakha (Yakutia).
WHAT PROJECTS COULD RESULT FROM THIS COOPERATION?
USA. Partnership with Hollywood studios could provide access to the largest cinemas and streaming platforms, as well as the opportunity for Kazakh producers to participate in international projects. Italy. Collaboration in fashion, design and crafts will enable local artisans to enter new markets. Italy’s experience in promoting cultural heritage could be useful for Kazakhstan’s hubs. UK. The music industry, educational programmes and the development of streaming services are key areas for joint initiatives. Republic of Sakha (Yakutia). Sharing experience in creating ethnic cinema and festivals will strengthen Kazakhstan’s national identity on the world stage.
CREATIVE HUBS AND INFRASTRUCTURE
Planned hubs are being established: By end 2024, there were 12 creative hubs in Kazakhstan, including the OzgeEpic hub in Astana and Almaty Creative in Almaty. There are plans to open eight more hubs in the regions by 2025. But key questions remain: How will the governance of these hubs be structured? Will they be effective tools for attracting investment and regional development? A successful model: Creative hubs in Abu Dhabi and Dubai, such as the Louvre Abu Dhabi and the Dubai Design District, are examples of how the integration of culture and innovation is helping to diversify the economy. The Louvre Abu Dhabi attracted 2.7 million visitors in its first few years of operation, while the Dubai Design District has become a hotspot for creative professionals. CULTURAL EVENTS AND THEIR ECONOMIC IMPACT
World Nomad Games in Astana: In September 2024, Astana hosted the 5th World Nomad Games, which brought together 2,000 athletes from 89 countries. The Games attracted more than 100,000 tourists, generating around $625,000 for the Kazakh economy. However, the cost of organising the event was $11.6 million. By comparison, the Burning Man festival in the US attracts 70,000 participants each year and generates $62 million in revenue. Dimash Kudaibergen concert: Astana hosted a concert attended by more than 40,000 people. This event has become not only a cultural but also an economic driver, boosting hotel and restaurant business. But there is still room for improvement. By comparison, Taylor Swift’s ‘The Eras Tour’ generated around $10 billion for the US economy. Cannes Lions: Kazakhstan won a prestigious award at the Cannes Lions festival for a social spot on violence. This success confirms that the country’s creative industries are capable of reaching international levels. But the question is: what values are we transmitting through such projects?
Creative Industries Fund: Challenges and opportunities The creation of the Creative Industries Fund in 2025 will be a key element of the development strategy. But how effective will it be?
A COMPARISON
Creative Europe supports innovation and cultural cooperation with a budget of €2.44 billion. Saudi Arabia is developing creative industries through ambitious architectural projects such as Neom, demonstrating how culture is becoming an economic driver. In Russia, the Presidential Grants Fund allocates 148 billion roubles annually to support social and cultural initiatives. In Uzbekistan, the Fund for Cultural Development funds projects that enable national artists to exhibit at venues such as the Louvre in Paris and other major events. In 2024, Uzbekistan hosted the World Conference on the Creative Economy, which attracted 14,640 participants from 85 countries.
These examples show how smart financing can strengthen a country’s position on the international stage.
For Kazakhstan, it is important to ensure transparency and fairness in the distribution of funds. This can be achieved through: Electronic platforms for project submission and monitoring. Independent expertise to assess applications. Feedback programmes to adjust fund policies.
CHALLENGES AND PROSPECTS
Will new tax breaks and international projects transform the creative sector? Will hubs and legislation work for the benefit of the whole economy, not just individual players? Can the CI Support Fund become a catalyst for new projects that meet international standards? These are all key questions.
Given that the main sector of Kazakhstan’s economy is the industrial sector, and that environmental problems are increasing, there is an obvious suggestion: Integrate CI with industry and ecology. Creative solutions can help modernise industry and reduce the environmental footprint. But how can Kazakhstan effectively integrate the creative industries with the industrial sector?
Kazakhstan is on the cusp of a new era. The success of the creative economy depends on the ability of government, business and society to join forces. The question is whether the country can unlock its potential, become a regional leader and inspire the world with its unique stories.
Irina Kharitonova, Researcher on Sustainable Development and Creative Industries
ASTANA HOSTS 7th KAZAKHSTAN GLOBAL INVESTMENT ROUNDTABLE KGIR-2024
The 7th Kazakhstan Global Investment Roundtable KGIR-2024 was held in Astana, the capital of Kazakhstan, and brought together over 500 business representatives, including CEOs of leading international and Kazakhstani companies in sectors such as agriculture, food processing, energy, mining and finance. The event was also attended by representatives of domestic entrepreneurs and investors, underlining the importance of the event to the country’s economy. The main theme of the plenary session was dedicated to the topical issue of “Global Investment Trends: A Look into the Future”.
Since 2017, the event has been held annually under the chairmanship of the country’s Prime Minister. This tradition continued in 2024. Opening the KGIR, Olzhas Bektenov noted that the roundtable was a logical continuation of the meeting of the Foreign Investors Council, which was held the previous day under the chairmanship of the Head of State. The main purpose of the event was to establish a close dialogue between the government and the business community, which is an important step in building trust and cooperation.
The Kazakh government is working systematically to create a more favourable investment climate. To date, the country has 14 special economic zones, which offer investors tax and customs benefits, simplify the process of hiring foreign workers, and reduce administrative barriers to doing business. A ‘green corridor’ or fast-track mechanism is being introduced to speed up approval procedures for priority investment projects. Conditions have also been put in place to maximise the protection of the rights and interests of both domestic and foreign investors. For example, foreign companies can now choose between English law in the Astana International Financial Centre (AIFC) and the national legal system, making Kazakhstan even more attractive for international business.
KGIR participants shared their experiences of implementing projects in Kazakhstan and outlined prospects for further cooperation. Yang Guochuan, Deputy General Manager of China Energy Investment Corporation, said: “We will actively use our advanced technologies, professional potential and highly qualified management team in the energy sector to participate in coal development projects, clean coal technologies, new energy development and infrastructure support in Kazakhstan.
It is important to note that Kazakhstan continues to demonstrate its commitment to sustainable development and the green economy. The roundtable discussed the introduction of innovative technologies that will reduce the carbon footprint and increase energy efficiency in various sectors. Participants also stressed the importance of cooperation between the state and the private sector to achieve environmental and sustainable development goals.
KGIR-2024 also featured thematic sessions on key aspects of investment activity, including digitalisation, human capital development and infrastructure improvement. Experts noted that Kazakhstan has significant potential to attract foreign investment due to its strategic location at the crossroads of Europe and Asia, as well as its rich natural resources.
In conclusion, the 7th Kazakhstan Global Investment Roundtable KGIR-2024 was an important platform for sharing experiences, discussing topical issues and finding new opportunities for cooperation. The event confirmed that Kazakhstan continues to strengthen its position as one of the key players in the global investment arena, offering investors stable conditions, transparent policies and broad prospects for business development.
Fifteen years is a significant milestone for any publication. For OCA Magazine, a print magazine published in the UK, it is not just an anniversary, but a confirmation of its status as a leading international publication covering cultural, business and political events in Eurasia. Over the years, the magazine has earned the respect of the international community and its contribution to the development of dialogue between countries has been recognised at the highest level. Official recognition by King Charles III and British Prime Minister Rishi Sunak underlines its importance in the international media environment. In addition, experts from the United States and the European Union have also praised the magazine, highlighting its role in strengthening cultural and economic ties.
Since its inception, OCA Magazine has strived to become not only a source of information, but also a platform for dialogue, bringing together people with different views, cultures and professional interests. The magazine not only reports on events, but also provides a platform for exchanging opinions, analysing trends and finding new solutions. Each issue features articles on international cooperation, innovation, the arts, business, education and much more. Thanks to its wide range of topics, the magazine attracts a diverse audience – from academics to entrepreneurs, and politicians to artists.
Looking through the magazine’s archives, a great many notable people have appeared on its covers. Presidents, rectors of leading universities, prominent public figures, famous creators and entrepreneurs have all become part of OCA Magazine’s history. This not only demonstrates the trust placed in the publication, but also makes it a valuable chronicler of the times. Among the magazine’s heroes are politicians who have left a significant mark on international relations and writers whose works have shaped the cultural consciousness of the world. For 15 years, OCA Magazine has served as a platform for exchanging ideas, discussing global challenges and promoting innovative solutions. The magazine covers key cultural and economic events and fosters strong partnerships between Eurasia and the West. One of the key features of OCA Magazine is its ability to harmoniously combine in-depth analysis, exclusive interviews and inspiring stories. This approach not only informs readers, but also aims to motivate them in their endeavours. The publication pays particular attention to stories about people who are contributing to social and cultural change. These are the stories of entrepreneurs who develop ground-breaking technologies, artists who create new artistic directions and opinion leaders who change the way the world is seen. Special issues have been dedicated to cover these characters, such as OCA People and OCA Education.
An important part of the magazine’s mission has always been to create a space for cultural exchange. Its publications present the traditions, art and literature of different countries, helping readers to gain a deeper understanding of the diversity of the world’s cultures. This is particularly important in the age of globalisation, when international co-operation is becoming the basis for successful development. The fifteen-year journey is just the beginning. OCA Magazine continues to expand its audience, launch new projects and strengthen its international presence. In the coming years, the magazine plans to increase the number of exclusive interviews, deepen the analytical part of its publications and develop its digital platform to become even more accessible to readers around the world.
This anniversary is a tribute to all those involved in the creation of the magazine: authors, experts, readers and partners. It proves that quality journalism, based on objectivity, professionalism and respect for the audience, is still in demand and relevant. OCA Magazine does not just follow events – it helps to shape them, by bringing together people from all over the world.
Happy anniversary, OCA Magazine! May there be more success, influence and new horizons ahead!
Natasha Hart: A Journey of Resilience, Music, and Giving Back
OCA Magazine: Tell us about yourself and your creative activity / work. Natasha Hart: Singing is a hobby for me, a release and a way to channel my emotions and life experiences. I have three passions – family, the charity I lead and singing. Each one of them gives me an immense amount of pride and hope.
My main job is as the founder and Chief Executive of Newham All Star Sports Academy (NASSA), a charity which supports disadvantaged young people in east London. We give the young people the opportunity to play basketball and to gain coaching and officiating qualifications. We also educate them on things that affect their daily lives, like knife crime, gangs, drugs, alcohol, even healthy eating. But most of all, we support them with their mental health because life isn’t easy for teenage boys and girls growing up in east London. Our coaches come from the same communities and in some cases have lived the same lives as the young people they now mentor. It is a job, but really it is more than that. I still feel the same responsibility towards these young people that I felt when we first thought of founding NASSA back in 2005.
The charity has won many awards. We were named the UK Charity of the Year at The Charity Awards 2014, while I was fortunate to receive an MBE from Her Majesty Queen Elizabeth II in 2015. I was also invited to carry the Olympic Torch ahead of the London Olympics in 2012 and the Paralympic Torch before the Paralympic Games in 2014. But really, that individual recognition belongs to all of the NASSA young people, because none of us at NASSA is anything without them.
Music is a hobby. I go to a friend’s studio at least once a month when time allows. I was a singer when I was 15, 16. I sang in restaurants and clubs, solo, as part of a duo and in a band. When I moved to the UK, I became a professional entertainer for over five years. I had a cabaret show, was a DJ and even ran karaoke nights in pubs and clubs across the UK.
I gave that up in 2001 to concentrate on bringing up my two boys, but it so amazing to re-discover music now. I write songs about my experiences in life.
OCA Magazine: How did you choose your path and who is your role model in the creative space or life? NH: My role model in music is my unborn son who died inside me on October 13th, 1994. My memory of it is really clear in some ways, but also it is like it was in a dream. I was left in a room in the hospital all on my own when he died. I didn’t know what was happening.
At the time, I spoke very little English, I had no money, no friends. I couldn’t bury him until three months later to the day, January 13th, 1995. I carried his tiny coffin to the grave myself. He was buried in a communal grave. I had no money to do anything else for him.
When I wrote ‘Angel Star’, it was for him. The video was shot this year in the same cemetery he is buried in. ‘Angel Star’ has taken so much weight off my shoulders, putting my feelings into words after all this time. It is hard to believe that my son would have been 30 this year. My son will live forever in my song…
When I was younger, I wanted to have 10-12 children. Life didn’t allow me that in the way I imagined, but now I have hundreds through NASSA, so I have got them in different ways.
I got back into music at the beginning of 2023. My mum was turning 80 and she had supported me for 35 years here in London. So, I wrote ‘Thank You, Mother’ for her. The track was released in August 2023. It brought back memories of why I went into music in the first place.
OCA Magazine: What is your main achievement in 2023-24? NH: Getting back into music and releasing nine songs. I stopped in 2001 because I had two boys to bring up and I had an offer from Newham Council in east London to become a gym manager in East Ham. I followed my instincts. When I founded NASSA as a charity, it was with just £20 in a bank account, but we are still going, and we have educated over 100,000 young people in east London on the dangers of knife since then through our Carry A Basketball Not A Blade (CABNAB) initiative. NASSA has given me so much meaning to my life, but I am so glad that I have re-found music.
To see ‘Angel Star’ recognised at the Eurasian Film Festival 2024 was so rewarding. And I was also sent a video of it being shown on a billboard in Times Square in New York in June 2024. That is truly crazy and such an honour.
OCA Magazine: What is the main feature that makes you and your art / work unique? NH: I think it would have to be the inspiration that I find within because of my life experiences. I am sure many creative artists are the same. They are able to put their life into their art. My art is mine because my life is mine. I have always tried to find a way to do something. It isn’t always easy and it would be so much easier to give up or not to try, but that isn’t me. And I appreciate everything that I do have and that I have experienced. To be able to express all of that through songs is a gift.
OCA Magazine: Tell us about the events or projects of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does the ECG influence your creativity and success in your work? NH: The ECG made me an Ambassador in 2023, which has been such an honour. I attend quarterly meetings and cultural events at which I have met the most extraordinary people, who have written autobiographies to tell their amazing life stories.
The ECG works internationally and I have been invited to places as far apart as Uzbekistan, Bulgaria, Poland, Armenia and the United States. Because of my commitment to NASSA, but more than that to the young people NASSA supports, I am not sure how many invitations I will be able to take up, but I feel very lucky just to have been asked.
I was also asked to be head judge at talent show events in east London where we had young people from all cultural backgrounds coming together to meet. It was wonderful to see the diversity and so many nationalities mixing together.
OCA Magazine: What is your motivation and the main aim of your creativity? NH: I really enjoy turning thoughts into songs, writing about subjects within my own life. Being able to express feelings and emotions by writing songs has really helped me to come to terms with things that have happened in my life. As well as ‘Angel Star’ and ‘Thank You, Mother’, I have written songs about love and even one about basketball!
Songwriting is personal to me. I am not looking to inspire others through it, but if they enjoy my songs then that is a huge honour.
OCA Magazine: What would you wish for the members of the Guild and other creative people, just starting their career? NH: Follow your dream. If you want to do it, then do it. I took over 20 years out from music. I chose a different route for a while – a long while – but I am so grateful to have it back in my life now.
I would also say that when you are creating art, do it for yourself, make it what you want it to be, not what you think others might like. Thank you.
Maria Shevel, born in Ukraine, left an indelible mark on the architectural landscape of Uzbekistan, merging national culture with engineering mastery in her projects. Her biography is not only a story of a talented architect but also a tale of a woman whose creative achievements and cultural contributions became symbols of Uzbekistan and an inspiration for future generations.
Born on May 1, 1943, in the village of Gritsenovka in the Sumy region of Ukraine, Maria Shevel journeyed from being an engineering graduate to becoming a leading figure in large-scale construction projects in Uzbekistan. After graduating with honors from the Tula Polytechnic Institute, she began her construction career working on the Toktogul Hydropower Plant project in Kyrgyzstan before being sent to Uzbekistan, where she met her destiny and found her second home.
In Uzbekistan, Maria started her work at the Jizzak Concrete Plant and later became a lead engineer and foreman at JizzakStroy, a company responsible for most of the region’s construction projects. During that era, Soviet construction was highly standardized, with buildings following generic designs devoid of individuality, often disregarding the distinctiveness of national architecture. However, with her refined aesthetic sense and a deep appreciation for national character, Maria transformed these standard blueprints.
Under her guidance, the faceless architectural plans evolved into vibrant creations that reflected Uzbek culture and heritage. Maria incorporated traditional patterns, floral motifs, and national decorative elements to give life to these structures. Her projects included prominent landmarks like the Jizzak Region Hokimiyat building, the Regional Musical Drama Theater, and the Zaamin Sanatorium. Each building became a true symbol of the region and a shining example of how universal architecture could be adapted to suit the unique culture and environment of Uzbekistan. Her contributions were acknowledged not only by her colleagues but also at the state level, with her being awarded medals for her professional achievements and as a mother.
She raised five children, each of whom she imbued with love for their homeland and cultural values. Her children and fifteen grandchildren carry on her legacy. Maria Shevel was not only a talented architect but also a model of cultural richness and generosity. She lived her life in close connection with the traditions and culture of Uzbekistan, remaining in her second homeland even during the tumultuous years following the Soviet Union’s dissolution. In her later years, she embraced Islam, symbolizing her profound connection with the Uzbek people.
In her memory, Maria Shevel’s name has become synonymous with cultural and creative contribution. In 2014, the Maria Shevel Literary Prize was established, awarded annually at the international Open Eurasia competition for the best children’s work. This prize stands as a symbol of recognition for her cultural impact on society and inspires young writers and artists to achieve new heights. A commemorative plaque in her honor was installed in Kazakhstan, and her anniversary was celebrated at an award ceremony at a London film festival, underscoring her internationally recognized legacy.
Maria Shevel left a lasting impact on the hearts and minds of those who knew her personally and on all who appreciate her work. She demonstrated that architecture is not merely about buildings but about embodying culture, and her contribution to the development of Uzbekistan’s architecture remains unique.
OCA Magazine: Tell us, please, about yourself and your creative activity / work.
Katerina Kudryavtseva: In my youth I was a professional ballerina, I graduated from one of the best ballet institutions in Russia – the Moscow State Academy of Choreography. I left the stage after being diagnosed with multiple sclerosis. She became a scientist and defended her doctorate in cultural studies. I worked as a journalist, began to write literary texts, and became an artist.
Before my illness, I was afraid of large canvases and my ignorance of some artistic laws. The illness helped me, I took a brush in my left hand, as it was difficult to work with my right hand, and started to paint on large canvases. I also began to paint with my feet, first to develop my body, then I realised that it was opening up my subconscious. I am now recovering from my illness and my paintings are taking on new facets.
OCA: How did you choose your path and who is your role model in the creative space or life?
KK: I don’t know whether I chose the path or the path chose me. When I became ill, I started helping others, teaching ballet to disabled people and organising camps for the disabled. It’s unlikely that I would have done this before the illness, dancing in the theatre in good health. The illness has forced me to seek and find ways out for myself and others. Teachers and examples – my mother, a model of unbreakable loyalty and support. Psychotherapist Gennady Filippov, thanks to whom I was cured. Ballerina Evgenia Farmanyants, who taught me to dance with my soul, and the director of the Guild, Marat Akhmedjanov, who gave me wings.
OCA: What is your main achievement in 2023-2024?
KK: Cure from the disease. Professionally – holding personal international and Russian art exhibitions.
OCA: What is the main feature that makes you and your art/work unique?
KK: I have always worked and painted despite and because of my difficulties. This is how the ‘Dance on Canvas’ project came about. I lost my ability to dance on stage, but I started to dance with my feet on the canvas. I can’t paint with my right hand, I take the brush in my left hand and new inner facets open up.
OCA: Tell us, please, about the events or projects of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work?
KK: I participated in the 2023 Guild Festival in Burabay and took my paintings abroad for the first time. Thanks to the support of Marat Akhmetyuzhanov, I began to organise Guild meetings at my home, as well as my personal creative meetings in new, larger venues, such as the vernissage at the Senpolia Restaurant (Moscow). My circle of acquaintances and creatively useful contacts has expanded considerably.
OCA: What is your motivation and the main aim of your creativity?
KK: Motivation – the joy of my children and the grateful smiles of others. The goal is to help as many people as possible to want to live and create.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career?
KK: Believe in yourself and in what you want. Nothing is impossible in this world. Here it is difficult, but not impossible.
OCA Magazine: Please tell us about yourself and your creative work. Margo Gamburgskaya: I was born and grew up in Tashkent, in my childhood, like all children, I just loved to draw and redraw, but looking at my parents, and they are my policemen, I dreamed of becoming a lawyer and investigating important criminal cases.
Now I am a mother of 3 children and the owner of an art studio.
Of course, at school everyone promised me that I would become an artist. My aunt, my father’s sister, who was a leading costume designer at the Uzbek Film Studio, taught me to draw.
I fell in love with art so much that now I cannot imagine my life without it. And everything I do is just art. I adore epoxy resin and the direction of resin art.
In 2022 I opened the first epoxy resin school in Uzbekistan and we have already trained more than 500 students from Uzbekistan and neighbouring countries – Kazakhstan, Turkmenistan, Tajikistan and Kyrgyzstan.
The studio covers all areas of art, including pottery. I also run large art events, which can involve up to 1000 children and adults at a time.
OCA: How did you choose your path and who is your role model in the creative space or life? MG: At the age of 16, my drawings (portraits of my favourite artists and music bands) were noticed by my friend’s father, an artist, who took me to his friend’s studio, so I got and became a student of a famous artist, Honoured Artist of Uzbekistan and member of the Academy of Arts – Zhdurat Rakhmani. I graduated from the Architectural University, worked for 5 years as a designer in advertising, own all computer programs for 2D and 3D creation. In 2015 I became a mother for the first time and in 2016 I opened my own art studio “Mig of Creativity”, MIG are my initials – Margarita Igorevna Gamburgskaya.
Of course, there were many famous teachers, sculptors and architects at my university, but the great merit in my journey lies in the hands of Jurat Rahmani, to whom I am eternally grateful for his faith in me and my abilities.
OCA: What is your main achievement in 2023-2024? MG: My greatest achievement is organising mass masterclasses for large companies. It has brought me recognition and helped me to become number 1 among Tashkent studios in attracting interest and creating such interesting events as: art buildings, art girls’ parties, art breakfasts. My author’s projects help young and beginning artists to find themselves and set an example.
I also became a participant of the project X-Factor, Uzbekistan got talent, showed a new level of sand show, where I draw to the music on the light table love stories, stories of company creation and various projects, again at large conferences and meetings, at the UNESCO meeting in Samarkand with the help of sand show I revealed the problems of drainage of the Central Asian region.
And family – family is my greatest achievement and my greatest love.
OCA: What is the main feature that makes you and your art/work unique? MG: As I have already said – it is the ability to unite hundreds of people in one direction, in creativity. When guests come to my events, they immediately say that they don’t know how to do anything, that they’ve never painted or modelled or cast epoxy resin. They’re scared. And then they realise that my team of professionals explain everything so competently and easily that they end up with masterpieces and are simply delighted. Last year, 500 employees of a large Republican company worked with us to create a single painting on 20 canvases, and the result was amazing.
OCA: Tell us, please, about the events or projects of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work? MG: Marat Akhmedjanov and Taina Kaunis completely changed my opinion of my work. I didn’t even think that my work could be noticed in such a status guild, so I offered to join it. This is a great honour for me and the next step in my development, every time ECG visits our country I try to be helpful, offer the studio as a meeting place and hold workshops for guests and members.
OCA: What is your motivation and the main aim of your creativity? MG: Motivation is my whole way, because life is a constant movement and I always want to go further and get more, I want to show my children that there are no limits and barriers, it doesn’t matter where you live and what you do, the main thing is to always do what you love and you will be rewarded.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career? MG: Don’t be afraid! Always try to retreat when it is not your own. After all, you should always look only for what is yours. Then you will be truly happy.
OCA Magazine: Please tell us about yourself and your creative activity/work. Maria Yanovskaya: My first contact with photography as an art form happened when at 19 I started working at Kodak’s office in Moscow. There I was fortunate to have met incredible professional photographers whose works graced the covers of global magazines and shaped how the world saw Russia. Some became mentors and friends as I started experimenting with cameras myself. Being in the epicentre of photographic artistry and witnessing the myriad ways in which life could be framed and interpreted, sparked my journey of exploration and helped me discover my own photographic style and narrative. As I continued to evolve as a photographer, the focus of my lens crystallised – I am interested in capturing moments, architecture, nature, and people in which the old and new coexist simultaneously, what I like to call “time machine magic moments.”
OCA: How did you choose your path and who is your role model in the creative space or life? MY: My first job at Kodak opened doors for me to the tight-knit photography circles like “Camera Obscura,” edited by the talented Sergey Kosyanov, the ProLab Centre, and Olga Sviblova’s Museum of Photography. I also formed friendships with celebrated figures like Valery Gende-Rote, the Soviet photojournalist behind the iconic portrait of Yuri Gagarin saluting Nikita Khruschev, Sophia Loren visiting Moscow, etc. His stories of capturing the perfect shot were both fascinating and infectious. I also had the privilege of working with Nikolay Rakhmanov, known for his iconic photographs of the Kremlin’s churches and golden cathedral’s domes and crosses. Their mentorship, along with the opportunity to study their masterpieces, visit their studios and hear the behind-the-scenes stories, made me want to learn more, know other photographers and experiment with styles.
OCA: What is your main achievement in 2023-2024? MY: Over the past year, I’ve found myself increasingly drawn to the interplay of light and shadow, discovering how it transforms familiar landscapes into something almost otherworldly. Whether it’s the late afternoon sun casting long shadows across a weathered churchyard or the flickering glow inside a centuries-old pub, light has become a key element in my work. This exploration has taken me to both urban and rural spaces across Britain – places where history feels tangible. From the stone cottages of the Cotswolds to the windswept castles of the Scottish Highlands, these settings seem to defy time, especially when viewed through the right balance of light and darkness.
In many ways, these subtle manipulations of light have helped me capture what I think of as “time machine” moments – those rare instances where the present melts away and you’re left standing in a space that feels untouched by the passage of centuries. These moments aren’t just found in grand, iconic landmarks, but in the smallest details: a moss-covered stone, a worn wooden beam, or the faces of locals who seem as timeless as the places they inhabit. This journey of photographing Britain’s living history has been my most fulfilling achievement in 2023-2024, as it has allowed me to not only document these spaces but to make their stories come alive in my work. OCA: What is the main feature that makes you and your art/work unique? MY: I’m drawn to scenes that most people pass by without noticing – a weathered building, a quiet street corner, or a patch of nature fighting to survive in the midst of the city. These small, seemingly insignificant details grant the world its sanity back. Through my lens, I capture these overlooked moments, preserving them as reminders that despite everything, there is still stability, resilience, and grace in the everyday. It’s these fragments of calm in a turbulent world that remind me, and hopefully others, that beauty persists, even in the simplest of forms.
OCA: Tell us, please, about the events or projects of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work? MY: The Eurasian Creative Guild has provided a platform that brings together a diverse range of creatives, offering not just opportunities for exposure but also a supportive community that fosters collaboration and growth. My participation in the 4th International Festival of Poetry and Visual Arts “Voices of Friends”, where I won 2nd place for photography, was a significant moment for me. Being part of this collective has given me new perspectives and new energy and ideas that continue to push me forward and create.
OCA: What is your motivation and the main aim of your creativity? MY: For me, photography is therapeutic. It’s more than just a job or a passion—it’s how I make sense of the world and navigate difficult times. Heading out with my camera and capturing moments that feel frozen in time is like a personal celebration of the constancy that still exists in life. It helps me ground myself, offering a way to slow down the relentless pace of the world. In those moments, I can forget about the wars, catastrophes, cruelty, and injustices that often dominate the headlines. Photography becomes my way of rediscovering who I am, reaffirming that beneath the chaos, there’s still normality, beauty, and peace to be found.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career? MY: I would encourage members of the Guild and those just starting their creative journey to trust in their own voice and vision. The more you lean into your individuality, the more unique and powerful your work will become. While it’s valuable to learn from others, it’s crucial to carve out your own path—don’t be afraid to take risks or explore unconventional ideas. Creativity thrives on independence, and the more you allow yourself to be guided by your own instincts and passions, the stronger and more original your artistic expression will be.
OCA Magazine: Tell us, please, about yourself and your creative activity / work Michael Matveev: I am Mikhail Matveev aka Kartli, born on September 11, 1947, in the picturesque, lake-filled southern Urals, in the town of Chebarkul, Chelyabinsk region, in a country that almost no longer exists: the Union of Soviet Socialist Republics – USSR.
My family lineage likely dates back to Byzantine roots, reaching as far back as 1010. I chose the pseudonym “Kartli” after the name of my ancestors, who ruled the Kingdom of Kartli in what is now eastern Georgia.
Currently, I hold the academic title of professor and am a member of several professional organisations, including: The Union of Architects of Russia (USSR) since 1984 The Commission on Professional Ethics of the Ural Branch of the Union of Architects of Russia Deputy Chair of the International Federation of Artists Chair of the Executive Committee of the N-F Expert Council of the Eurasian Creative Guild (ECG, London) Member of the International Association “Union of Designers.” I serve as a professor in the Department of Architectural Design at Ural State University of Architecture and Arts, named after N. S. Alfyorov, who was my mentor and thesis advisor at the institute.
OCA: How did you choose your path and who is your role model in the creative space or life? MM: When I was 3 years old, I was given ply asticine for my birthday. Since then, the process of artistic creativity has not stopped to this day. An example, or rather, an object of inspiration is the entire world in all its perceived manifestations.
Imitation for me is slavery! I am a supporter of F. Shalyapin’s formula: “An artist is one who creates the unprecedented…”. I consider the NATURE OF THE ORGANISM OF THE UNIVERSE to be my teacher.
OCA: What is your main achievement in 2023-2024? MM: Winning the international competition on the topic: “Socio-philosophical and architectural-urban planning concept of cities of the future”. The idea of a progressive system of human settlement on the planet has been actively formed in my professional work since the end of the last century (since 1968) and the beginning of the new millennium.
The technological impetus was the advent of the Internet! The global transformation of the means of human communication and information has radically changed the way of life of bipedal creatures on Earth. The goal of implementing my concept: to cure and protect the planet’s organism from the spread of parasitic “lichens” (mold) – cities. The existing urban planning is spreading like an avalanche with harmful scabs that reduce the duration of biological life. The scale of modern construction of pompous shelters is growing tendentiously, displacing and destroying the life-giving covers of the Earth’s body.
The essence: People do not realise that the surface of the planet in the future, if they do not come to their senses, will be encased in a dense shell of technocratic construction. Natural covers of natural living components of flora and fauna are replaced pathologically rabidly by artificial asphalt and reinforced concrete…!
The introduction of a new structure for comfortable human settlement frees nature from the threat of death. The architecture of the solution will be shown in the following publications
OCA: What is the main feature that makes you and your art/work unique? MM: Insight and experience of travelling on our and other planets…
OCA: Tell us, please, about the events or projects of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work? MM: Added participation in ECG – another aspect of hope: to expand and activate my positive influence on the world with the aim of harmonising the relations of the NATURE of planet Earth and its GUEST – BI-LEGGED VANDAL USURPER infected with the “bacilli of civilization” of consumerism. Humanity will have to restore the possession of the laws of hospitality and ensure the effectiveness of their implementation … My participation in the events and projects of the Eurasian Creative Guild (ECG) was activated with the appointment to the position of chairman of the executive committee of the expert council for NF ECG (London).
OCA: What is your motivation and the main aim of your creativity? MM: The ancient roots of my family (>1000 years BC) are the unshakable foundation of the Genetic program of my animated creative life activity.Goal: to scale the saving straw and free people from the quagmire of the technocratic swamp of a dead-end civilization, to open the eyes of people’s awareness to the rational truth of the expediency of the unity of all that exists in the Universal organism. OCA: What would you wish for the members of the Guild and other creative people, just starting their career? MM: Urgent wishes: To comprehend your involvement in the organism of the Universal universe. Every person is its integral part. To be guided in everything not by reason, which serves as a component of the matrix of consumer society, but by the genuine reactions of your sensory apparatus transformed into real incarnations through the prism of your own instance of the universal spirit.
OCA Magazine: Tell us, please, about yourself and your creative activity / work. Mumtoz Kamolzoda: I am a nutritional therapist, and I am qualifying as an herbalist this year. Both professions require a lot of creativity because neither of them is an exact science – with every patient, I need to be creative to puzzle out the source of their health issues and find the solution to help them. Medicinal herbs, especially intrigue me, as they are mysterious vital forces that can heal as a sum of a variety of actions, or hurt, as an isolated compound or in high doses. I also occasionally dabble in painting and photography in my spare time. I used to write poems too, but mainly during two periods of my life: as a child, perhaps, as an influence of my grandfather – the poet; and at a very sad period of my life, maybe as an outlet for expressing myself without talking.
OCA: How did you choose your path and who is your role model in the creative space or life? MK: Creativity and artistic people have been part of my life since I was born. I grew up with parents-artists, who dragged me and my artist-sister to exhibition openings as regular evening and weekend pastimes. I spent vacations with grandparents, a poet, and a literature teacher, one of whom constantly wrote poems while the other one urged me to use their library. I frequently heard reminders of my other grandfather’s legacy – composing and playing music (unfortunately, he passed away before I was born) – from my other grandmother, who was a librarian, and encouraged me to read books, too. My parents’ friends, who frequented our house, consisted of artists, filmmakers, publishers, and writers among others. All of this tremendously influenced me, and no matter what profession I choose, creativity will be a part of it.
OCA: What is your main achievement in 2023-2024? MK: Planning a family, owning a house, and finishing my herbal medicine degree.
OCA: What is the main feature that makes you and your art/work unique? MK: My experience in a variety of fields: arts, languages, politics, and healthcare. In addition, living and immersing myself in several countries: Tajikistan, China, India, the United States, and the United Kingdom.
OCA: Tell us, please, about the events or projects of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work? MK: When I was doing my PhD, I lived in London from 2014 to 2019 and tried to participate in most of the local ECG events. It was wonderful and exciting to meet other creative people and to witness real talents being helped on their way up. Since I moved out of London, I regret that I cannot do it as often these days. OCA: What is your motivation and the main aim of your creativity? MK: To help other people and my family through nutrition and herbal medicine, and to express myself in my artwork. I hope, after my graduation this year, I will have more time for painting and maybe even writing.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career? MK: Never stop trying – you will never know if it works for you unless you try. Do not give up, even if you are at your wit’s end. Somewhere, someone or something can offer a solution.
OCA Magazine: Tell us, please, about yourself and your creative activity / work. Roza Red: Greetings friends! My name is Rozalia aka Roza Red, I’m an artist, art critic, writer, lawyer, economist. Member of the Union of Artists of Russia, member of IHF, International Art Fund, Eurasian Art Union-EURASIAN ERT UNUN, Union of Abstractionists of Russia, Member of the Eurasian Creative Guild (London), Academician of the International Academy of Russian Literature. My paintings are exhibited in galleries in Russia and abroad. In Cyprus GOPELOZE FAMILU Art Museum. In Holland, in the USA g. Miami, Oregon, in Italy, in China. Magazine Russian Gallery 21 century in 2019 published an illustration of my paintings and an article about my work. Annually publishes my artworks in the catalogue Art of Russia since 2016. And also published catalogues in Italy, Holland, Cyprus, London, where my exhibitions were held.
OCA: How did you choose your path and who is your role model in the creative space or life? RR: I started painting after travelling to the mountains on an expedition to explore the Milky Way. My teacher is the Creator God, his infinite beauty and wisdom has fascinated me since childhood and my goal was to know the truth.
OCA: What is your main achievement in 2023-2024? RR: My main achievement for 2023-2024 was the Guild Exhibitions. I presented a video clip of Roza Red Gallery. In 2024 I was accepted by the Professional Union of Artists of Russia. And also “The Great Steppe Treasury” Art Catalogue by ECG (London), where my paintings were presented (series “Apple of love, Apple of discord”).
OCA: What is the main feature that makes you and your art/work unique? RR: My paintings became unique and valuable when the Russian Gallery of the 21st Century bought four of my paintings and wrote an article about my art in the magazine. When your paintings find their owners, they become valuable.
This is the value and the feeling of joy fills the buyer and the creator – me.
OCA: Tell us, please, about the events or projects of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work? RR: This is a unique opportunity to show and tell the world about your creativity. Participation gives you the opportunity to expand the circle of admirers of your creativity. The Guild is a big family, creative talented people in different fields, and we as a family complement each other with happiness, joy and of course ideas – ideas are born in this cosy warm atmosphere because we complement each other.
OCA: What is your motivation and the main aim of your creativity? RR: Motivation is when you get an idea, then a plan, and then you can’t stop until you’ve finished the painting because the current of the Creator is running through you. Sometimes it manifests itself as music of the soul, sometimes in silence with something elusive and beautiful.
I love the mountains very much, after them I want to write, dance, delight and joy fill my soul.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career? RR: The more exhibitions the better. I have over 300 exhibitions. And solo shows are very important. And communicate to find the environment of artists and take the experience of knowledge, and accept criticism, always learn something new for yourself in creativity, and share your experience. Everyone is a genius. To be with nature, to merge with the beauty of nature. I’m inspired by the mountains.
OCA Magazine: Tell us, please, about yourself and your creative activity / work. Shaizada Baikenova: Full member of the Academy of Arts of the Republic of Kazakhstan (academician). Member of the Union of Designers of the Republic of Kazakhstan, Director of the publishing house “Balalar adebieti” LLP, Member of ECG (London), Associate Professor of the Eurasian Technological University..
OCA: How did you choose your path and who is your role model in the creative space or life? SB: As a child I loved to draw, write stories and put on plays. My idols were my parents and my grandfather (my father’s older brother), I wanted to be like them – hard working, kind and caring towards others. My idols in art were Goya, Poussin and Renaissance artists.
OCA: What is your main achievement in 2023-2024? SB: Participation in the ECG competition, IV Voices of Friends: Poetry and Art, category ‘Artwork’. Where I had the honour to be published in the art catalogue and to receive the diploma of the IV Voices of Friends: Poetry and Art Competition.
OCA: What is the main feature that makes you and your art/work unique? SB: Individuality, my creative style in my work.
OCA: Tell us, please, about the events or projects of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work? SB: Due to my busy schedule, I was only able to participate in the festival IV Voices of Friends from 15-18 September 2024 in Burabay (Kazakhstan): Poetry and Art. I am very happy that the festival helped me to find good, creative friends! I would like to express my gratitude to the organizers of the competition, to the audience and to the other participants for your work, Our hearts, Our voices sounded in unison. It was a bright event this year, bringing together more than 500 guests from all over the world and 60 poets, novelists, artists, musicians and filmmakers from 15 countries: Kazakhstan, UK, USA, Ukraine, Lithuania, Israel, Russia, Finland, Uzbekistan, Georgia, Bulgaria, Armenia, Canada, UAE and Belarus, who shared their creativity in person and online.
OCA: What is your motivation and the main aim of your creativity? SB: Of course, as a creative person the main motive was to show my works to a wider audience and most importantly to be understood and accepted.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career? SB: To Guild members and newcomers, I would first of all wish them to reach creative heights. Never stop at what you’ve achieved and always be in search of something new—whether in technique or style of presentation.
OCA Magazine: Tell us, please, about yourself and your creative activity / work Zhazira Janabayeva: My name is Zhazira Janabaeva – a professional artist. My speciality is textiles. The techniques I work in are: silk painting and hand weaving. For the last 13 years my artistic practice is mandala art. The traditional mandala is a centred drawing in a circle, used for spiritual practices, in art therapy and in art. I practise the programming of mandalas. In the process of creating mandalas I use: meditation, psychology of colours, symbolism of ornamental elements, language of colours, ancient signs of Kazakh tribes and numerology.
In the sacred space of the mandala I get access to the unconscious and the possibility to trust the living creative process without social, gender and professional conditions.
The mandala is a creative meditation. The circle. The absolute. Completeness. Exhaustion. A chance to be alone with yourself and the world. Mandala is a frozen prayer, a message to the world, a manifesto.
OCA: How did you choose your path and who is your role model in the creative space or life? ZJ: 22 years ago I opened a studio for fine and applied arts ‘Blue Turtle’ and in the process of working all these years I studied education, child psychology and art therapy. Through art therapy I came to mandala art and it became my passion. The most important person in the history of world culture for me is Vincent Van Gogh. Since my childhood I have studied his biography and his work. His painting is absolutely emotional and therefore incredibly authentic. His incredible efficiency is a benchmark for me. In the last year of his life, his health was completely compromised, and yet he continued to work mystically hard – he painted one picture a day. Imagine – 365 works in one year! I also ‘connect’ with him, a literally interesting and little known fact. He saved colours, he was looking for his magic colour harmonies, mixing woollen threads of different shades. Recently, when I took the finished tapestry out of the frame, I noticed that the underside of the tapestry was visually very similar to Van Gogh’s work. I had a hypothesis that the artist had mastered the art of tapestry weaving.
OCA: What is your main achievement in 2023-2024? ZJ: Last year was very valuable for me – my daughter Laal Avgambayeva participated in London Fashion Week with the collection “Anatomy of the Steppe”, as I am a textile designer of the brand “LAAL”, I created embroideries for the models. I also took part in a large international exhibition dedicated to the 90th anniversary of the Union of Artists of Kazakhstan, which was held in two major museums of our country, the State Museum of Fine Arts of Kazakhstan named after Kasteev in Almaty and the National Museum of Kazakhstan in Astana. In the spring of this year I participated in the exhibition ‘Graphics of Kazakhstan’ and recently I opened an exhibition of children’s works ‘Beautiful World – with beautiful eyes’ of my studio ‘Blue Turtle’. Both events took place in the Central State Museum in Almaty.
OCA: What is the main feature that makes you and your art/work unique? ZJ: My mandalas are programming, all without exception, who became the owners of my works, confirm their magical impact on reality. That is, if a person has chosen a mandala focused on health, he is healed, if he has chosen a mandala focused on creating happy relationships, he finds a loved one. This happens because in my work there is no adult rationalism and it is almost impossible to rely on my academic training, because, such is the peculiarity of the mandala technique, it always works on an intuitive, almost unconscious level, and this makes my work sincere and effective in the end.
OCA: Tell us, please, about the events or projects of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work? ZJ: Last year my work was included in an art catalogue that was sent to 10 major art galleries. For me, the Guild is first and foremost about people – talented, bright and representing the contemporary culture of different countries. I have made friends in the Guild, which is very precious to me. Marat Akhmedjanov has become a real friend for our family, he is amazing, kind, always full of energy and new ideas. I am interested not only in the preservation of national traditions of applied arts, but also in their modernisation.
OCA: What is your motivation and the main aim of your creativity? ZJ: In today’s art world, there is a completely unjustified opinion that applied art is not art. Isn’t it the historical origin of all kinds of visual arts? So my aim is to integrate tapestry, batik and felt into the contemporary art discourse. I also work only with ecological materials: silk and wool, which is very authentic to my national culture and allows me to feel that time is passing through me and that something very important is continuing.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career? ZJ: To all the guild members and creative people, I don’t want to try to evaluate the results of your work, and just keep going no matter what, because if the Almighty, let’s call it that, puts a hand, a brush, a musical instrument, etc. into your hands, then there is a higher purpose in it.
Bolotbek Shamshiev was an outstanding Kyrgyz film director, actor, and screenwriter who left a profound mark on Soviet and Kyrgyz cinema. He was born on January 12, 1941, in Frunze (now Bishkek, Kyrgyzstan) into an intellectual family. His works were imbued with national identity and depth, attracting audiences not only in the Soviet Union but also internationally.
After graduating from VGIK, where he studied directing under Sergey Gerasimov, Shamshiev embarked on a career that combined artistic mastery with the cultural heritage of his people. In the 1960s, he worked closely with the Kyrgyzfilm studio, creating some of his most significant works.
One of his first directorial works was the film Shot at the Karash Pass (1968), praised for its innovative approach to the genre and skilled portrayal of national color. The film was highly appreciated by both viewers and critics, introducing Kyrgyz cinema to the world and establishing Shamshiev as a prominent figure in Soviet film.
His best-known works include adaptations of epic Kyrgyz literary works. In 1975, Shamshiev directed The Red Apple, which became one of the most famous films in Kyrgyz cinema. This psychological drama, exploring the search for personal happiness and values, featured poetic visual styling that captivated audiences. The film was showcased at international film festivals and received acclaim beyond the USSR.
Another significant project was The White Ship (1976), an adaptation of Chingiz Aitmatov’s work. This film highlighted Shamshiev’s skill as a master of visual storytelling and his knowledge of Kyrgyz culture. The story of a boy dreaming of justice and beauty in a harsh adult world was viewed as a profound social statement and won awards at various festivals.
Another important work was his adaptation of Aitmatov’s The Place of the Skull (1979), also known as The Early Cranes. The film addressed essential themes of cultural clash, inner conflicts, and tragic events set against a turbulent historical context. Shamshiev’s work on Aitmatov’s adaptations led to a close collaboration and friendship between the writer and director, further strengthening the influence of their art on Kyrgyz culture.
Bolotbek Shamshiev also worked as an actor and screenwriter, and in his later years, he dedicated himself to teaching, mentoring a new generation of directors in Kyrgyzstan. His contributions to Kyrgyz cinema were recognized with numerous awards, including the title of People’s Artist of the Kyrgyz SSR.
Sadly, on December 21, 2019, Bolot Shamshiev passed away at the age of 78. A farewell ceremony was held in Bishkek, where colleagues, students, and fans gathered to honor the memory of this great master. His films remain an essential part of Kyrgyz and Soviet cinema heritage, and his contributions to the cultural development of the country will continue to inspire new generations of artists.
Cyrus Yavneh, born in New York City, came from a multicultural family: his father, Zalman, was a Belarusian Jew, and his mother, Anna, was a Sabra, a native Israeli. He graduated from City College of New York, and his life took an unexpected turn afterward. Before entering the entertainment industry, Yavneh tried his hand at various jobs, including work as a musician and bottle washer, but eventually, he was drawn to the world of television and cinema.
In his long and eventful career, Yavneh made a notable impact in both television and film, with each of his projects becoming an important chapter in his biography.
One of the most prominent projects Yavneh worked on was the iconic series 24. This tense and thrilling drama focused on counter-terrorism efforts and the activities of special services. Each episode represented a single hour of one day, creating a unique “real-time” format that provided viewers with an intense experience. Yavneh produced 34 episodes of 24 and was honored with a Producers Guild of America Award for “Best Dramatic Series” as well as an Emmy. His contribution helped the series achieve its status as a groundbreaking show, which remains a model for many other projects in the political and spy thriller genres.
On the big screen, Yavneh left his mark by working on both comedic and dramatic projects. In 1994, he produced It’s Pat, based on the eponymous character from the iconic show Saturday Night Live. The film was a comedic story about the challenging situation of a person whose identity causes confusion and attracted audiences with its unique humor. Despite mixed reviews from critics, the film found its viewers and established Yavneh’s reputation as someone willing to take risks and experiment with formats.
Yavneh also worked on Town & Country, released in 2001, featuring a star-studded cast including Warren Beatty, Diane Keaton, and Goldie Hawn. This was a comedy about family relationships and midlife crises, exploring the adventures and trials of a group of friends. Although the film’s production faced numerous challenges and repeated delays, Yavneh remained determined to see the project through to completion.
Another significant milestone in Yavneh’s career was Christmas in Connecticut — a family comedy that marked the directorial debut of famed actor Arnold Schwarzenegger. The storyline was based on the 1945 original film, and the remake retained the warm and wholesome spirit of the Christmas tale. Working with Schwarzenegger brought attention to the film and further solidified Yavneh’s position as a versatile producer capable of working with various genres and talents.
In addition to these projects, Yavneh also contributed to the popular supernatural series Supernatural, which told the story of two brothers, hunters of demons, spirits, and other supernatural beings. The show became one of the longest-running in American television history, and its unique plot and atmosphere attracted millions of fans worldwide. Yavneh’s involvement in creating this project was another testament to his ability to choose promising stories and projects that could captivate audiences.
Even in the later years of his life, Yavneh continued to work on intriguing projects. At that time, he was involved with the Netflix comedy Insatiable, a bold and sharp satire on modern society, addressing issues of appearance, weight, and the internal struggle with one’s own complexes. Yavneh believed in the originality of the project and was committed to seeing it through to completion.
His journey was full of challenges, but until the end of his life, Yavneh remained dedicated to the art and his craft. Sadly, he passed away on January 26, 2018, at the age of 75 in Santa Monica, California, after a prolonged battle with lung cancer. His memory was honored at Mount Sinai Memorial Park, where a farewell ceremony was held.
Ahmad-Khoja Khorezmi, whose real name was Ahmadjon Khudayberganov, was a renowned Uzbek poet, writer, and public figure, born in 1949 in the Khorezm region of Uzbekistan. His work deeply reflects the national traditions and the cultural and spiritual values of the Uzbek people, making him a significant figure in Uzbekistan’s literary community. Ahmad-Khoja’s talent and ability to convey soulful experiences through his words allowed him to secure a unique place in the hearts of readers and listeners alike.
From a young age, Ahmadjon showed a particular interest in literature, poetry, and the oral traditions passed down by older generations. These traditions became the foundation of his creative explorations and eventually grew into a desire to create something unique, deeply national in spirit. Ahmadjon began writing poetry while still in school, drawing inspiration from the beauty of his homeland and the rich culture of Khorezm, which was renowned for its historical and cultural achievements.
After finishing high school, Ahmadjon entered the Faculty of Philology at Tashkent State University. This was an important stage in his life, as he delved into the works of Uzbek and world literary classics, learned the basics of literary mastery, and began to develop his own style. He immersed himself in the works of great poets of the East and the West, such as Alisher Navoi and Goethe, which helped him form a unique style combining tradition with innovation.
After graduating from the university, Ahmadjon returned to his native Khorezm and began actively pursuing a literary career. Under the pen name Ahmad-Khoja Khorezmi, he published his poems and stories, which resonated with a wide audience. His poetry was distinguished by a special sincerity, depth of feeling, and philosophical reflections on life, attracting the attention of both ordinary readers and literary critics.
One of Ahmad-Khoja Khorezmi’s most famous works is the poem The Prophet (At Age 63). This poem, filled with deep philosophical reflections on life and spirituality, was set to music and became a popular song performed by various artists. The song gained widespread popularity, becoming an iconic work not only for poetry lovers but also for those seeking a deeper understanding of Uzbekistan’s national traditions and spiritual values. The depth of the lyrics and the soulful performance allowed this song to become one of the most beloved compositions among Uzbek audiences.
Ahmad-Khoja Khorezmi’s work touched on a wide range of themes, from personal experiences and feelings of love to philosophical reflections on life, faith, and spirituality. He aimed not only to express his own thoughts and emotions but also to convey the profound cultural and moral values that had been passed down for centuries in Uzbek society. In his works, he often addressed themes of goodness, justice, respect for elders, and reverence for traditions. This connection with cultural heritage makes his poetry relevant and sought after even years after its creation.
In addition to his literary work, Ahmad-Khoja Khorezmi was an active participant in public life. He supported cultural initiatives, contributed to the development of the Uzbek language and literature, and took part in various events related to the promotion of national culture. He believed that poets and writers should not only create works but also actively participate in the life of their people, inspire others, support young talents, and share their knowledge and experience.
Ahmad-Khoja Khorezmi was also known as a man of strong moral principles, which further strengthened his authority among fans and colleagues. He embodied the image of a true intellectual who was devoted to his ideals and sought to convey them through his work. Thanks to his sincerity and dedication, he earned the respect of readers and colleagues alike.
Ahmad-Khoja Khorezmi passed away in 2020, leaving behind a rich literary legacy that continues to inspire and resonate with new generations of readers. His works, infused with a deep love for his native culture and people, remain an essential part of Uzbek literature and national identity.
Alexander Illarionov was a poet, community activist, and cultural inspirer whose life was dedicated to preserving and promoting Russian culture and literature in Lithuania. Born on January 9, 1949, Illarionov received a military-technical education, which likely shaped his disciplined and resilient character. However, his true calling emerged in the arts and cultural work that became the focus of his life after retirement.
Illarionov gained widespread recognition as the musical director of the Russian folk ensemble “Ivushki” in the Lithuanian city of Alytus. This ensemble united people with a genuine love for folk art and became a platform for promoting Russian culture in Lithuania. Thanks to Illarionov’s efforts, “Ivushki” became an essential part of the city and region’s cultural life, drawing audiences of various ages and nationalities. Alexander Illarionov was not merely a director; he was an inspiration who brought people together through art and folk traditions.
One of the crucial parts of Illarionov’s community work was his involvement in the “Immortal Regiment” movement, which he coordinated in Alytus. In this role, he helped organize events dedicated to commemorating the heroes of the Great Patriotic War. His active role in preserving historical memory touched people’s hearts, and many attended these events not only for the cause but also to support Illarionov, who became a symbol of the spiritual connection between generations.
Literary creativity held a special place in Alexander Illarionov’s life. He wrote both poetry and prose, using his works to convey his outlook on life and express deep emotions. A member of the International Association of Writers and Publicists, as well as the Kaunas Literary Club named after Derzhavin, Illarionov was not only a creator but also an active participant in cultural events. His portfolio included numerous publications on the platform “Stikhi.ru,” where his works were celebrated with nominations and highly regarded by readers.
Among his literary achievements, Illarionov earned diplomas and awards from major festivals. In 2014 and 2015, he became a laureate of the “Zvoni Pesnya” Republican Festival, and later, he participated in renowned festivals such as “Pokrova,” “Baltic Gamayun,” and “Multilingual Vilia.” These events not only allowed him to share his work but also provided a space for connecting with fellow poets and writers, enriching both his art and his relationships. One of the most significant moments in his creative journey was the XII International Festival of Orthodox Song and Spiritual Poetry “Faith, Hope, and Love,” where he was awarded laureate status in 2021. For Illarionov, whose life path was closely linked to spirituality, this recognition was a meaningful milestone.
Alexander Illarionov passed away on October 30, 2022, after a prolonged illness. His departure marked a profound loss for family, friends, colleagues, and all who knew him as a talented poet and director dedicated to preserving cultural and spiritual values. Leaving behind a rich creative legacy, Alexander Illarionov became part of Lithuania’s cultural history and remains in the memory of everyone who encountered his work.
Magical, seductive, brightest Moscow 2017-2020. Peace, joy, positivity and a huge number of events that warm the soul. Every day you meet new people, sit down over a shot and not current, communication and just love and friendship between like-minded people. Trust and light, shared events and a smile that never leaves my face. When I heard about an interesting event at the ‘Travel cafe’ on the same Taganka, full of fire, I didn’t think twice. That wonderful day I met not only Marat and Guild, but also Artem and Zhanna.
How nice to come to a place where you are truly welcome. The young man introduced himself with a smile and there was complete trust and respect, still at the energy level. And when he came on stage and spoke about the Guild’s projects, about himself, and began to read poetry, my heart sank. I really appreciate open poets who expose their nerves and are not indifferent to events. Artem was such a person. A man-volcano, he was just full of energy and always read his poems with a tear in his eye. Very powerful poems. It often surprises me to see such a high level of poetry in very young people. Usually with age comes experience and a vision of the world. But not always. And we can only listen to the words that have opened up new worlds and horizons. And in the breaks with Artem we could always chat, discuss plans for events or just drink a mug of beer.
A charismatic presenter and a brilliant organiser of Guild events in various places in Moscow, Artem always had his hand on the pulse and performed with everyone. Petersburg, Murom and other cities also received the attention of this remarkable young man, for Artem was friends with everyone and travelled everywhere. How many festivals, evenings of rhyming hooligan Grisha Movshits and other brightest poets were held with the participation of our dear Artem. And also an ordinary life, where he worked as a jeweller, and at a very high level. And children and family. How was this man enough for everyone? I remember the day they met Jeanne. A widow. I can’t believe it. All the time it seems that soon the door will open, Artem will come in, as always, and talk about plans or past evenings, not forgetting to introduce the newcomers and support everyone. Of course, after Artem there is a legacy. And we, as a guild, will certainly cherish the memory of a bright, kind and lovable young man that we will always remember. Covid, the stoppage of a strained heart…. And a pain that will stay with us forever. Artem, we remember you and love you very much. You’re with us, one of us. Bright and cheerful.
With great respect and gratitude for your trust, Gennady Gorovoy. Peace and self-realisation to all. And above all, take care of yourself and your own. And then the world will be better and brighter.
OCA Magazine: Tell us, please, about yourself and your creative activity / work Anna Harrington-Morozova: I have been drawing and writing poems since I was a teenager. I did not consider choosing a creative profession, thinking that I did not have much to say to others at the time. I loved maths and science and I wanted my profession to offer an equal path for a female. I studied nursing and pharmacy in the Moscow Sechenov Medical Academy. My love for maths brought me to the field of mathematical modelling in pharmacology. For over 30 years I worked developing and introducing new medicines to markets. Towards the end of my career, I headed Regulatory and External Relations functions in pharmaceutical and clinical research companies.
Since 2010 my work had a focus in the Eurasian region. I helped international businesses to enter local markets, and helped Eurasian companies with their innovative projects. In 2013 I trained the Kazakh Ministry of Health in international regulations. In 2016-2018 I read lectures on drug development in Skolkovo. I read the post graduate course in London on biomedical regulations in Eurasian region, which I developed in 2011. This course is now run for over 13 years as part of Continuing Professional Development programmes of two key UK providers of post-graduate education – PTI and Management Forum. Hundreds of young professionals were able to build regional Eurasian expertise.
Involvement with innovations ignited my interest in futurology. I joined the London Futurists group over a decade ago. In this area my interest lies in analysis of accumulation of systemic methodological errors in knowledge gathering, which is causing more disturbance as the social processes accelerate due to new technologies.
After retiring, I was keen to work in voluntary field. In 2014 my husband and I started a non-profit enterprise (www.parkhousespa.co.uk) offering access to aquatic therapy and disability swimming to our local community.
Only after turning 60 I looked again at my poems and drawing, the drafts of my science fiction novels and my futurology research, thinking – this is a right time to publish them.
For over 16 years I have been happily married to an Englishman. Our cultural differences are enriching us both. With so many plans ahead, I enjoy inspiring others for active, creative, healthy and happy life beyond traditional age expectations.
OCA: What is your main achievement in 2023-2024? AHM: 2023-2024 are remarkable years in my life. In 2023 I joined ECG and the British Poetry Society. I am very proud to became a finalist of the Poet of the Year 2023 Competition run by the Russian Writers Society. (My poetry is published under pen-name Anette Mor – https://stihi.ru/avtor/anettemor ). In 2023 my husband and I celebrated 15 happy years together. Our joint non-profit hydrotherapy enterprise celebrated 10th anniversary in April 2024. Hundreds of local patients received access to warm water therapy and many disabled children learned to swim and with our help.
OCA: What is the main feature that makes you and your art/work unique? AHM: When I started writing and drawing it was important to me to have something special and unique to say to the world. This urge to learn more about life sent me on a long journey of observing and thinking over, meeting people, travelling and doing life science research. Today, when we all face very difficult times, I am glad to offer a bright positive attitude towards the future. Life appeared to be a lot longer and fuller than I was told when young. Longevity first of all is an attitude. Being part of futurist discussions in last decade helps me to see the positive side of innovations, notice the trends which foster the best in human nature, the opportunities new technologies offer connecting people and giving them voices. I love being a bridge between cultures not just in international projects at work but also in my personal life. I can attest that mutual understanding got a lot better over the last few decades. But we are right to expect a lot more in this field and there is so much still to be done. That is why projects like ECG are so important.
OCA: Tell us, please, about the events or projects of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work? AHM: My two short stories in Russian were published in “Thread” N7 by ECG in 2023. My poetry in English and my translation to English of Boris Ryzhij poetry will be part of 2024 edition of Voices of Friends. This year Boris Ryzhij would celebrate his 50th birthday. I hope to present more of my translations of his poetry in English in ECG events this year. My Russian poetry entered ECG Poetry competition for 2024 and my drawings will be presented in ECG Art Catalogue during Annual ECG Festival in Kazakhstan in September 2024. I am arranging printing of my first poetry book. My non-fiction book on futurology and two science fiction novels are in the pipeline. OCA: What would you wish for the members of the Guild and other creative people, just starting their career? AHM: I wish creative people of all ages to be honest and brave. Creative work opens hearts and links people on a different level. There is a growing need to find new ways to reflect the modern world and to build bridges between its different parts. Be proud to be part of this hard and important work.
OCA Magazine: Tell us, please, about yourself and your creative activity / work Alexander Katsev: I am a PhD of Philology, Professor and Academician. I was a lecturer in universities for 53 years. Publicist. Published more than 850 works both scientific and journalistic.
Since high school I have wanted to be a journalist. After graduating, I became a teacher at the Pedagogical Institute by chance. Over the years, I have supervised two doctoral theses and thirteen undergraduate theses in literary studies and journalism: I participate in international scientific conferences and prepare scientific works with postgraduate students. OCA: How did you choose your path and who is your role model in the creative space or life? AK: I had very good teachers during my studies. The achievement of the last years were the lectures on literature. They are a kind of dialogue with the moderator Maxim Poletaev. The lectures appear every Monday on YouTube on the channel of Alexandr Katsev. Their peculiarity lies in their brevity and the presentation of unusual material.
OCA: What is the main feature that makes you and your art/work unique? AK: I have revived the genre of the pamphlet in journalism. In scientific researches and publications I returned to Russian literature more than 66 works of the 19th century. This influenced the education of students of philology and journalism.
OCA: Tell us, please, about the events or projects of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work? AK: I took part in the preparation and holding of the first Guild Festival. I was the editor-in-chief of 2 issues of the Guild members’ art magazine.
OCA: What is your motivation and the main aim of your creativity? AK: To present new facets of artistic creation.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career? AK: To wish for unique creativity that would delight and surprise authors and readers.
OCA Magazine: Tell us, please, about yourself and your creative activity/work. Klara Kabylgazina: I have 50 years of creative experience and 40 years of teaching experience. In 1973-75 I was a literary employee of the Almaty regional newspaper; in 1976-79 – an employee of the department of own correspondents of the newspaper “Socialist Kazakhstan”; in 1980-81 – an employee of the Kazakh television; in 1981-82 – a teacher of the Almaty Higher Party School. Since 1982 she has been head of the press department of Al-Farabi KazNU, senior lecturer and associate professor. In 2006-2010 she was editor-in-chief of the state youth magazine ‘Arai’. She is currently a professor at Al-Farabi KazNU.
OCA: How did you choose your path and who is your role model in the creative space or life? KK: My creativity has been influenced by my mother. She was a gentle soul who loved music.
OCA: What is your main achievement in 2023-2024? KK: My greatest achievement in 2023-2024 is to finish my documentary novel, now I want to finish the English translation.
OCA: What is the main feature that makes you and your art/work unique? KK: I am satisfied and I want my work to be appreciated by foreign readers.
OCA: Tell us, please, about the events or projects of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work? KK: At the Open Eurasian Literary Festival-2019 in Brussels, the work was shortlisted in the journalism section and took second place in the prose category.In 2023 at the Burabai Forum, the work was awarded the medal of the Polish writer Barbara Jurkowska-Nawrocka.
OCA: What is your motivation and the main aim of your creativity? KK: My current goal is to publish a documentary novel in English and to achieve creative success.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career? KK: The Guild has paved the way for many creative people in Kazakhstan. I wish success to those who follow this path. Special thanks to Marat Akhmedjanov and his team.
OCA Magazine: Tell us, please, about yourself and your creative activity / work Elena Makarova: I am a Philologist-Russianist. I am the author of 8 books for children. I started my professional career at school and then worked at the Tashkent Pediatric Medical Institute. Currently, I am teaching my private Russian language course to foreigners. Six years ago I published my first Collection of poems for children. In 2021, I published the Collection of poems for the youngest children 1+ “Мой ребенок (“My child”) and my book was awarded the “Best Book in Uzbekistan”.
OCA: How did you choose your path and who is your role model in the creative space or life? EM: Being at school I got first place in Republic Olympiads in literature. That time already I tried to write poems. After graduating, I entered the Faculty of Russian Philology at Tashkent State University.
OCA: What is your main achievement in 2023-2024? EM: In September 2023, at the XII Open Eurasian Literature Festival & Book Forum, I became a laureate of the “Voice of Friends” poetry competition. A big event for me was presenting the collection of translations of my poems for children into the Belarusian language “Svayo dzitsyanya” in December 2023 at the ECG meeting in Minsk.
OCA: What is the main feature that makes you and your art/work unique? EM: I write for very young children who is elder than 1-year-old. I am convinced that children should be introduced to reading books from this age. The value of my poems and fairy tales is that they help adults raise children on universal human values. And also my works are international and easy to translate into other languages.
OCA: Tell us, please, about the events or projects of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work? EM: I joined the Eurasian Creative Guild in the fall of 2022. I succeeded in participating and becoming a laureate of the “Voices of Friends” poetry competition. Thanks to this event, I was invited to an ECG creative trip to the cities of Russia: Yekaterinburg, Kazan, and Moscow. And in Belarus, at a meeting with ECG members in Minsk, a presentation of a collection of my poems for children in the Belarusian language took place. The author of the translation is Maria Muchinskaya, also a member of the ECG. We met at the XII Open Eurasian Literature Festival in Burabay (Kazakhstan) in September 2023. In Minsk, I also met Mikhail Kunitsky. He translated my collection of poems “Dad, Mom, Brother and Me.” I would like to express my gratitude to Marina Alyasova and Gennady Gorovoy for the invitation to their interview project “Guild in Faces”. I also thank ECG Executive Director Taina Kaunis for the opportunity to have an interview in Tashkent.
OCA: What is your motivation and the main aim of your creativity? EM: I want my works, which I lovingly write for children, to be read in different countries and states. It may sound cliché, but I want to make our world a little better.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career? EM: I wish everyone to believe in themselves! We are all unique. Our creative ideas must be realized. Don’t stand still. Look for opportunities to realize your ideas!
I met Helen Limonova as a collaborator on the Vintage Montage project in 2013. It was a moment that changed my life forever. Later, I worked with her in publishing, where she was not just an editor or publisher, but a real guide to the world of literature. Authors approached her publishing house and I sometimes illustrated their books, witnessing Helen’s inspiration and support for each of them.
Helen was a true knight of the book, her love of literature so deep that she could not remain indifferent to anyone who had a drop of talent. She had a shop in the old bus station in Tel Aviv where she sold books and, of course, introduced her new authors. It was a place where everyone could feel part of a great literary community, where books were not just a commodity but a source of inspiration and knowledge.
But Helen was more than just a publisher and bookseller. She was the soul of the entire union of Israeli Russian-speaking writers. She regularly organised meetings with an open microphone and covered tables, where both established poets and prose writers and very new writers could speak. These meetings were a real feast of words, where everyone could speak, share their thoughts and ideas. I used to go home from such meetings inspired, with lines that had sunk into my heart, with new contacts of interesting acquaintances and sometimes with new clients.
I was not at all surprised when Helen put her own work up for the reader’s verdict. She had always been a gifted writer and her books were the complete opposite of what she published. Her writing was profound, heartfelt and full of sincerity.
Helen planned her life around books right up to her last days. She made hearts beat faster and minds dive into the world of imagination, learning about the world of literature through her work. With her unique style and excellent craftsmanship, she easily captured the imagination, immersed it in fascinating stories and opened up new horizons in the literary world.
I am blessed to have known her. She was not just a colleague or friend, but a true inspiration and teacher. Her influence on my life and career cannot be overestimated. Helen Limonova left behind not only books, but a shining memory of how to live with a love of literature and how to share that love with others.
Jonathan Fryer (June 5, 1950 – April 16, 2021) was a British writer, journalist, lecturer, and politician whose life and work left a significant mark on literature and public life. Born in Manchester, he received his education at Oxford University, where he studied Chinese and Japanese languages. His career began with Reuters, after which he devoted himself to literature and journalism.
Fryer was the author of fifteen books, including biographies of Oscar Wilde and Christopher Isherwood, as well as his memoir “Eccles Cakes,” where he shares memories of his childhood and youth. His works were characterized by deep analysis and a moving style, which earned him recognition among readers and critics.
A special place in his work was devoted to studying the life and work of the Kyrgyz writer Chingiz Aitmatov. Fryer was one of the leading Aitmatov scholars, dedicating a significant part of his research to analyzing Aitmatov’s works and their impact on world literature. His articles and lectures on this topic helped popularize Aitmatov’s work in the English-speaking world and strengthen cultural ties between East and West.
In addition to his literary pursuits, Fryer was an active politician and a member of the Liberal Democrat Party in the UK. He ran multiple times for the European Parliament and chaired the London branch of the party, promoting liberal values and supporting human rights.
Jonathan Fryer was also known as a lecturer and teacher, sharing his knowledge and experience with young journalists and writers. His contributions to literature and public life continue to inspire many, and his works remain relevant today.
Jonathan Fryer passed away on April 16, 2021, leaving behind a rich legacy in the form of books, articles, and memories that live on in the hearts of his readers and admirers.
In 2024 the ECG (London) established the Jonathan Fryer Commemorative Medal to recognise the importance of the contribution of Guild members to the formation and preservation of the world’s art treasures.
OCA Magazine: Tell us, please, about yourself and your creative activity / work.
Maria Priznyakova: I am a local press journalist and photographer by profession. I have been involved in literary work for over 15 years. I have been writing poetry since my youth, and prose – short stories and novels – for about four years.
OCA: How did you choose your path and who is your role model in the creative space or life? MP: I chose my path as a writer – and to some extent a journalist is also a writer – because I love to write: to create texts, to convey through them my vision of events, human perception, my emotions and feelings, to create a new reality or to portray an existing one. My main inspiration is Joanne Rowling, who gave the world and me Harry Potter, the series of books and the story I grew up with. Joanne is an example to me of a great creator of a magical world and a woman who stands up for what she thinks. I love her with a reader’s love, support her wholeheartedly as a woman and admire her talent as a writer. It would be great to meet her in person one day and thank her for Harry.
OCA: What is your main achievement in 2023-2024? MP: Perhaps, my greatest achievement in this period is the fact that last year and this year I was selected among more than fifty participants of the VIII and IX International Youth Festival-Contest of Poetry and Poetic Translations named after L.Y. Severa “Shores of Friendship” and received special diplomas named after V.A. Dineki in the nomination “Poetry”. This is a great honour.
OCA: What is the main feature that makes you and your art/work unique? MP: Recently a writer I know said to me after reading my work: ‘Your prose has a special energy. There is a vitality to it, but it is not forced. And it’s as if you’re playing a guessing game with the reader – reminiscent of Japanese paintings where the edges are underdrawn’. I think I’d agree with him.
OCA: Tell us, please, about the events or projects of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work? MP: In 2022 I took part in the Voices of Friends competition and won 1st place in the Photography category. I used the grant to publish my short story ‘To Live’ in the collection ‘Thread-6’, my poem ‘Three Words’ and photographs ‘Snail’ and ‘Signs’ in the anthology Voices of Friends. Poetry & Art-2023, and also placed the photograph ‘Moment’ in the first edition of the art catalogue The Great Steppe Treasury. As a contributor to the art catalogue I was nominated for the Barbara Nawrocka Medal. Barbara Nawrocka Medal for my contribution to the development of the Eurasian society.
OCA: What is your motivation and the main aim of your creativity? MP: My goal is to become an author of books read by millions of children and adults around the world.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career? MP: Create! Dream! Live! Give yourself and your desires free rein and listen to your heart.
Murat Auezov was not only the son of the historical figure in the Kazakh history, and the most popular classic writer of the XX century, Mukhtar Auezov, but also remained in history as an outstanding writer, cultural expert, diplomat, public figure for the Kazakh people. Murat Auezov was born in 1943 in Merki district of Zhambyl region.
His mother, Fatima Gabitova, is a person of special fate who left an indelible mark on the lives of Bilal Suleyev, Ilyas Zhansugurov and Mukhtar Auezov. Murat Auezov remembers the moral teachings of Fatima Gabitova as follows: “Our mother’s upbringing was so wonderful. We were never told that we were born from different fathers. Had always strengthened our unity. Our elder brother Azat opened our eyes. When there was no book, he would invent stories himself. At that time, we lived only in one room with four white walls. Azat would light a candle on that wall and show various movies with his fingers. He was very talented. He graduated from school with a gold medal. Our relationship with our brother Bolat was also special. We always took care of each other and grew up organized.”
Murat Auezov is the author of more than 200 publications on the theory and practice of the artistic process. He is the author of the monographs: “The Connecting Thread of Times”, “Hippocrene. Walking to the Wells of Time” and one of the compilers of the book “Leaving to Return”.
A man has passed away – a diplomat, philosopher, public figure, but his era, which he sought to make better and more fulfilling for his people to live in, has not passed away. His thoughts, worldview, convictions, world perception, and principles had a significant impact on the formation of the cultural heritage of Kazakhstan. Murat Auezov left an unforgettable mark in the history of Kazakhstan as an outstanding thinker, whose contribution continues to inspire future generations to respect the cultural heritage of our ancestors.
The innovative works and legacy of Murat Auezov are multifaceted, and include an invaluable contribution to the development of Kazakh cultural studies, which helped to shape the national identity of Kazakhstan. His commitment to enlightenment and education as a mentor to young minds, we are sure, will be a good and necessary support for the continuation of his valuable research.
“It is with deep sorrow that we express our sincere condolences on the loss of Murat Auezov, an outstanding Kazakh public figure and cultural critic. His passing is an irreparable loss for the entire Kazakh society and cultural community. In his life, he made efforts to promote culture and art, leaving an indelible mark in the national and world context.
Murat Auezov was not only a candidate of philological sciences, an honoured figure of Kazakhstan, but also a highly respected member of the Eurasian Creative Guild, who made a huge contribution to the development of cultural ties between the countries. His talent, dedication and inspirational leadership will remain in the memory of those who had the pleasure of working and socializing with him.
Our support and our thoughts are with his family, relatives and colleagues during this difficult period. We will remember Murat Auezov as an outstanding figure whose love for art and culture has left an indelible mark on our hearts.” Eurasian Creative Guild (UK)
OCA Magazine: Tell us, please, about yourself and your creative activity / work. Nadya Roth: I was born in Moldova, in the town of Bender, graduated from the K.D. Ushinsky Pedagogical Institute in Odessa as a physics teacher and moved to Germany as a permanent resident in 1993. I am currently retired and living in the city of Rastatt. In the spring of 2000 I started to publish my poems in Facebook groups and a few years later I participated for the first time in a collection of prose and poetry. Since then, my poems have been included in eighteen anthologies. Among them are “Anthology of Russian Writers of North America” (volume 4, SPCA), “Chinese Anthology 2022”, collections of prose and poetry by “Four” Publishing House (St. Petersburg), publications in the almanac “Stream of Spirit” (Moscow) and the magazine “Friendship of People” edited by Ubaidullo Sanginov. Besides publications, I actively participate in literary contests. Among my awards are eleven diplomas of nominee, including the diploma of nominee of the Walt Whitman International Literary Competition (ILACT, shortlisted, 2023).
I also hold the status of laureate and winner of literary competitions. These include the diploma Third Degree Laureate of the Best Words – Intonations Competition and Diploma of the Winner of the Literary Prize “Vocation – Writer” (Four Publishing House, 2022), First Degree Laureate of the Literary Prize “Simpletons Abroad” named after Mark Twain (SPCA, 2023), Statuette of the Winner of the Competition “Four Elements” (Four Publishing House, 2022), 2022), the cup of the winner of the contest “Shine of Talent” in the nomination “Poetry” (Publishing House “Four”, 2024), the medal “The Heritage of Literature of the 21st Century” and “Award plaque for contribution to the development of literary reading” of “Literaturnaya Gazeta” (Moscow) and Publishing House “Four” (St. Petersburg). Petersburg). In 2022 the collection of my poems “Pink Ticket” was published (publishing house “Four”). I am a member of ECG (London), a member of SPCA and the literary club “Creativity and Potential” (St. Petersburg).
OCA: How did you choose your path and who is your role model in the creative space or life? NR: In my youth I loved the poems of Lermontov and Byron. And in my student days I became interested in women writers, and the poems of Veronika Tushnova particularly impressed me with their pervasiveness. I did not even suspect that I had literary abilities, although at the final exams after graduating from high school my essay on Russian literature was recognised as the best among all the graduates of the city. It was my mother who pushed me to be creative. One day she literally said to me: “You could write a book about your life and everyone would read it,” and I thought: “I can’t write a book, but I’ll try poetry. Most of my poems are about memories. So I will say this: my best mentor was and is life itself.
OCA: What is your main achievement in 2023-2024? NR: I consider my admission to the Eurasian Creative Guild on 1 April 2023 as the main event. And among my achievements I would like to mention two: the cup of the winner of the literary contest “The Brilliance of Talent” in the nomination “Poetry” and the first degree diploma of the Mark Twain literary prize “Simpletons Abroad”.
OCA: What is the main feature that makes you and your art/work unique? NR: Sincerity. In my relationships with people, I have never excelled in openness, but in my poems I reveal the whole palette of my feelings and emotions. In fact, my poems open the door to my inner world and are absolutely devoid of falsehood and pretence. I would even say – naked.
OCA: Tell us, please, about the events or projects of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work? NR: The very fact of joining ECG (LONDON) has raised my status and given me more confidence, which has had a positive impact on my creative work. During my year of membership, I managed to enter the Voices of Friends poetry competition twice and I am very pleased that my poems have been submitted to the and that one of them will be published in the anthology. I have also been involved in supporting a charity project to create a museum dedicated to autism. I have first-hand knowledge of people with Asperger’s Syndrome and I was deeply touched by this show of concern for them. The scale and diversity of the Guild’s projects is amazing.
OCA: What is your motivation and the main aim of your creativity? NR: Natural curiosity and observation, interest in all facets of existence, amazement at life – all this gives rise to all sorts of feelings, sometimes resulting in an emotional explosion. This explosion requires its embodiment in lines, and it is from this moment that my work on the poem begins. And the aim is the same: not to leave the reader indifferent. It should make the reader think about something, rethink something, and definitely make a good start.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career? NR: I would like them to improve constantly, not to be indifferent and to be attentive to the world around them. And above all, to write only according to the dictates of the soul and in complete harmony with it.
YOU COULD WRITE A BOOK ABOUT YOUR LIFE AND EVERYONE WOULD READ IT
OCA Magazine: Tell us, please, about yourself and your creative activity / work. Nadya Roth: I was born in Moldova, in the town of Bender, graduated from the K.D. Ushinsky Pedagogical Institute in Odessa as a physics teacher and moved to Germany as a permanent resident in 1993. I am currently retired and living in the city of Rastatt. In the spring of 2000 I started to publish my poems in Facebook groups and a few years later I participated for the first time in a collection of prose and poetry. Since then, my poems have been included in eighteen anthologies. Among them are “Anthology of Russian Writers of North America” (volume 4, SPCA), “Chinese Anthology 2022”, collections of prose and poetry by “Four” Publishing House (St. Petersburg), publications in the almanac “Stream of Spirit” (Moscow) and the magazine “Friendship of People” edited by Ubaidullo Sanginov. Besides publications, I actively participate in literary contests. Among my awards are eleven diplomas of nominee, including the diploma of nominee of the Walt Whitman International Literary Competition (ILACT, shortlisted, 2023).
I also hold the status of laureate and winner of literary competitions. These include the diploma Third Degree Laureate of the Best Words – Intonations Competition and Diploma of the Winner of the Literary Prize “Vocation – Writer” (Four Publishing House, 2022), First Degree Laureate of the Literary Prize “Simpletons Abroad” named after Mark Twain (SPCA, 2023), Statuette of the Winner of the Competition “Four Elements” (Four Publishing House, 2022), 2022), the cup of the winner of the contest “Shine of Talent” in the nomination “Poetry” (Publishing House “Four”, 2024), the medal “The Heritage of Literature of the 21st Century” and “Award plaque for contribution to the development of literary reading” of “Literaturnaya Gazeta” (Moscow) and Publishing House “Four” (St. Petersburg). Petersburg). In 2022 the collection of my poems “Pink Ticket” was published (publishing house “Four”). I am a member of ECG (London), a member of SPCA and the literary club “Creativity and Potential” (St. Petersburg).
OCA: How did you choose your path and who is your role model in the creative space or life? NR: In my youth I loved the poems of Lermontov and Byron. And in my student days I became interested in women writers, and the poems of Veronika Tushnova particularly impressed me with their pervasiveness. I did not even suspect that I had literary abilities, although at the final exams after graduating from high school my essay on Russian literature was recognised as the best among all the graduates of the city. It was my mother who pushed me to be creative. One day she literally said to me: “You could write a book about your life and everyone would read it,” and I thought: “I can’t write a book, but I’ll try poetry. Most of my poems are about memories. So I will say this: my best mentor was and is life itself.
OCA: What is your main achievement in 2023-2024? NR: I consider my admission to the Eurasian Creative Guild on 1 April 2023 as the main event. And among my achievements I would like to mention two: the cup of the winner of the literary contest “The Brilliance of Talent” in the nomination “Poetry” and the first degree diploma of the Mark Twain literary prize “Simpletons Abroad”.
OCA: What is the main feature that makes you and your art/work unique? NR: Sincerity. In my relationships with people, I have never excelled in openness, but in my poems I reveal the whole palette of my feelings and emotions. In fact, my poems open the door to my inner world and are absolutely devoid of falsehood and pretence. I would even say – naked.
OCA: Tell us, please, about the events or projects of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work? NR: The very fact of joining ECG (LONDON) has raised my status and given me more confidence, which has had a positive impact on my creative work. During my year of membership, I managed to enter the Voices of Friends poetry competition twice and I am very pleased that my poems have been submitted to the and that one of them will be published in the anthology. I have also been involved in supporting a charity project to create a museum dedicated to autism. I have first-hand knowledge of people with Asperger’s Syndrome and I was deeply touched by this show of concern for them. The scale and diversity of the Guild’s projects is amazing.
OCA: What is your motivation and the main aim of your creativity? NR: Natural curiosity and observation, interest in all facets of existence, amazement at life – all this gives rise to all sorts of feelings, sometimes resulting in an emotional explosion. This explosion requires its embodiment in lines, and it is from this moment that my work on the poem begins. And the aim is the same: not to leave the reader indifferent. It should make the reader think about something, rethink something, and definitely make a good start.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career? NR: I would like them to improve constantly, not to be indifferent and to be attentive to the world around them. And above all, to write only according to the dictates of the soul and in complete harmony with it.
OCA Magazine: Tell us, please, about yourself and your creative activity / work. Nina Yagolnitser: I was born in Ukraine, grew up in Moldova, and have lived most of my life in Israel, where I am raising two sons. I am a film director by my first education, worked for two airlines for many years, and am a dental assistant by my current occupation. As you can see, my life is almost a patchwork quilt.
I started writing when I was a child – I’m afraid my mother still keeps my opuses from elementary school, although just remembering my childhood “masterpieces” almost makes me cry from embarrassment. I returned to this hobby as an adult, during a very difficult period. Writing became a kind of salvation from everyday adversity for me, almost therapy, and imperceptibly turned into a necessary component of my life.
Today I am the author of two novels, several short stories, and many short stories. My books have been published by AST (Russia) and Hertfordshire Press (UK), I have contributed to many anthologies and became a laureate of a number of international competitions, including “Open Eurasia”. I primarily work in the genre of historical detective fiction, with my focus being the sixteenth century.
OCA: How did you choose your path and who is your role model in the creative space or life? NY: I am a storyteller by nature. I have been telling stories since I could speak. At twenty-nine, on the verge of divorce, I asked myself what I would do if I didn’t have to earn a living. And ever since then, I have known for sure that I am a storyteller by vocation.
Initially I was very inspired by the Russian writer Boris Akunin – his ability to intertwine eras and give his own interpretations of famous mysteries of history fascinated me.
And my best teachers have always been my readers. It was their feedback that forced me critically assess my work, look for mistakes and constantly learn the art of prose.
OCA: What is your main achievement in 2023-2024? NY: First and foremost, participating in the Eurasian Guild Festival in September 2023. It was the first literary event of such scale in my life, with so many amazing people and an overwhelming flood of impressions. Secondly, the publication of my first novel, The Demon in the Silver Trap, by the major Russian publishing house AST. I worked towards this dream for five years.
OCA: What is the main feature that makes you and your art/work unique? NY: I am always confused by this question. You can consider your work unique without false modesty but talking about it out loud smacks of banal vanity. I’ll share what my readers most often say. A certain uniqueness of my work lies in the deep immersion of the reader in the created world. I pay attention to details, everyday nuances and sensations. If my character is working in the kitchen of a medieval Italian inn, I can assure you that the reader is already sitting right there by the hearth, gutting fish and smelling the pies in the coals.
So, what is the value? I offer to my readers to step into the shoes of each character. To see by themselves how one soul is overrun with thistles, another blossoms with buttercups, while a third barely has even mold growing inside.
Literature allows us to vividly realize that just few are born monsters. Almost every demon is nurtured by someone’s cruelty, indifference, or betrayal. It’s time for us to be more considerate of one another, and then there will be fewer beasts in the world.
OCA: Tell us, please, about the events or projects of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work? NY: I have been a member of the Eurasian Creative Guild since 2019 and have participated annually in the “Open Eurasia” competition since then. I took part personally in the festivals of 2021 and 2023, not counting the video presentations, as well as in the “Guild in Faces” project. This has been an absolutely invaluable experience—both the travels to London and Kazakhstan and the incredible number of new friends, connections, and opportunities. This is how writing evolves from a hobby into a profession.
OCA: What is your motivation and the main aim of your creativity? NY: Sorry, this may sound pathetic. But something is dying in people. We have become so self-aware and practical, so focused on our personal boundaries and comfort zones, that we are losing basic skills. We are no longer good at friendship, and we even fear love. We are becoming increasingly isolated and desperately lonely. This is my main goal: to prevent the most essential and simple aspect of human nature, the art of selfless love, from dying.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career? NY: Do only what you love and believe in. At least at first. Art is old-fashioned: if there’s a wedding, it should be for love and for all life long. Be honest with yourself, curious, and a bit crazy. And don’t be shy: we’re all like that here.
OCA Magazine: Tell us, please, about yourself and your creative activity / work. Olga Shpakovich: I live in St. Petersburg, I am a member of the St. Petersburg Writers’ Union and the Eurasian Creative Guild (London). I write prose. The first publication was in 1992. During this time, 7 books have been published, and many short stories have been published in literary magazines. Several short feature films have been shot based on my scripts. I have been working in television for more than 10 years. In addition to my creative activities, I am the director of the Mir Foundation, co-founder and editor-in-chief of the newspaper Na Nashe Vzglyad, which covers acute social problems and cultural news.
OCA: How did you choose your path and who is your role model in the creative space or life? OS: I had no choice in the path – I already knew as a child that I would be a writer. An example for me is the writer, screenwriter Yuri Olesha, whose motto is “Not a day without a line!”
OCA: What is your main achievement in 2023-2024? OS: My historical novel “Apocalypse: Prologue” took the II place in the International competition “The Best book of the year 2023”. And the novel “Black PR” is the III place in the International competition XII Open Eurasia. Super Cup.
OCA: What is the main feature that makes you and your art/work unique? OS: Dostoevsky said, “Life is richer than any fantasy.” My turbulent life, amazing events and adventures that I have experienced and reflected in my works are unique and of particular interest, since everything described has been experienced by me personally.
OCA: Tell us, please, about the events or projects of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work? OS: In September 2023, I visited the Voices of Friends Festival in Borovoye (Kazakhstan). These were magical days filled with creative communication with like-minded people, against the background of magical nature. The main thing I gained at the Festival was friends from all over the world. ECG (London) inspired me to create new works and joint projects.
OCA: What is your motivation and the main aim of your creativity? OS: Life itself inspires me to be creative. My purpose is to improve my skills and bring benefit, joy to people with my works, maybe give answers to some of their questions.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career?
OS: For creative people who are just starting their journey, I would like not to turn away from this path, but also to experience the joy of the creative process itself. Because the main thing is not achievements, but the pleasure that creativity brings. You will see: if creativity brings joy to you, it will bring joy to others, then there will be recognition. And I want to wish the members of our Guild inspiration, insights and victories!
Raim Hakimovich Farkhadi was born on 16 May 1942 in Samarkand (Uzbek SSR, now Uzbekistan). Died on 4 April 2024 (Tashkent, Uzbekistan). Raim Farkhadi was a poet, novelist, playwright, journalist, translator and children’s author. Member of the Union of Writers of Uzbekistan. Honoured Worker of Culture of the Republic of Uzbekistan, Commander of the Order “Dustlik”, Laureate of the “Community Treasure Award” of the Dr. Joseph Shalinsky Foundation, member of the Creative Association of the Academy of Arts of Uzbekistan, editor-in-chief of the ecological magazine “Bulokcha” (“Rodnik”), editor-in-chief of the online almanac “Slovo”.
Since 2017 – member of the Eurasian Creative Guild (London). Raim Hakimovich Farkhadi is the author of more than 50 books of poems, essays, stories, works for children, published in many languages of the world. His works are included in the curricula of schools and higher educational institutions in Uzbekistan. Farkhadi, a doctor by training, graduated from the Samarkand Medical Institute (1965) and became a student at the Maxim Gorky Literary Institute, graduating in 1971. At the age of 5-6, the future famous poet began to rhyme words. The young author was published in newspapers and magazines.
In 1964, his first small book, ‘Morning Song’, was published. Then came the books ‘Ant Underground’, ‘Fantasist’, ‘Gardens of Winds’, ‘Frescoes’, ‘Afrasiaba’, ‘Pharmacy House’, ‘Be Brave, Chernoukh’, ‘Sunshine, Shine’. His passion for poetry and literature in general became his vocation for life. In various years Raim Hakimovich Farkhadi worked for the magazine “Star of the East”, the newspaper “Narodnoe slovo”, and was deputy editor-in-chief of the G. Gulyam Publishing House of Literature and Art. Recently, he headed the Council of Russian Literature under the Union of Writers of Uzbekistan. Raim Hakimovich Farkhadi was also active in the field of education. He translated the ghazals of A. Navoi and Babur.
One of the areas of Farhadi’s literary activity was the translation into Russian of children’s poems by his Uzbek contemporaries, such as Normurod Narzullaev and Jumaniyaz Jabbarov. The classic of Uzbek children’s literature said of himself I do not really consider myself a children’s poet, because I also write poems for adults. But it just so happens that this particular facet of my creativity is the most active. And young readers are a very grateful audience.
Having become a member of the Eurasian Creative Guild in 2017, Raim Hakimovich submits his poems for children to the ECG poetry competition ‘Voice of friends’. The poet’s poetic world is characterised by the richness of metaphors and the expressiveness of language. Victory in this competition brought him a grant for the publication of the author’s children’s poetry book “Island of Poems” in the UK by Hertfordshire Press. The poems of the famous Uzbek writer were translated into English and published in London. The twelve sections of the book resemble the time cycles of people, both familiar and unfamiliar to me, who live in Eurasia and other continents. Measuring minutes, days, years, one suddenly finds the magical twenty-fifth hour of inspiration and creativity. In the reflections on peace, harmony and love offered to the reader, I am painfully aware of how difficult and dramatic the relationship between man and nature can sometimes be. Before and after the fall of the leaves, texts, ballads and song lyrics are born in the land of roots, SOS signals are sounded, picked up by the sensitive ear of those who walk the ecological path.
But away with despondency, and I say: ‘See you later’, addressed to all living beings. – Raim Farkhadi left us such an appeal in his book ‘Island of Poems’. Raim Hakimovich Farkhadi was awarded the diploma of the International Association of Generals at the VI Open Eurasian Literature Festival & Book Forum -2017. This was an expression of deep respect for the work of the great writer and his influence on world literature. R.H. Farkhadi’s works have their relevance and significance in the education of love for the homeland, the surrounding nature and all living beings.
His creative heritage, expressed in his sincerity and kindness, is an integral part of Uzbek literature. His works are included in teaching aids and textbooks for school children.
The author of works for children attached great importance to the environmental education of the younger generation. As a poet and public figure, he has done much to promote the development of literature and the birth of the children’s environmental movement in Uzbekistan. Since July 2010, Raim Khakimovich has been editor-in-chief of the environmental magazine Bulokcha (Spring). The magazine is published in two languages: Uzbek and Russian, with a print run of 8,000-10,000 copies!
Throughout his creative life, Mr Farkhadi has interacted with children of all ages. He held memorable meetings with schoolchildren and read his fascinating works to them. He attended open classes dedicated to ecological culture. In addition to poetry, R. Farkhadi painted pictures with natural colours. He used pigments from flowers and herbs that he collected himself. This was ecological painting or ‘ecography’. Raim Hakimovich Farhadi was awarded the medal of the Academy of Arts of Uzbekistan in recognition of his merits in the development and popularisation of the fine plastic arts.
The repertoire of the Uzbek National Puppet Theatre includes performances based on the works of R. Farkhadi. For the youngest puppet theatre lovers there is a performance called “Bull – sharp horns”. He called himself ‘the gardener of the word’ and sincerely believed that when children grow up, they will be able to save the world around them. Make it better, because ‘they understand and feel more than adults’. I am sure that each new generation of readers will be grateful to Raim Hakimovich for the creative legacy that the poet of a generous soul has left them.
OCA Magazine: Tell us, please, about yourself and your creative activity / work. Raushan Burkitbayeva-Nukenova: I didn’t choose poetry… Rather, poetry chose me. Since childhood, I loved spending time alone with nature – talking to flowers, butterflies, and dragonflies, watching the red algae move in the stream. I had my own imaginary world… Later on, I was fascinated by my mother’s 1943 edition of Ushakov’s Dictionary and the book In the World of Wise Thoughts.
I began writing poetry in the 7th grade, and in the 8th grade, I wrote an essay in verse. After finishing school, I worked for a year at the regional library, where I went through countless books and magazines, and I started writing articles for the regional newspaper.
While studying at the Medical Institute, I continued writing for the newspaper. After participating in the 11th World Festival of Youth and Students in Cuba, I wrote a cycle of poems titled “Salute to the Festival,” which I showed to the rector of Karaganda University, E.A. Buketov.
He gave me his blessing and encouraged me to write prose as well.
OCA: How did you choose your path and who is your role model in the creative space or life? RN: I published my first book at the age of 40. A fortunate gateway into the literary world was the mentorship and friendship of critic Professor Viktor Badikov.
He was the first editor of my books and introduced me to the classic Kazakh writer, Abdijamil Nurpeisov.
Abdijamil Karimovich became my godfather and mentor (Ustaz). The greatest happiness and fortune has been working with this patriarch on his masterpieces. It’s been a true school of life and creativity.
OCA: What is your main achievement in 2023-2024? RN: The main achievement of recent years is the Jonathan Fryer Medal awarded by the Eurasian Creative Guild. I continue to work on my new book. A pleasant event was meeting students at the festival in Borovoe and at L.N. Gumilyov Eurasian National University in Astana. I hope that my books find their readers. The songs based on my lyrics bring joy and touch the hearts and emotions of people.
OCA: What is the main feature that makes you and your art/work unique? RN: It’s not my place to evaluate myself… I try to embrace openness, kindness, and a sense of humor, especially when it comes to myself. I’m a Russian-speaking Kazakh woman, embodying the values of neighboring peoples. I was raised by a Russian nanny and in the traditions of a Kazakh family, receiving my education in Karaganda, where Jewish professors from Moscow and Leningrad universities taught. I consider myself a citizen of the world!
My life experience and age give me the privilege of addressing the younger generation. Climbing uphill, I walk; coming downhill, I run… Each person has their own path to the Creator—Father. Your compass is your heart and conscience.
We are all guests on this small planet… Create goodness with love!
OCA: Tell us, please, about the events or projects of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work? RN: Participating in festivals, literary competitions in London and Cambridge, and giving an interview on the BBC are unforgettable, remarkable, and significant events in my life.
OCA: What is your motivation and the main aim of your creativity? RN: Literature is a wonderful way to discover yourself and your abilities. It helps expand your circle of friends. It’s something truly meaningful that you can give to others, including your children and grandchildren.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career? RN: More than 30 books have already been published in Kazakhstan, Paris, Moscow, and London.
To those starting their creative journey, I advise you to listen to your heart. Do what brings you joy and fulfilment! Love life, the world, people, and what you do, and it will resonate in one way or another.
OCA Magazine: Tell us, please, about yourself and your creative activity / work. Rima Ulcina: Oh my God! Your question has taken me back to my childhood, when a sweet four-year-old imaginative girl was involved in oral song creativity from the moment she learned to speak.
I was born into the family of a border guard. My parents died tragically young, full of life, when I was still a child. But life is life, it dictates its own conditions. In December 1990 I returned to Israel with my family, and today I am a famous Israeli writer, novelist, author of mystical, esoteric, fantastic novels, detective novels, novels, short stories. Member of the Union of Russian-speaking Writers of Israel (URWI); International Writers Guild (IWG); International Writers Union (IWU); Writers Union of North America (NWU), member of ECG (London), Person of the Year (2011) in the nomination ‘Literature’ – for the series ‘VISAVI’ with public figures and famous people. Winner of the ‘Golden Pen’ prize (Israel, Ashdod). Full Academic Member of the International Academy of Literature, Art and Communication / LIC (2022). Ambassador of Peace (2922). Participant of the art festival ‘Diamond Duke – Diamond Venetz’ on the World Silk Road of Cultures, for the book-novel ‘Secrets of the Universal Mirror’, and also books ‘Message from Heaven, or Unreal Detective – Fantasy Novel’. Lesson Bitch” – selected stories and novellas (Moscow), 2020. The book was included in the nomination “London Prize represents the writer”. The author of 200 novels, novellas, short stories, as well as 12 articles on literary criticism ‘At the Colloquium with Academician Grigory Okun. From the writer’s notes. Fugitive Pen’, published in the magazines ‘Science and Life of Israel’ and ‘Russian Literary Echo’.
OCA: How did you choose your path and who is your role model in the creative space or life? RU: I didn’t choose my path. In Israel I became interested in Gematria – numerology. The science of the language of letters in Jewish tradition, medicine and Kabbalah. Letters translated into numbers tell me how I have lived, what I have experienced and what I have yet to do. What I learned about myself shocked me. I should become a writer. I sat down at the computer. I pressed the keys. I looked at the screen and saw the word ‘mystical’ and immediately added ‘novel’. And it went, it went. It was as if an invisible door had opened in my soul, and out of it, as from a horn of plenty, poured my innermost thoughts – words – onto the screen. That’s how the title of my first book saga ‘Mystic Novel’ appeared, prompted to me by the Almighty. Mystic, you will say! There has been a lot of mysticism in my life. And I can tell you about it!
OCA: What is your main achievement in 2023-2024? RU: I consider the publication of my new books of (mystical-esoteric) novels to be my main achievement in recent years:
‘Secrets of the Universal Mirror’ (2023).
The Oath of the Jewish Princess Berenice’ (2024).
The Hostage of Karma and the Mystic Oval. Twenty-first Century Writers Series, LIC Academy.
OCA: What is the main feature that makes you and your art/work unique? RU: The plot, the mysteries of an unknown but real world and beyond, hidden from people. Who controls it all? Rockily, the Universal Mind and its mirror, intergalactic – planetary-underwater wars of Nebozhiteles with ‘Black Forces of the Universe’ – underwater hell. Anomalous Zones of the Earth, the Great Cosmos, artificial planets and of course Love – terrestrial, cosmic and at the bottom of the ocean.
OCA: Tell us, please, about the events or projects of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work? RU: Eurasian Creative Guild is a new big family for me, which gives me the opportunity to improve in creativity and opens the way to new successes. I participated in the short prose contest: The short story ‘Because You’re Not My Mum’, 2022 Humorous short story ‘A Gift for a Favourite Spouse’, 2023 I hope to take part in the 2024-2025 projects as well.
OCA: What is your motivation and the main aim of your creativity? RU: A day without work is a wasted day. In my works I try to convey the images of real people – you and me.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career? RU: Not to think you are brilliant. That’s a straight road to nowhere. Talent should be recognised by readers and your job is to write.
OCA Magazine: Tell us, please, about yourself and your creative activity / work. Tatiana Bogomolova: I never thought about writing when I was a child or a teenager. Once, in my youth, I dreamed of becoming a journalist: I started to publish in Komsomolskaya Gazeta. But my mother soon found out about my intentions and persuasively dissuaded me. I did not write, either at my desk or to read to my friends. When I started working as a lawyer, I wrote such long and detailed pleadings that judges advised me to become a writer. But their words seemed like a joke to me. And only my work as a religious scholar in 1996-1998 in the NGO ‘Institute of Religion and Law’ forced me to write articles in the magazine ‘Religion and Law’. I was very surprised that they were published unedited: I had a low opinion of my own abilities. This gave me a strong impetus and motivated me to write for the journal of the All-Russian Social Movement and other journals and newspapers. My first book was published in 2007, and the next two in 2008 and 2011. Rereading my journalistic work of those years today, I find no mistakes in it. Amazing! It was only in 2013 that I studied journalism by correspondence to fulfil a long-held dream and become even more professional in writing words. My work was considered excellent by my teachers, which encouraged me to seriously consider writing and even quit my job as a lawyer. Since 2014, nine more of my books have been published.
OCA: What is your main achievement in 2023-2024? TB: In 2023 I became a finalist of the festival of the 12th Open Eurasia “Super Cup” in the category “Small Prose”, also a laureate of the 2nd degree of the international literary contest named after V. Whitman of ILACT, and finally the International Academy of Russian Literature awarded me the medal of L.N. Tolstoy “For education, enlightenment and mentoring”. At the beginning of 2024 I became a laureate of the literary contest organised by the International Union of Writers.
OCA: What is the main feature that makes you and your art/work unique? TB: As a person who believes in God, I have been looking for prose works of fiction in Russia for many years. But I could find very few authors of such books and texts, and I saw significant shortcomings in their works, which discouraged potential readers. Thus was born the dream of writing fictional prose for people who believe in God, which was marked by the publication of my trilogy of novels in 2016. This was followed by the publication of my short stories, novellas and novels. So far, I have not found any new writers whose work would reflect the life of this little-known section of the population. I consider my work as a journalist and writer to be enlightening and necessary in this field.
OCA: Tell us, please, about the events or projects of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work? TB: Participated in the 10th and 12th Open Eurasia festivals in the category ‘Small Prose’, member of the Eurasian Creative Guild.
OCA: What is your motivation and the main aim of your creativity? TB: I try to pour hot drops into the ocean of goodness, light, love of the world’s literary treasure, telling mainly about the life of people who believe in God, or other moral and edifying stories. I consider my works about this category of people on earth very important for our generation and I am glad that my works have been published in various collections, magazines, almanacs both in Russia and abroad.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career? TB: I sincerely hope that the members of the Guild will continue to find talented people in the field of art and literature, to properly evaluate their works at festivals and competitions, and to publicly promote the best of them! I wish all creative people who start their way in this field to find themselves, their vocation, meanings and ideas that are demanded by humanity and clearly answer the questions of our time!
It is with great pleasure that I share with you the feelings I experienced when I read the biography of my compatriot Vladimir Grigorievich Schastny. As fate would have it, my little hometown is forty kilometres from the town of Smorgon, where Vladimir Schastny was born in 1948. In my youth I often visited Zalesje, I remember a few poles, the remains of the foundations, an old elm tree, a long-lived tree from the time of Mikhail Kleofas Oginsky. But this place was both desolate, crumbling, and filled with an inexplicable, magical silence. It was like a magnet that kept calling to itself. The hero of my essay, Vladimir Grigorievich, also loved it, because Zalesye, which at the time of Oginsky’s stay was a cultural centre where the best artists, poets, writers, diplomats and officials came, is only ten or twelve kilometres from his birthplace.
Now Oginsky’s estate has received a second breath, it has become a spiritual centre again, thanks to the museum staff who are in love with their homeland, with Michael Cleophas and his art. The godfather of this revival was our venerable Vladimir Schastny. In 2003 he initiated the international conference ‘Historic Mansions. State and Perspectives’. From 2001 to 2013. Vladimir Grigorievich was the Chairman of the National Commission of the Republic of Belarus for UNESCO. He had the rank of Ambassador Extraordinary Plenipotentiary. It was thanks to him that copies of the composer’s archive were obtained from the State Archive of Ancient Documents in Moscow.
When I talk to the director of the museum of the Oginsky estate, Lyudmila Vladimirovna Groditskaya, I notice that she often refers to Mikhail Kleofas as Chastny and vice versa, or she just hesitates to whom the words she is saying refer. And suddenly, with a sigh, she interrupts my thoughts and says: ‘How similar their destinies were: both were in the diplomatic service, creativity was a hobby for both, both loved their country, their people, saw in each person a personality, appreciated their merits. That’s probably why he loved Oginsky and Zalesye so much.
Vladimir Grigorievich was a man of many faces. Getting to know him through the memories of people close to him, I was not mistaken, all those who came into contact with him in the course of their work became his relatives, I remembered the words my mother used to repeat: “It’s not the place that colours a person, it’s the place”. Speaking to me, Lyudmila Vladimirovna could hardly hold back her tears as she spoke of her father, of the beauty of his soul, of the things he had done to enrich the spiritual world. He was a frequent guest at the estate’s balls, loved to sing and dance, loved life, loved his region, appreciated the roots of his native people and helped to revive them. Although he held high positions: diplomat, member of the Collegium of the Ministry of Foreign Affairs of the Republic of Belarus, Charge d’Affaires of the Republic of Belarus in Lithuania, Ambassador Extraordinary and Plenipotentiary of the Republic of Belarus to Great Britain and Ireland, Chairman of the National Commission of the Republic of Belarus for UNESCO, he remained a man with a capital letter who loved this world. Talking to his nephew Dmitry, it was impossible not to notice the warmth of his feelings for a close and dear person, there was no pomposity, no pathos in his words, only memory and love. Reading his biography, one can only wonder: how many hours did Vladimir Schastny have in a day? How did he manage to combine public service with his work as a translator, screenwriter, patron of the arts, publicist and writer? He translated some works of E. Poe, E. S. Gardner, in his translation the book “Ballad of the Sad Café” by K. McAleers was published, he is the compiler and translator of the collection “American Detective Narrative”. His dramatic works have been produced by the National Drama Theatre. The Kolas National Drama Theatre has staged plays based on his dramatic works. The Minsk Regional Drama Theatre performed his play “Fantasy in A Minor” (“Polonaise for Farewell”) about M.K. Oginsky.
While working in the diplomatic service abroad, Vladimir Schastny, as a patriot of his people, became interested in who was the most famous Belarusian artist in the world. It turned out to be Chagall. Thus began his work to bring the works of Belarusian artists back to their homeland. Soon the names of not only Marc Chagall and Chaim Sutin, but also their fellow emigrants Osip Tsadkin, Mikhail Kikoin, Pinchus Kremin, Shragi Tsarfin, Eugen Zak and other outstanding writers were returned to the context of Belarusian culture. The result of Vladimir Grigorievich’s many years of research was the publication of the book “Artists of the Paris School from Belarus”. It was presented at one of the meetings of the Eurasian Creative Guild.
Vladimir Grigorievich was a member of our great international family. With the mindset of an international figure, he understood the great power of creativity in uniting goodness and friendship. It can create miracles. The Eurasian Creative Guild was the platform that helped him to introduce the world to the spirituality of Belarus, to bright creative names and vice versa: to introduce the Belarusian reader to the world creativity. All his life he carried the torch of love and friendship. It is a pity that his destiny was cut short in 2020, but he left his warmth in noble deeds. Thank him for his creativity, for his wisdom. He will live in our memory.
OCA Magazine: Tell us, please, about yourself and your creative activity / work. Anna Gharib: I am an author, a coach specializing in supporting sensitive and creative individuals, and a blogger focused on exploring cultural differences between the East and West on Facebook. Additionally, I am a tarot reader and an abstract artist.
Originally from Kyiv, Ukraine, I have been residing in London for the past 2.5 years.
My educational background is in chemistry and mathematics, and I bring 20 years of experience from managing a family business in Kyiv that offered seminars and VIP tourism. I also have experience living in exile in the Middle East.
OCA: How did you choose your path and who is your role model in the creative space or life? AG: Creativity has always been a hallmark of my family, with every member, including the men, deeply engaged in artistic pursuits and an appreciation for beauty. It feels as though my journey through creativity was destined from the moment I was born.
I have also been inspired by the remarkable lives and missions of figures like Alexander the Great and Isadora Duncan, as well as the intriguing character of Sherlock Holmes.
OCA: What is your main achievement in 2023-2024? AG: Due to circumstances, I had to leave the two countries where I lived (Ukraine and Lebanon). but I successfully continued my work from London.
I received a grant for my book after winning first place in the “Prose” category of the “Open Eurasia” literary competition.
Additionally, I participated in three exhibitions in London showcasing my paintings.
I also achieved first place in the World Coaching Championship. Through coaching sessions I’ve helped many women understand and embrace their true selves. I am proud to say that I successfully secured a place for my daughter at one of the top art schools in London.
OCA: What is the main feature that makes you and your art/work unique? AG: I approach my work and activities with complete sincerity, creating with passion and an open heart. Rather than following trends, I strive to set them, embracing my unique style. I tackle subjects often considered “taboo,” unafraid to explore difficult topics.
In a way, I see myself as a playful provocateur for those I care about. I welcome both fans and haters, viewing them as natural responses from a creative individual.
OCA: Tell us, please, about the events or projects of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work? AG: My plans to publish a book in multiple countries were disrupted by global events since pandemic. I struggled to see how I could move forward with my publication after everything I had experienced. However, the Guild provided me with the opportunity to realize my dream of publishing a book.
Through the Guild, I connected with creative individuals and like-minded souls, helping me establish a supportive community in a new country.
Additionally, my participation in the World Coaching Championship, along with the process of writing my manual, offered me a fresh perspective on my work. Where I once viewed my efforts as spontaneous, receiving the title “For Consistency and the Author’s View on the Development of Women” profoundly shifted my understanding of my own journey.
OCA: What is your motivation and the main aim of your creativity? AG: Creativity flows through my veins. I often describe my process metaphorically:
“I write as naturally as I breathe. I stand at the edge, releasing butterflies from my chest and delighting in their flight”.
The essence of my work is to communicate beauty and insight to others through words, symbols, forms, colors, and metaphors. In ancient times, individuals like me were called Hierophants. Today, we are the guides.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career? AG: First and foremost, I encourage them to reflect honestly on the question: “Why am I doing this? What is the meaning and mission behind my work?”
Next, I suggest exploring the nature of their creativity, including their preferred modes of expression and the sources of their inspiration.
Based on this understanding, I recommend creating a schedule and a plan to bring their creative ideas to life. Finally, I acknowledge that one of the most challenging aspects for creative individuals is presenting their work to the world, which is a crucial step in the creative process.
OCA Magazine: Tell us, please, about yourself and your creative activity / work. Oksana Zhukova: I’m a poet, writer and artist. I was born in the South of Ukraine, now live in London (UK). I’m an Academician of the International Academy for the Development of Literature and Art, a member of the Advisory Council of the Eurasian Creative Guild (London), a representative of the Writers Union of North America. I write poetry and prose in three languages: Ukrainian, Russian and English, my poems have been translated into 17 languages. I have been awarded the titles “Global Poet”, “World Poet”, “Ambassador of Peace”. Participant of numerous international literary and art competitions. Winner of the literary competition “Open Eurasia” in London and the film festival in the category: documentary. I presented my paintings in museums, galleries, cultural centers and embassies of Great Britain, Australia, Spain and Ukraine, the paintings have been published in several Art Catalogues in London after my participation in major international exhibitions at the gallery on Tower Bridge.
OCA: How did you choose your path and who is your role model in the creative space or life? OZ: I have been writing poetry since I was five, and in my school years I began writing prose while studying at the Small Academy of Sciences and was already winning creative competitions back then. Then I honed my mastery of the art of words at the university in the philological faculty, then I completed literature courses at the institute and completed my studies at the Kiev Institute of Television and Radio Broadcasting. My love for painting also arose during my school years, but I began actively painting and presenting my work at exhibitions when I worked on television as an author and host of my own program about art and culture. At that time, my work was influenced by the artists about whom I made my own TV programs. Now I receive a lot of knowledge and inspiration from the teachers at the University of the Arts in London, where I continue my education.
OCA: What is your main achievement in 2023-2024? OZ: I am glad that I published the book “I Can Fly”, which includes my poems from the series “Poetic Illustrations”, short stories, novellas and a fragment of my “Tales of the Pink Lake”. As an artist, I was very pleased to participate in prestigious exhibitions at the galleria near Tower Bridge in London and that my works were noticed by art critics and published in Catalogues in London: “Contemporary “ and “ Vogue “. Our book “Time of Hope”, which we created together with the artist Tommy Barr, was published and presented. It is nice that my poems written many years ago “To Mom”, “I Live on the Planet of Love” and “Clouds” were so loved by readers that they have already been translated into 17 languages. I presented them at numerous literary meetings and will publish each poem with translations as a separate book.
OCA: What is the main feature that makes you and your art/work unique? OZ: I not only create poems and paintings, I also unite creative people in the name of peace throughout the world for more than ten years in my projects – the multilingual magazine “ArtMedia. Drawing with words” and the international project of public diplomacy “ArtMedia Tour”. This year I held them in London and the Caribbean. Twenty years ago I began writing poems for my paintings and for paintings of artists from different countries of the world and called this project “Poetic illustrations”. My stories are based on real events, but they are like a fairy tale, they are so unusual and unique, for example, my book “I can fly” describes a real episode from my life, it is so unusual that the editorial board of the Guinness Book of Records in Ukraine was even going to publish it as record in 2010.
OCA: Tell us, please, about the events or projects of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work? OZ: I have been a member of the Guild since its inception. I have participated in almost all festivals and am very grateful to have been recognized as the winner of the literary competition and the winner of the film festival in the documentary category.
OCA: What is your motivation and the main aim of your creativity? OZ: I dream of a peaceful Planet, so all my creativity is aimed at ensuring that good triumphs over evil.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career? OZ: I wish everyone peace in the world and in each soul and may creativity help you achieve your dream.
OCA Magazine: Tell us, please, about yourself and your creative activity / work. My name is Alexander Syvak, I am the director of MediaCompass and publisher of the international maritime magazine Shipping. I started my media career in advertising and since then my team and I have successfully developed the transport media business. In particular, our magazine ‘Shipping’ is a leading information platform in Ukraine and beyond. Before Russia’s full-scale invasion of Ukraine, we organised annual international transport exhibitions such as the Black Sea Transport Forum TRANS EXPO ODESA. This helped us to establish ourselves in the maritime industry, become an important media partner for our clients and build our readership. Since 2022 we have been a media partner for conferences on transport, maritime and grain. Our work is very varied and includes a lot of creative work.
OCA: How did you choose your path and who is your role model in the creative space or life? AS: My path into the media business was largely intuitive. Starting with advertising, I realized that information services and communication play a key role in the transport industry. The company Media Compass, founded in 1992, was initially involved in the advertising and information business in the automotive sector. People who create something unique and work for the benefit of society, our country, its economic and industrial development became my role model. My teacher is the experience gained during years of work in difficult conditions of the Ukrainian market. Each exhibition and each issue of the magazine is an opportunity to learn, to develop and to share it with the world.
OCA: What is your main achievement in 2023-2024? AS: I consider the main achievement in 2023-2024 to be the further development of Shipping magazine on the international stage. We have significantly expanded our readership. It is also worth noting that in the conditions of the war in Ukraine, every company makes enormous efforts to preserve its team and company.
OCA: What is the main feature that makes you and your art/work unique? AS: The uniqueness of our work lies in the fact that we create information products that have no analogues in Ukraine. Our magazine ‘Shipping’ and the transport forums we organize have become not only a place for information exchange, but also a platform for creating new business connections. We bring together key players in the maritime and transport industries, creating a space for dialogue and cooperation, which makes our activities indispensable for the industry. .
OCA: Tell us, please, about the events or projects of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work?
AS: The Eurasian Creative Guild (London) has been an important platform for me to exchange ideas and network with colleagues from different countries. Unfortunately, due to the war, I have not had the privilege of attending a number of events and meetings organised by the Guild to discuss key issues in the development of the media and creative industries. But I am sure that my team and I will soon be able to participate in ECG events, and it will be a unique opportunity for us to present our projects and share experiences with international partners..
OCA: What is your motivation and the main aim of your creativity? AS: My main motivation is to see the fruits of our labour and its impact on the development of the industry. We create high quality information products that help companies make a name for themselves on the international stage. My goal is to contribute to the development of the Ukrainian maritime industry, support young professionals and offer innovative solutions that will drive the market forward, even in such difficult times for the country. Today, Ukraine’s maritime industry is subject to daily rocket and drone attacks, and some seaports remain under occupation. The grain corridor and global food security, which depends on Ukrainian exports, are under threat. That is why it is important for us to make every effort to support the sustainability and development of Ukraine’s maritime exports.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career? AS: Do not be afraid of difficulties and believe in your idea. Every path requires perseverance and constant learning. It is important to find your niche and do something that really benefits society. Look at your competitors as a source of inspiration, but create something unique. And above all, never stop evolving.
OCA Magazine: Please tell us about yourself and your creative activity/work. MA: In short, I’m a publisher; over the last 20 years of my life, I have been involved in the creation of books and magazines, including this one, and I love my work. People know me as Marat Akhmedjanov or Mark Akhmed (both correct), depending on the country, and come to me when they want to be heard in English-speaking countries or appreciated in their home country. I’m really proud to have this extraordinary opportunity to help them as a publisher and as an individual through my publishing companies ‘Silk Road Media’ and ‘Hertfordshire Press’, and especially through the ‘Eurasian Creative Guild’, where I have been running as the Vice President for the last nine years, uniting and promoting creative people around the world.
OCA Magazine: How did you choose your path in life and who is your role model in the creative space or in life? MA: The first creative person in my life is my mother (not surprisingly) Maria Shevel, she was an architect. She made an adaptation of regular projects of buildings to the aesthetics of Uzbek culture (you can read about it here on the pages of this issue). Moreover, in my early childhood I assisted my elder brother who was a musician, and this is how I was captivated by the world of creativity. I’m still working not only with musicians, but also with writers and poets (mostly), artists, fashion designers and many others. The Eurasian Creative Guild (London) aka. ECG (London) now has over 3,000 members and is growing fast. But my path to publishing started in the library (still not surprising) where I had a part-time job in high school. The librarian introduced me to the world of interesting books and long discussions that influenced me as a young man. After graduation I left my hometown of Jizzakh (you can read about this place in the OCA Magazine: Jizzakh special issue) and moved to Tashkent where I became the first private publisher of press and started a lifestyle magazine about fashion and beauty called ‘Pery’ (the name of the beauties of the Uzbek version of Eden) and ‘Discovery Central Asia’ magazine dedicated to tourism. Some years later I joined the internship for press in the USA and shortly after that I became the winner of the Chivening full scholarship as an international student and moved to the UK. I graduated from the London School of Printing at the London University of Arts with a Master of Arts in Publishing and settled in the UK in 2006.
OCA Magazine: What were your main achievements in 2023-2024? MA: I had three anniversaries in a row: I celebrated twenty-five years as a publisher, ‘Silk Road Media’ is twenty years old, and Hertfordshire Press is fifteen years old. And I’m so inspired by what we’ve done, and I’m looking forward to doing more.
OCA Magazine: What is the main feature that makes you and your art/work unique? MA: I grew up as a product of two worlds (maybe more). My mother was a Slavic Christian from Ukraine and my father was a pure Tatar, born and raised in a very traditional Islamic Uzbekistan. I studied in a very Soviet school that didn’t focus too much on national and religious things and instead promoted a more scientific way of thinking, but at the same time, I lived in a very national and religious community of neighbors called ‘makhalya’. I learned English on my own in high school thanks to the American Library (a program of the U.S. Embassy) and learned a lot about different cultures from expats living and working in Uzbekistan. This multifaceted perspective allows me to work with creative people from Central Asia and former Soviet Union countries in conjunction with Anglo-Saxon English-speaking countries. I understand both sides of the process and can find a certain approach, even if it’s sometimes difficult. Let’s say that my team and I are building land bridges with Eurasia.
OCA Magazine: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work? MA: The Eurasian Creative Guild (London) is a not-for-profit initiative of Silk Road Media Ltd. established in 2015. It grew out of the Open Eurasia Literary Contest, which I’ve run as a publisher to find and support talented writers. By the way, the contest is still held annually and remains the largest and oldest independent non-governmental literary contest of Eurasia. And every year we give up to ten grants of $5,000 to the winners to publish their books in the UK.
OCA Magazine: What is your motivation and the main aim of your creativity? MA: I have many things that motivate me to do what I do. My children who look up to me, my friends, people who have become successful thanks to me, people who have passed on their family’s heritage to the world, and many more. And of course I enjoy my life. I travel a lot, meet new interesting people, create some new things that no one has ever done before, and that makes me happy.
OCA Magazine: What advice or wishes would you give to the members of the Guild and other creative people who are just starting their careers?
MA: Stay curious and greedy about your life, the world you live in, and the people around you. That is how creativity works. Nothing can come out of boring things if you don’t look for a way to change it and do it actively (not like ‘oh, if everything could be different…’). Find a crazy dream, build a crazy team and change this crazy world for the better.
OCA Magazine: Tell us, please, about yourself and your creative activity / work. Lidia Belozerova: Meet Lidia Belozerova, the newest Guardian of the Eurasian Creative Guild based in London! I am a captivating blend of talents and passions. I am not only a teacher and psychologist but also a skilled musician, writer, and photographer. My love for travel and dream of circumnavigating the globe ignite a sense of adventure and curiosity in everything I do. One of my accomplishments is founding and successfully running the Idyllwild Montessori School, where I implement the innovative Montessori method. In addition to my academic pursuits, I am an accomplished violinist and pianist, sharing my musical expertise with both children and adults. My talent for capturing joyful moments through professional photography beautifully complements my extensive skill set. I have earned degrees from RCA and NYU and am currently pursuing further education at St. Petersburg State University under the guidance of T.V. Chernigovskaya. Additionally, I am honing my creative writing skills at GetPublished, a renowned school for aspiring writers. My arrival as a Guardian promises to bring a wealth of diverse experiences and expertise to the guild. My enthusiasm for creativity and learning is sure to inspire those around me.
OCA: How did you choose your path and who is your role model in the creative space or life? LB: From the age of four, my father, a musician, introduced me to the Tchaikovsky Music School, where I began learning to play the violin and piano. Music has been a constant companion throughout my life. I’ve had the privilege of performing with symphony orchestras in Moscow, New York, and Los Angeles. I also returned to the same music school where I studied, working as a music teacher. Now, I run my own private school — Idyllwild Montessori School — where I teach children to play the piano and violin.
OCA: What is your main achievement in 2023-2024? LB: My main achievements in 2023-2024 include the release of my three fairy tales in the book Fireflies on Ridero. I also earned my third diploma in psychology and became the Guardian of the Eurasian Creative Guild (London). Additionally, I supported my sons’ participation in the ‘Cinema Future’ and ‘Burabay Short Film Festival,’ where my youngest son won first place for his short film The Phantom of the Queen Mary.
OCA: What is the main feature that makes you and your art/work unique? LB: I am an experienced teacher, psychologist, and musician, working with children with special needs, helping them integrate into mainstream education. I am also working on completing my book, Who Am I? Or Through the Looking Glass of Autism, drawing from my personal journey raising a child on the spectrum.
OCA: Tell us, please, about the events or projects of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work? LB: I am an active member and Guardian of the Eurasian Creative Guild (London), helping authors participate in the Open Eurasia Festivals, where one of the writers I previously supported won first place. As mentioned earlier, I also assisted my sons in entering short film festivals, where they achieved notable successes. I frequently host webinars to promote ECG (London), along with showcasing the work of my friends — writers, artists, and filmmakers. Additionally, I contributed an article to WAW magazine and plan to continue developing projects for children.
OCA: What is your motivation and the main aim of your creativity? LB: It is my passion to share my knowledge, heart, and creativity with others, because the arts and creativity make life brighter, helping us grow and develop. My personal goal is to write as much as possible. I have a journal filled with a collection of articles, ideas, and titles just waiting to become books. Isn’t that a great motivation to embrace life with enthusiasm? OCA: What would you wish for the members of the Guild and other creative people, just starting their career? LB: My wish for the new ECG members and all creative individuals is to continue expressing themselves without doubt or hesitation. Your life is unique! No one else has the same experiences as you do. You have so much to say — JUST SAY IT through any art medium. CREATE and UNITE!
OCA Magazine: Tell us, please, about yourself and your creative activity / work. Warren Wills: My name is Warren Wills I’m from Melbourne Australia and I am a composer, a pianist and improviser and an educationalist. I’m a musical director and I’m a theatre director and predominantly my entire life has been spent working with Music. Lately , my focus has been on stylistic decisions /choices and connections with countries and how music can be used to bridge and bring people together, music in the Middle East ,music in Thailand music in China. I’ve recently had the great privilege to travel to locations in the world using music which clearly transcends politics, language and borders such as Baghdad Iraq and Astana and Almaty in Kazakhstan amongst other places. I have been blessed throughout my life should be able to work with such a cross-section of fascinating people as Pamela Anderson from Hollywood , Woody Allen the great director and writer, Sheila Ferguson from the 3 Degrees, Margaret Atwood Canada’s most famous living author to compose for the Royal Shakespeare Company to perform in Riyadh Saudi Arabia where Music was illegal under Sharia law and a host of other extraordinary opportunities.
OCA: How did you choose your path and who is your role model in the creative space or life? WW: My path was chosen for me at the age of four. I was listening to an album of music at my grandfather’s home, to Chopin. I was so fascinated, I was so beguiled, I was so transfixed and transported to other places that I decided there and then I was to be at Composer there was no choice there was no argument.
There are simply too many great role models to mention as an educationalist is Leonard Bernstein, as a pianist Keith Jarrett , Chic Corea, Art Tatum, Oscar Peterson, – in the theatre world people like David Lynch and Woody Allen when it comes to races people like Marcel Proust, Dostoevsky and a host of others I’ve been so fortunate to work with so many wonderful living people I’ve been inspired by so many people from the past I was thrilled to have the chance to the works of Homer the Greek writer of the tales of the RSC to be able to set them to Music this was a complete joy and a revelation.
OCA: What is your main achievement in 2023-2024? WW: Masterpieces as presented by me is an eclectic suite of inspirational global anthems celebrating his return to London after a year away. Masterpieces bring a bravura virtuoso rendering of my talents -featuring , “David Bowie on Mars”, The Spanish Concert – Albeniz/Rodrigo, Gershwin, Broadway offerings, Ryuchi Sakomoto and many more. I have directed and MD’ed in the Middle East and at the Royal Shakespeare company, which has included 25 albums released worldwide. Of my recent album, “Reimagining’s”, Mike Garson (David Bowie’s Musical Director for 40 years) has said, “This is fantastic Warren. A wonderful reimagining. Your touch is beautiful. So creative.” My other main achievement in 2023-2024 is working with Blind Sports and Arts and particular composing the theme for the tennis anthem the group of blind performers represented Australia at the International tennis competition in Rome this year and I was thrilled to have composed the anthem for this furthermore I am delighted to be working with Chinese musicians Chinese dances which is a huge honour and privilege as well as Chinese instrumentalists including the erhu and Chinese flutes.
OCA: What is the main feature that makes you and your art/work unique? WW: The things that certainly distinguish me and separate me from a lot of other people who work in the sphere of music composition music theatre and music education is my capacity for having an in-built plethora of styles – meaning I can play you virtually any piece of music in around 200 styles whether that be Disney, bluegrass, Chopin, classical, jazz , tango , flamenco, Arabic, film-noir, slapstick, gospel, Gilbert and Sullivan etc this is something I’ll be able to do for many many years and to be able to hone and finesse in quite a unique way. Furthermore, I’m also thrilled to be able to share with you that I love doing socially inclusive Theatre this means collaborating with others mostly less fortunate and deprived of the opportunities that I enjoy such as the blind community, those with neuro conditions, people who are homeless, people with mobility issues, children, pensioners amateurs professionals and an ethnically diverse group of people all under the one roof to create a unique and original collaborative piece of music theatre
OCA: Tell us, please, about the events or projects of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work? WW: I have had the great fortune of working with ECG quite extensively over the past 2/3 years and in fact since Covid was fortunate enough to be able to travel to Kazakhstan both the capitol Astana up north by the Russian border and down south in Almaty as well as going to Burabay -the creative hub of ECG as well as performing at the Kazhak embassy in London as well as putting on a production which happened in Melbourne Australia which was about BÖRTE and Genghis Khan and set almost 1000 years ago but a clearly significant piece and one which I was thrilled to be able to collaborate with ECG on. I’ve also done many book reviews I’ve done concerts master classes workshops and certainly look forward to be able to do many many of these once again in the future it was the lights working Kazakhstan in a school doing music theatre and composition to a wide range of groups of kids with a translator and I certainly hope this could all be repeated once again in 2025 I certainly really appreciate the value my collaboration and connection with Marat and the ECG
OCA: What is your motivation and the main aim of your creativity? WW: The main aim of my creativity is to allow all people the opportunity to participate, to create and work in the field of music theatre.
Additionally, to inspire people to share the different cultures of experiences created with different instruments different languages and different cultural backgrounds; to be actively able to access bridge and be Catalyst for others musical endeavours. I see myself loosely based , if you like, as an ambassador for Australia to far-flung lands lands most people don’t get a opportunity to travel to but by nature the fact that I certainly believe that Music Francis borders and language I’ve had the opportunity to work in Iraq in Saudi Arabia in Jordan in Egypt and Dubai and a host of other places and let us hope that is able to continue for many years to come.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career? WW: It is important that we are patient and open-minded and if so we will recognise our many opportunities do and are available to us that might ordinarily seem too far out of reach. We live in a time where it’s no longer just about digital or being online or Artificial intelligence, but never before the history of this world, have the inhabitants and the actual planet itself, in my opinion, been so poor in health and so divided in terms of opinions and ideas and beliefs – split into two very distinctive camps.
I would like to believe that for artistes we are on the side of humanity, and politics is not for us, but we are here to serve all people and to use music and Theatre as a way to bring Hope and inspiration into other people‘s lives
OCA Magazine: Tell us, please, about yourself and your creative activity / work. Anastasia Kalinovskaya: I am a Director of Theatrical-performing Art, a Film Director, an Actress, an Acting Teacher, a Contemporary Artist. Also, I am a Member of the Expert Council on Fine Arts in the «Eurasian Creative Guild» for 2024.
I have dedicated most of my life to creativity, developing my unique style in the following areas: theatrical performance, visual art and cinema.
OCA: How did you choose your path and who is your role model in the creative space or life? AK: My Path is a manifestation of the Energy that fills me, this is the «cosmic essence» of my being. Many years ago, I discovered this Energy in myself and united into a harmonious tandem, giving it the will to manifest through my creativity!
I am grateful to my main teachers: theatre director Svetlana Morgun, director, philosopher, philologist Elena Penkina, teacher of stage arts Dmitry Streltsov, artist Alexander Kurgantsev – these are incredibly deep People, who helped strengthen my faith in my strength in those difficult moments of life, when my creative individuality was just beginning to form..
OCA: What is your main achievement in 2023-2024? AK: During this period I organised important exhibitions of paintings and installations, created a new series of art-works, created several theatrical performances, participated in Festivals and competitions of paintings, photographs and films, received several awards, received a «Global Talent Visa» in the direction of «ART/Visual Art» and was able to move to the UK.
OCA: What is the main feature that makes you and your art/work unique? AK: I am looking for sacred meanings intertwined in the destinies of Humanity..
In paintings, theatrical or video performances, – I speak with images and symbols that can be understood by opening your Consciousness. Working with people, I try to reveal their true feelings and potential, which can be hidden under a layer of fears and doubts.. I believe that at the level of pure Energy, people will be able to unite in understanding deep Ideas and accept themselves as part of a single picture of the World.
OCA: Tell us, please, about the events or projects of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work? AK: International Film Festival «Eurasian Creative Guild Film Festival» 2023, where my Debut Short Film «THE CONJUGACY» was included in the finals; Competition and Festival «Voices of Friends: Poetry & Art» 2023, where three of my paintings and one photo work were included in the finals, and in the «PAINTINGS» category I took the honorable 2nd place, and also, within the framework of the Festival, an exhibition of my paintings was organized and I held an Art-Performance; Almanac «Voices of Friends: Poetry & Art» 2024, where one of my paintings was posted; Competition «Voices of Friends: Poetry & Art» 2024, where I was awarded 2nd place in the «PAINTINGS» category; International Film Festival «Burabay International Short Film Festival» 2024, where my film was included in the finals; Art catalogue «The Great Steppe Treasury» 2024, where two of my paintings are published.
I was also invited to be a member of the Expert Council for Fine Arts at the «Eurasian Creative Guild» and a member of the jury of the «Eurasian Creative Guild Film Festival» 2024.
«Eurasian Creative Guild» gave me the opportunity to express my creativity, make new acquaintances, showed support, and also brought me new experience, which is undoubtedly important for creative growth!
OCA: What is your motivation and the main aim of your creativity? AK: Understanding the unpredictability and instability of this world motivates to speed up many processes, to search for new forms of implementation. I understand too deeply how important it is to have time to live, feel and create something that will leave a mark.
My goal is further development in visual, theatrical and cinematic arts.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career? AK: Don’t reject your individuality! Develop yourself, believe in yourself, listen to your heart and keep moving towards your goal!
OCA Magazine: Tell us, please, about yourself and your creative activity / work Olga Igumnova: I was born in Kharkov, Ukraine in 1969 and lived, studied and worked in Volgograd most of my life till 2006. Then I studied and worked in Italy and moved to the United Kingdom in 2010. From childhood I have been involved in various creative projects in literature, music, arts as a participant, a supporter or an organiser and have published several articles and books.
OCA: How did you choose your path and who is your role model in the creative space or life?
OI: I was fortunate to continue some of our family traditions: my grandfather Victor Igumnov was a Russian language and literature teacher, a writer and a poet, and my grandfather Michael Melnik, though being a professional engineer, was a talented musician as well. That’s why I think it is natural for members of my wider family, my parents, siblings and me to be interested in art, literature and music. And I am so grateful for my parents, my Mum, teachers and tutors at school, at Volgograd International Friendship Club and Volgograd state University that they helped me with foreign languages and cultures of the world.
OCA: What is your main achievement in 2023-2024? OI: “Coventry Peace Angels” occurred to become my main project in 2024. My friend, a Coventry artist originally from Madrid Maria Layla created a series of sketches for our Angels Almanack. The same sketches have become the inspiration for Coventry collection for “Moda per la Pace” /“Fashion for Peace” festival in Livorno, Italy which took place on June the 15th 2024. The UK presentation of Peace Angels was held on September the 21st, the International Peace Day 2024 in Coventry, UK city of Peace and Reconciliation.
OCA: What is the main feature that makes you and your art/work unique? OI: The very fact the family I come from and belong is rooted in various part of Eurasia influences my actions, professional activities and creativity: it has to contribute to harmony, understanding, peace. We do not always know what kind of personal situations people surrounding us are going through at the moment, and still we are able to send them the message of support through art, literature, music, fashion and other forms of creativity.
OCA: Tell us, please, about the events or projects of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work? OI: I sent the video story about “Moda per la Pace” / “Fashion for Peace” and “Art. Fashion. Peace” festivals in Livorno and Coventry for the Eurasia Creative Guild “Voices of Friends” event in September 2024. It got a good response from then so we presented the project in Volgograd and Moscow in October 2024 and headed for several new destinations soon. I am very glad to meet new similar minded friends with the help of Eurasia Creative Guild.
OCA: What is your motivation and the main aim of your creativity? OI: The main motivation is cooperation with Life itself – everyday brings the new opportunities and inspirations, through the meetings with people, their views, ideas, different perceptions of life. Communication with other human beings can be challenging very often, all of us have experienced that. Nevertheless, creativity – the Divine and of humans – is the main source of perfect joy and love in life, experiencing which is the main reason for our existence on this Earth in my opinion.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career? OI: I would like to wish to each and all of us to experience the moments of perfect joy every day. And what is more important – to be able to create such moments of harmony, peace and love for ourselves and people who are able to appreciate them. Thank you very much for your kind attention.
OCA Magazine: Tell us, please, about yourself and your creative activity / work. Aleksandra Vlasova: I am an Art director with a passion for visual storytelling and impactful design. Since graduating, I have been collaborating with Hertfordshire Press under my pen name Alexandra Rey on a wide range of print and media projects, starting in 2008. Over the years, I’ve had the privilege of bringing creative concepts to life across books, magazines, and digital platforms, helping to shape engaging and visually compelling content for diverse audiences.
OCA: How did you choose your path and who is your role model in the creative space or life? AV: Since childhood, I’ve always loved drawing and creating stories—it felt like a natural way to express myself. As I grew older, I became fascinated by the kind of creativity that not only tells a story but also helps people and leaves a lasting, tangible impact. Designing something that others can hold, interact with, or be inspired by has always driven my passion. Collaboration, turning ideas into reality, and seeing the product of that effort come to life continue to motivate me in my creative journey.
OCA: What is your main achievement in 2023-2024? AV: My main achievement in 2023-2024 is simply being alive and maintaining the ability to generate ideas that help others express their creativity. One of the ideas I’m most proud of is offering my skills as an award through the Alexandra Rey Award in Open Eurasia 2025.
The Alexandra Rey Award is an annual literary accolade celebrating exceptional talent in literature. Established by the ECG Guardian, it recognizes outstanding works translated into English, creating opportunities for both emerging and established authors.
The award includes a comprehensive eBook production package, offering professional yet simple editing to preserve the author’s original voice, and publishing the work on Amazon Kindle for global distribution. Additionally, it features a promotional campaign to increase visibility and connect the author with readers, leveraging Amazon’s platform to maximize exposure and success.
This initiative is a way to give back to the creative community, offering a platform for brilliant literary voices to thrive and achieve greater recognition. It reflects my belief in creativity as a means to help others and make a lasting impact.
OCA: What is the main feature that makes you and your art/work unique? AV: What makes my work unique is my approach to blending inspiration and individuality. I love drawing inspiration from other designers, artists, and teachers, as their perspectives and techniques often spark new ideas. However, I always add my own “spices”—a personal touch that reflects my creativity, personality, and vision. This philosophy shapes not just my work but also how I approach life, ensuring everything I create is both authentic and uniquely my own.
OCA: Tell us, please, about the events or projects of the Eurasian Creative Guild (London) and projects that you have already taken part in and how does ECG influence your creativity and success in your work? AV: As a digital artist, my work is intricately tied to many of the events and projects organized by the Eurasian Creative Guild (London). From designing promotional materials to creating visuals for various initiatives, my contributions become part of these events’ identity and success.
Beyond digital art, I also explore my creative side through poetry. I’m proud to have had my poems published in the Voices of Friends almanac from 2021 to 2024. This recognition has been a deeply rewarding experience, offering a platform to share my thoughts and emotions with a wider audience.
ECG has been a significant influence on my creativity and professional growth. The Guild fosters a sense of community, collaboration, and inspiration, encouraging me to push boundaries and explore new ideas. Whether through visual art or written expression, being part of ECG has helped me connect with other creatives and further my journey in meaningful ways.
OCA: What is your motivation and the main aim of your creativity? AV: My motivation comes from a deep desire to explore my own creativity while helping others unlock and express theirs. I believe creativity is a powerful tool for connection, inspiration, and growth. Whether through my designs, collaborations, or ideas, my goal is to encourage people to embrace their unique creative potential and bring their visions to life.
OCA: What would you wish for the members of the Guild and other creative people, just starting their career? AV: My wish for the members of the Guild and all budding creatives is simple: Try, always try. Every attempt, whether successful or not, is a step toward growth and discovery. Embrace the journey, learn from the process, and never let fear hold you back from pursuing your creative dreams.
Hospitable Kazakhstan will welcome the participants of the festival ‘VI Voices of Friends: Poetry & Art’ from different corners of the planet.
Every year the picturesque resort of Burabay becomes a meeting place for artists thanks to the festival ‘Voices of Friends: Poetry & Art’.
The festival unites literature and visual art of the countries of the Eurasian space, glorifies artists and opens new names. Organised by the Eurasian Creative Guild (London). It is held annually since 2021 at the end of September in the resort area of Burabay (Kazakhstan). This year’s festival will take place from 15 to 18 September. ‘Voices of Friends’ is planned to be attended by creative people from Belarus, UAE, Russia, Uzbekistan, Lithuania, Georgia, Ukraine, UK, Canada, Israel and Kazakhstan
The festival programme promises to be bright and rich. The guests are expected to attend film screenings, creative evenings, book presentations, master classes and the award ceremony of the Open Eurasia, Cinema Future and Burabay Film Festival competitions.
The festival officially starts on 15 September at the Higher Pedagogical College in Shchuchinsk, where a literary marathon, film screenings, a presentation of Burabay’s creative community and an exhibition of paintings by local artists and performances by authors Maria Muchinskaya, Dr. Al Artaman, Olga Shpakovich, Elena Makarova and ECG Guardian Saltanat Khamzeyeva will take place.
The local community, led by Yssuf Krykbessov, will present their work and meet writers from different countries, exchange ideas and cultures. The guests will be immersed in the atmosphere of multiculturalism and learn more about the achievements in the development of international cultural relations.
At the opening is planned to speak vice-chairman of the Eurasian Creative Guild – Marat Akhmedjenov , British Ambassador to Kazakhstan, Rector of the college Galina Bichun and others.
The festival will be held not only in offline format, but also online. In zoom there will be a performance of the writer from Israel Nina Yagolnitser. The moderator will be the director of ECG contests Anna Lari.
On 16 September the presentation of books by Hertfordshire Press and Discovery Travel Forum will take place at the Dom U Ozera hotel. The importance of tourism development is acute in today’s world. How can creativity help to develop tourism? How to attract visitors? How to develop a region? There will be a discussion on the problems of tourism development in Burabay district with the participation of experts from different countries of the world.
The creative residence of ECG Horizons will host a master class ‘Transition Plan from Creativity to Creative Business: Practice’ by Taina Kaunis and a photo shoot by British photographer Hannah Davis.
The day will end with a presentation by Alexander Kazarnovsky, Guardian of the Eurasian Creative Guild.
On 17 September, presentations by authors Paulina Geibl-Kravts and Raushan Burkitbaeva-Nukenova will take place at the Skala eco Hotel.
The final day will be held at the Wyndham Garden Burabay Hotel. The winners of Open Eurasia – 2023: Marsel Salimov, Marina Alyasova, Nurlan Toksanov will perform. At the presentations you will be able to feel the beauty of literature and immerse yourself in the worlds created by the authors, live their stories.
The culmination and the most expected event will undoubtedly be the closing ceremony of the festival, where the winners of the Open Eurasia, Voices of Friends competitions will be announced and awarded with medals named after Jonathan Fryer.
The festival ‘IV Voices of Friends: Poetry & Art’ unites creative people from different corners of the Earth, allows to exchange experience and feel the magic of art in the most beautiful place, the picturesque resort of Kazakhstan – Borovoe.
The history of the world is made up of unique people, whose lives and destinies differ from the canons of their historical epoch. And the destiny of a unique woman, who went from being a Christian Ukrainian to becoming a heroine of the Uzbek SSR, who converted to Islam and left an astonishing legacy thanks to her “unfeminine” profession, is woven into the era of the development of the Hungry Steppe.
Maria Ivanovna Akhmedjanova (née Shevel) was born on 1 May 1943 in the village of Gritsenovka, Sumy Region, Ukraine. After the war, the family moved to the Tula region, where Maria spent her childhood and youth. The talented girl graduated with honours from the Faculty of Engineering and Construction at the Tula Polytechnic Institute. The rapid pace of construction under the permanent ‘five-year plan’ became a powerful force that changed her life. While studying at the institute, Maria took part in the construction of the Toktogul hydroelectric power station in Kyrgyzstan: the dam, built in a narrow gorge, is considered one of the highest in the world and its unique design creates the famous Toktogul reservoir, the largest in Central Asia.
After receiving a degree with outstanding academic achievements, Maria was sent on a mission to Uzbekistan. There, in 1965, she joined the Jizzakh factory of reinforced concrete products. It was there that she met her future husband, Ismail Akhmedjanov, who made Uzbekistan a second home for her. During their marriage, she gave birth to five children and was awarded the Motherhood Medal. Each of her children turned out well, and 15 grandchildren keep her memory alive. Maria Akhmedjanova proved herself to be a professional and was soon offered the opportunity to join JizzakhStroy, a general contracting company that was responsible for almost all the major buildings in Jizzakh Region. It was to this organisation that Maria devoted 33 years of her life, becoming first a senior and then a chief engineer.
Maria Akhmedjanova’s main task was to transform the blueprints of faceless standard boxes sent from St Petersburg and Moscow into buildings with a national flavour that not only reflected the identity of Uzbekistan, but also adapted to the complex seismological environment. Under Maria’s sensitive architectural and construction supervision, buildings such as the Khokimiyat (Government) of the Jizzakh Region, the Regional Musical Drama Theatre, the Pedagogical University and the Hotel Uzbekistan were built, while the Zaamin Sanatorium building is still a ‘calling card’ for the region. All these buildings are still in use today.
Maria Akhmedjanova’s high level of professionalism and responsibility, as well as her outstanding human qualities, have enabled her not only to progress in her career, but also to earn the deep respect of her colleagues, superiors and neighbors. She has worked under the direct supervision of Sharof Rashidov and met him personally many times and has received a number of state awards from him: Hero of Labour, Veteran of Labour, Medal of Motherhood and many others state awards.
In the 1990s, when many citizens of the former USSR returned to their home countries in the wave of independence, Maria Akhmedjanova stayed in Uzbekistan, considering it her home and second homeland, where she lived most of her life. Shortly before her death on 15 March 2011, she converted to Islam and was buried next to her husband Ismail in the Muslim cemetery in Jizzakh.
Maria continues to be an inspiration to her children and grandchildren. Since 2014, the Maria Shevel Prize has been awarded annually for the best children’s work at the oldest international non-governmental literary competition in the post-Soviet space, Open Eurasia. Her name has become a symbol of outstanding creative achievement in children’s literature. In 2021, a plaque in her honour was placed on the wall of remembrance at the ECG HORIZONS Burabay Creative Residency in Kazakhstan. In 2023, an award ceremony was held at the fifth ECG Film Festival in London to celebrate Maria’s 80th birthday. “We decided to dedicate the awards ceremony to the memory of Maria Akhmedjanova-Shevel as a tribute to her achievements, her life experience, she is a symbol of multinational Jizzakh that gave the world talented writers – Hamid Alimzhan, Zulfiya and some of the most outstanding leaders of Uzbekistan” – said Alexandra Rey, one of the organisers of the ECG Film Festival. Her children and grandchildren live in Uzbekistan, the UK, Russia and Poland, and among them are successful businessmen, sportsmen, representatives of rare professions and creative people. Her grandson Timur Akhmedjanov, for example, dedicated a charity comic book, Elish and the Wicker Tale, to her memory.
Maria Akhmedjanova-Shevel’s life is a perfect example of how one woman can leave her mark on history and inspire several generations.
DISCOVERING JIZZAKH: THE HIDDEN JEWEL OF UZBEKISTAN
In the heart of Uzbekistan lies a region, with stunning landscapes, diverse fauna and flora, and rich cultural heritage. It is an invitation to explore one of Central Asia’s most enchanting secrets. Jizzakh, cradled by the Nurata ridges and kissed by the Golodnaya Steppe, beckons travellers and scholars alike to uncover its treasures. From its origins as a crucial Silk Road junction to its present-day allure, Jizzakh offers a journey through time, culture, and the splendors of nature.
Jizzakh’s strategic location as a gateway between Samarkand and the Fergana Valley has woven a complex historical narrative, marked by the passage of Sogdians, Arabs, and Bukharan Khanates. The region’s name, derived from the Sogdian for “small fort,” speaks to its historical significance in controlling the Pass of Jilanuti – a key to the riches of the Zerafshan Valley. Today, remnants of this storied past, such as the Muka fortress in the Zaamin mountains and the ancient city of Osru-shana, offer a window into the soul of Central Asia.
The area’s spiritual heritage is palpable in its numerous pilgrimage sites, which not only embody the region’s religious significance but also its potential in developing pilgrimage tourism. Places like the “Parpi Oyim” Complex, Usman ota, Novqa ota, Khojamushkent ota, Parpi ota, Sayfin ota, Savruk ota, Qulfisar ota and the complex of Said ibn Abu Vakkos offer profound experiences, set against the backdrop of Jizzakh’s breathtaking natural landscapes.
Jizzakh’s geography is a canvas of contrasts, from the serene Aydar-Arnasay lakes to the majestic Turkestan Mountains. The region’s unique climate, nurtured by its surrounding ridges, has created diverse ecosystems, home to rare species of flora and fauna. The Zaamin and Nurata Nature Reserves are jewels in Jizzakh’s crown, offering sanctuary to species like Severtsev’s ram and providing a haven for nature enthusiasts.
The Zaamin State Reserve, established in 1928, is a haven for unique juniper forests and a diverse array of fauna, including species listed in the Red Book of the Republic of Uzbekistan. With an area covering 26,840 hectares, the reserve is a mosaic of mountain ranges offering a sharply continental climate and a home for about 700 species of higher plants, 48 of which are endemic. Not far, the Nurata Nature Reserve stands as a testament to nature’s generosity. Created to preserve the special subspecies of argali – Severtsev’s ram, and the genetic variety of mountain walnut, the reserve is also a cultural treasure trove with ancient rock carvings, a thousand-year-old tree known as Oriental Biota Majrum, and historical sites that captivate the imagination.
Moreover, Jizzakh’s mineral-rich waters and healing springs present vast opportunities for wellness tourism. Sanatoriums like “Zomin” and “Marjonsuv” utilize these natural resources, offering treatments that blend traditional knowledge with the curative powers of the environment.
Jizzakh, the vibrant administrative heart of its namesake region, is a city where history and modernity dance under the Uzbek sun. Home to 141,000 people, this city rests at a serene elevation of 450 meters above sea level, cradled by the flowing Sangzor River. It’s a crossroads of culture and commerce, with the Tashkent-Samarkand railway and a major Uzbek highway threading through its bustling streets. At the dawn of the 20th century, Jizzakh was known for its artisanal bread, sheep rearing, blacksmithing, and pottery—crafts that painted the everyday with the strokes of tradition.
Today, Jizzakh pulses with the energy of modern industry, boasting enterprises in food production, textiles, chemicals, and machinery. It’s a city that values knowledge and learning, hosting the Jizzakh State Pedagogical Institute, Jizzakh Polytechnic Institute, various professional colleges, and numerous schools. Yet, it’s not all work in this dynamic city; Jizzakh is also a haven for culture and relaxation, offering a rich tapestry of cultural centers, leisure parks, and tree-lined boulevards that invite residents and visitors alike to enjoy the beauty of life in Jizzakh.
Beyond the hum of its industries and educational institutions, Jizzakh stands as a guardian of history and heritage. The region is dotted with 372 cultural heritage sites, including time-honoured monuments, sacred shrines, and fascinating archaeological finds. Each site tells a story, a whisper from the past, inviting those who wander among them to connect with the ancient heartbeat of this land.
Jizzakh is not just a city but a celebration of Uzbekistan’s enduring spirit, a place where the echoes of the past enrich the melody of the present. The “Iron Gate” or Temir Darvoza, once a strategic fortification on the Great Silk Road, tells stories of ancient times, battles, and the legacy of Amir Temur. Nestled at the Turkestan ridge’s base, amidst distinct peaks that merge into the Morguzar foothills, lies a passage steeped in legend and history: the Iron Gate of Tamerlane. This narrow gorge, spanning 120 to 130 metres across, slices through the landscape, drawing a line between the Nurata Mountains and the Sangzor River valley, a region famed for its breathtaking gorges. Known popularly as Amir Temur’s gate, this site holds a revered status, echoing the sacred visits of ancestors and standing as a testament to the area’s spiritual and historical depth.
Today, the Iron Gate encompasses a modern tableau with roads, railways, concrete paths, and an ancient river weaving through its 10-hectare expanse. Legend tells of a moment frozen in time when Jakhangir, Amir Temur’s grandson, unveiled the strategic prowess of this pass to his army, thereby immortalising the gorge with Temur’s name. Hidden within this historical crevice is a cave adorned with petroglyphs, silently narrating tales of Bronze Age inhabitants. The Iron Gate’s strategic importance as a fortress hub on the Silk Road is undisputed, a fact celebrated in Babur’s esteemed “Baburname.” Known also as the Jizzakh Pass, the gorge is a canvas of history, marked by inscriptions from eras long past. These include orders from Mirzo Ulugbek in Persian, commemorations by Abdulakhan following his conquest over Dashti Kipchak, and writings by Nicholas II from the late 19th century, although time has erased the latter from memory.
This majestic portal not only serves as a gateway between realms but also as a bridge across time, offering a glimpse into the storied past of a land that was once a crucible of empires, scholars, and conquerors. The Iron Gate of Tamerlane stands as a beacon for those who seek to unravel the mysteries of history, nestled within the heart of Uzbekistan’s rich and varied landscape.
In the enchanting gorges of the Morguzar mountain range, within the Zaamin district, the village of Uvol harbours a sanctuary steeped in hope and ancient traditions. The “Parpi Oyim” Complex stands as a beacon of faith for childless women who embark on a unique pilgrimage through the “Teshiktosh” — a narrow aperture in a stone believed to bestow the blessing of motherhood. Following this sacred passage, it is customary for the women to carry pebbles from the site as talismans of their journey until their wish is fulfilled, returning these tokens of gratitude upon the birth of their child. This ritual underscores the profound connection between the local community and the divine, symbolized by the revered tomb of “Parpi Oyim” nestled in the heart of these mystical landscapes.
Further enriching the region’s spiritual tapestry is the Said ibn Abu Vakkos Complex, a sanctuary that unfolds in the serene village of Avliyo-Ota. Divided into an upper expanse, home to sacred springs and unspoiled nature, and a lower realm, where lies the tomb of Said ibn Abu Vakkos, this complex is a mosaic of spiritual and natural beauty. Crafted in the 19th century by master artisans, the mosque within the complex stands as a testament to the enduring legacy of Said ibn Abu Vakkos, a revered figure in Islamic history known for his wisdom beyond his years and his close association with the Prophet Muhammad.
The story of Avliyo-Ota, dating back to the 7th century AD, intertwines with the narrative of Said ibn Abu Vakkos, an Arab commander celebrated for his early conversion to Islam and his remarkable prudence. The complex, spanning 14.2 hectares, is not just a site of historical significance but a living, breathing space where the past meets the present, as evidenced by the vibrant ecosystem within the local well, home to corals listed in the Red Book of Uzbekistan.
In the heart of Majrum’s lush forestry stands a natural wonder that has captivated the hearts and spirits of those who gaze upon it: the Oriental Biota, a colossal tree whose life spans a millennium. This ancient sentinel, also known as Biota orientalis, is more than just a tree; it is a sacred emblem, deeply woven into the fabric of local lore and tradition. With a trunk measuring approximately 8 metres in diameter and a girth of 12 metres, this majestic being stretches its lower branches wide, gracing the earth with its presence. The expansive roots of this verdant giant offer a sheltering space for up to five individuals, a testament to its immense scale and life force.
The Oriental Biota’s revered status is emblematic of the broader allure of the reserve it calls home, a place where natural beauty converges with the echoes of history. Beyond its breathtaking mountainous vistas, diverse plant life, and unique wildlife, the region is a treasure trove of historical and cultural artifacts. From ancient archaeological relics to petroglyphs, from solemn graves to towering megaliths, the area narrates a saga of human civilization that spans thousands of years. Medieval monuments, pastoral landscapes, and remnants of age-old agricultural practices further enrich this tapestry, making the Majrum forestry not just a natural haven but a custodian of human heritage.
Amidst its natural and historical allure, Jizzakh is also a refuge for health and wellness. The Zaamin Sanatorium, situated in the National Park, utilizes the pristine environment and modern medical facilities to offer treatments that rejuvenate the body and spirit. The healing properties of the region’s mineral waters, combined with the pure air and tranquil landscapes, make Jizzakh an ideal retreat for those seeking wellness in the lap of nature.
No exploration of Jizzakh is complete without indulging in its culinary heritage. The “Jizzakh Samsa”, known for its size, juicy filling, and crispy crust, is a testament to the region’s rich gastronomic tradition. This beloved dish, embodying the generous spirit of Jizzakh, offers a taste of the region’s soul, inviting visitors to partake in a feast that delights the senses.
Akhror Burkhanov Press Secretary of the Minister of Foreign Affairs of the Republic of Uzbekistan
The power and potential of nuclear has been evident for decades, even if it has often come surrounded in warnings and threats of misuse by both state actors and terrorists alike. Now, Uzbekistan has announced that it is joining the race and Uzbekistan’s Nuclear Energy Agency (Uzatom) has boldly announced that the first reactor of a small nuclear power plant (NPP) is to be built in Uzbekistan within five years. The location of this new energy source? A site near lake Tuzkan in the Farish district of the Jizzakh region, replacing what was previously to be a larger scale and more conventional nuclear power station.
Uzatom has refused to divulge the cost of this exciting new initiative, but has stated that it will have six pressurized water reactors (PWRs) RITM-200N with a total capacity of 330 MW (55 MW each). Each reactor will com on stream in six month stages, meaning that the station should be fully commissioned by 2032. More significantly, perhaps, Russia’s Rosatom will be the general contractor, with the agreement signed to coincide with Vladimir Putin’s visit to Tashkent on 27th May. It is understood a key part of the deal will enable Uzbekistan companies to be involved in the construction so as to ensure knowledge transfer and learning. The fact that the Jizzakh region will host this groundbreaking new potential power form is significant and a testament to its importance in the Uzbek economy.
Such small rector’s are fast becoming a key new power source for localising nuclear energy and reducing risks.With a maximum output of 300 Megawatt electric (MWe) each can produce 7.2 million kWh per day. By comparison, large-size nuclear power plants have an output of over 1,000 MWe and can produce 24 million kWh per day. They can, however be built in varying sizes and use a range of possible coolants including light water, liquid metal or molten salt, depending on the technology. The aim is to use nuclear fission reactions to generate heat that can be used directly or for generating electricity.
Critically,the economics and business case of SMRs are different from traditional nuclear power plants. They are typically viewed as a helping part of the decarbonisation pictures as they can increase the stability of the electric grid, especially where increasing renewable sources are feeding intermittently into it. Of particular importance is their small size, meaning that there are more suitable sites which require both less space and less cooling water. And, as in the case of the Jizzakh plant, they are modular in nature and can be produced in series which allows for both production and installation cost efficiency and economies of scale.
Understandably, not everyone is convinced. Having small amounts of radioactive material in many locations begs the question as to whether proper safeguards and vigilance will be put in place. There is the obvious terrorist threat, but people also fear that their backyards will e turned into potential Chernobyl disaster zones in the blink of an eye. Fortunately the technology is not new and these reactors are already harnessing the operating experience of large reactors and small scale reactors already in place in nuclear submarines, for example. The small reactors’ inherent safety systems offer a simpler design and a reactor core with lower ore power and larger fractions of coolant which increases the time to react for operators in case of incidents or accidents. These inherent safety systems also allow elimination of a range of components, valves, safety grade pumps, pipes and cables limiting de facto the risk of their failure.
Globally, there are more than eight such small reactor designs in play, with many at different stages of development across 18 countries. While countries such as the U.S., UK, Japan, and the South Korea are actively developing home grown designs, Russia and China connected their first small reactors to the grid in 2019 and 2021, respectively. Attention has been focuses following the Ukraine crisis meaning governments, like that in Uzbekistan, now see such technology as a growing part of the country;s core energy independence.
JIZZAKH REGION, A FUTURE LAND OF OPPORTUNITIES FOR WESTERN COMPANIES AND INVESTORS?
The Jizzakh Region is helping to drive Uzbekistan’s economic growth. With its strategic location and dynamic business environment, the region could become a gateway to Uzbekistan for foreign business, and it already boasts some interesting contributions from Western companies in this region.
With a population of over 1.3 million, the Jizzakh region offers a dynamic workforce ready to contribute to the emerging economy. In recent years, the region has experienced remarkable economic growth, with a consistent year-on-year GDP growth rate, highlighting its potential as a lucrative investment destination. Its importance is further underscored by its historical role as a key region of the Silk Road, connecting our Eastern and Western World.
The historical legacy of the Jizzakh region is closely intertwined with its strategic location, in the heart of the Türkistan, close to major transport routes and neighbouring countries: Afghanistan, Tajikistan and Turkmenistan. This geographical advantage has made Jizzakh a central hub for trade and commerce during centuries, echoing its past as a crossroads on the Silk Road. Caravans laden with silk, spices and precious goods used to traverse these ancient paths, bringing wealth and cultural exchange to the region. Today, Jizzakh’s modern aspirations for economic prosperity are deeply rooted in this rich history, as the city seeks to once again leverage its strategic location to connect markets, foster international partnerships and embrace the legacy of trade and cultural exchange that has defined its identity for centuries.
In the grand tapestry of history, I firmly believe in its cyclical nature, where patterns often repeat themselves. Just as Jizzakh flourished as a bustling trading centre in ancient times, it is now emerging as a beacon of opportunity in the global economy of 2024. The region’s transformation into a promising investment destination is being driven by a combination of factors, including a favourable business climate and enticing government incentives. Foreign investors looking to tap into Uzbekistan’s potential will find the Jizzakh region an excellent entry point, providing a gateway to lucrative opportunities and sustainable growth in Uzbekistan.
The Jizzakh Free Economic Zone exemplifies this trend, attracting interest and investment from both Eastern and Western companies. As a potential catalyst for economic development, this Free Economic Zone could create a convergence between historical Silk Road heritage and modern innovation.
As French companies explore opportunities in in Uzbekistan, one promising avenue of cooperation in the Jizzakh Region could be water-saving technologies. The region’s agricultural sector, particularly cotton production, could benefit from French expertise in water management. The climate in the south of France is arid, and agriculture is an important part of the french economy, so France has developed cutting-edge technologies in this sector. By applying innovative water-saving solutions, French companies specializing in this field could help to optimize irrigation practices, to avoid water scarcity.
Water is a major issue for Uzbekistan, and foreign technologies, especially French ones, can bring major economic and ecological benefits. Cooperation in the water sector is part of the recent partnership agreements signed last November in Samarkand between the French President and the President of Uzbekistan. This historic visit, is very important for relations between the two countries, as no French President has visited Uzbekistan since 1991. This Franco-Uzbek rapprochement demonstrates the importance of future cooperation between the nations.
Through my years of business involvement in Uzbekistan, I have come to appreciate the mutually beneficial partnership that exists between Uzbekistan and France. This co-operation has proven to be a win-win partnership between our two countries, with both parties bringing valuable expertise, resources, and opportunities to the table. The synergy between our efforts has not only promoted economic growth, but also fostered cultural exchanges and bilateral ties. This experience reinforces my belief in the power of international relations and cooperation, to hopefully create in the future strong results for businesses between France and this promising region, Jizzakh.
Therefore, I believe that the Jizzakh region is emerging as a promising environment for Western-Uzbek co-operation, with foreign companies now starting to expand their activities not only in Tashkent but also in the regions. By capitalising on the region’s strengths and leveraging each other’s expertise, France and Uzbekistan can create new avenues of cooperation in high-potential sectors such as agriculture, manufacturing and renewable energy. As the partnership between the two nations continues to deepen, the Jizzakh region is designed to realise its full economic potential, driving prosperity and progress for both countries.
Quentin Vercruysse Founder of Magadan Advisory, a boutique consulting firm dedicated to improving economic partnerships between France and Uzbekistan
CAN JIZZAKH REALLY ENTICE TOURISTS TO DISCOVER ITS HISTORY AND CULTURE?
Jizzakh lies on the ancient trading road between Tashkent and Samarkand. When you pass this way, the ghosts of historic heroes are beside you: Alexander the Great came here with his armies on campaign, marching between the wealthy cities of Uzbekistan’s Silk Road oases. Amir Timur is remembered here, too, with what is known as Timur Darvaza (Timur’s Gates), a narrow gorge hewn by time and the water of the Sanzar River. Sadly contemporary visitors to Jizzakh tend to be in a rush, driving through the region on their way to Uzbekistan’s more famous tourist destinations. But those who do take the time to get to know Jizzakh are rewarded with rich experiences and long-lasting memories.
It is an easy drive from Samarkand to Jizzakh, but you can also make the journey by train in around an hour. Arriving in the city and looking around you, there is little surviving evidence that Jizzakh was a Silk Road trading post, a place settlement, and strategically valuable enough to warrant the Sogdians, Arabs, and then the Bukhara Khanate building a succession of fortifications. Jizzakh’s main square is named in honour of Sharaf Rashidov, the First Secretary of the Uzbek Communist Party, who was born here in 1917. Rashidov was a poet as well as a politician, and you can learn about his life in the Rashidov Memorial Museum.
The real treasures of Jizzakh are outside the city, however, so think of it as your springboard for adventure. The brightest star in the region’s constellation is the Zaamin National Park, where clean, fresh mountain air fills your lungs and the photogenic landscape is food for the soul. Parts of the national park are at an altitude of 4,200m above sea level and the varied ecosystems support a wealth of native flora and fauna. Such is the fertility of this land, and the lengthy commitment to its conservation, that some of the trees are already 800 years old. There are more than 700 species of plants, 48 of which are endemic. In springtime, Zaamin is a visual feast, as the red tulips and white acacias bloom on the mountainside. You can wander and picnic in the juniper forests, and then as autumn starts to fall, watch as the deciduous trees turn red, orange, and gold, and then finally drop their leaves.
It’s no wonder that nature’s playground has become a centre for the development of ecotourism and adventure tourism, too. For much of the year, the best ways to explore Zaamin National Park are on foot, on horseback, or by mountain bike. It is possible to follow some of the trails alone, but you will get so much more out of the experience if you go with a trained guide. A knowledgeable local person will not only provide good company but also draw your attention to details in the park’s geology, to the bird calls and the footprints, and be able to explain to you these features. Even a short walk can be an education.
In the winter months, deep snow descends on Zaamin. Skiers and snowboarders dust off their salopettes and make the most of the fresh powder. The lift infrastructure is limited for now, but there are future plans for its expansion; and in any case, more experienced skiers and boarders just use existing lifts to access the great expanse of backcountry routes. You could spend days in these mountains and never ski the same slope twice, and frequently you will be the only person around.
There has long been a sanatorium at Zaamin, making the most of the curative properties of the region’s mountain springs. The building’s white sweep of architecture is a stand-out landmark, contrasting with the deep green of the mountain behind. You can stay here for health reasons, of course, but it can also be a comfortable, convenient base for a few days of vacation.
For a contrasting landscape and experiences, go instead to Aydarkul, a manmade lake in the Kyzylkum (Red Desert) in the northern part of Jizzakh Region. Migratory birds, including pink flamingoes, stop here on their long intercontinental flights, so it is a prime site for birding. You can spend a night or two in a yurt camp, inspired by the nomadic lifestyle of generations past, but equipped with modern comforts like a shower block. There is a certain magic to spending a night gathered around a cracking bonfire, flames dancing, as you listen to a talented folk singer. Far from any city light pollution, Aydarkul also has some of the world’s darkest night skies. The quality of star gazing is unmatched, and even with the naked eye you will be able to clearly see the constellations of the northern hemisphere, shooting stars, and even the International Space Station.
Wherever you stay in Jizzakh and for however long, be sure to taste the delicious local cuisine. Many of the dishes are similar to those in other parts of Uzbekistan, but the local samsa have a reputation which rightly extends far beyond the region’s borders. The generous chunks of meat and onion, covered in a crisp, bronzed pastry can easily replace any meal, and a samsa is conveniently portable for a hike, a bike ride, or a picnic beside a picturesque waterfall.
AN ACADEMIC QUESTION – JIZZAKH’S GROWTH BEYOND 2024
Academic Growth is an important factor in the Ubzbekistan’s development. The progress of every country is measured with respect to the developments in agriculture, education, healthcare and infra structure. The education sector plays a vital role in contributing for the technological developments and hence increase the opportunities for employment and industrial growth. Today, the global focus is on the sustainable developments and it is the right time to summarize the evolution of academic growth in Uzbekistan and especially in the Jizzakh region.
The Jizzakh region lies at the centre/east of Uzbekistan with Jizzakh as its capital city. Approximately 53% of people live in rural areas. A major highlight is the special economic zone set up by the Government of Uzbekistan in collaboration with China contributing to joint projects in both the agro-industrial and mechanical sectors. In the last decade the growth of the Jizzakh region in all sectors is tremendous and expected to be still higher in the upcoming years. One of the major reasons for this progress is the tangible improvements in the academic arena.
This is vivid from the statistical reports highlighting that the number of students enrolling for the primary, secondary and tertiary education has grown three fold. Enrolment in evening courses in higher educational institutions is also increasing.
At this juncture, it is also essential to understand the history of the tertiary education system in Uzbekistan and the transition after the Independence in 1991. The structure of the education system was inherited from Soviet times and has grown tremendously in the last two decades with well developed Universities and research institutes. The world bank report in 2014 depicted that the major challenges faced by the tertiary education system in Uzbekistan are low access, inadequate quality and relevance of graduates and low research production. But the last decade has changed the scenario and shown improved contribution in the tertiary education system. In 2018, the Government of Uzbekistan also developed an Education Sector Plan (ESP) 2019-2023 with extensive consultations with the Local Education Group (LEG), coordinated by UNICEF. The ESP 2019- 2023 elaborated the sectoral priorities for all sub-sectors of education and developed an action plan for the government to follow during the period 2019-2023 and beyond.
The policies focused on three major priorities: Access and Participation, Quality and Relevance, and System reforms and Management. Access and participation were increased by ensuring a safe and enabling learning ecosystem. Moreover, the quality of the education system is improved by developing standard curriculum and competent assessment tools. Teaching learning tools and technology for pedagogy plays a vital role in motivating learners and also creating a competent workforce. This further extends with effective management of the TLEP ecosystem at various levels of the sector. To meet the global competency and to serve the changing requirements of the society the education system has undergone a huge transformation.
Higher secondary Education (16 to 17 years)
The increase in the number of enrollments for higher education is a positive note that acknowledges the development of the academic sector of Jizzakh. The equitable access at all levels is observed in the recent past by new construction, reconstruction and also renovation of schools in this region. The academic structure and pedagogy have oriented towards the following prime factors.
Active development of all domains including the cognitive, creative, language, socio- emotional and healthy lifestyle.
Mapping the competencies of developments including communication, play, socialization and cognitive developments
Creating an active teaching workforce by insisting on teaching professional standards, following a teacher quality framework and conducting special training programs, guidelines for teachers to ensure holistic development, proper education planning and teaching, assessment with modern tools, professional development etc.
Systemic reforms, governance and management using MIS tools to monitor the progress in knowledge transfer at each level in a centralized database system enabled with IT.
Above all, the educational quality assurance framework ensures a systematic review occurs to improve quality and efficiency. The usage of ICT tools as a pedagogic tool has tremendously increased and improved the teaching capacity and professional development. Project based learning, Tool based learning, Research based learning have resulted in tangible outcomes of the learners. Recent studies have proven that GER in higher education has increased in Jizzakh region. There is a notable improvement in the gender parity too due to the proactive efforts of the Government to enroll more female students, attract foreign universities, and encourage private institutions. This is certainly a positive note to ensure improvements in academia both in terms of curriculum and standards and hence contributing to enhanced quality and employability of the nation.
JIZZAKH POLYTECHNIC INSTITUTE AIMS FOR TECHNOLOGICAL EXCELLENCE
It is worth noting that two new, modern production sites have been launched on the territory of the Jizzakh Polytechnic Institute. The first is the “Scientific and Practical Centre for Alternative Energy”, where solar panels are produced. The second training site – “Jizzakh Youth Technopark” – creates a wider opportunity for students of the institute to put into practice the knowledge acquired during the learning process.
It should be said that the launch of the “Scientific and Practical Centre for Alternative Energy” at the institute was one of the big steps in the study of energy problems, the practical direction of work in this area, the popularisation of alternative energy and energy conservation. In particular, this centre, which combines both education and production in its name, opens the way for the training of qualified personnel in this field. This serves to further increase the level of localization of production of alternative energy sources devices in our country.
Another gratifying moment is that the centre’s staff and the teaching staff of the Institute’s Energy Department won a grandiose project within the framework of the capacity-building program of the European Union Foundation “ERASMUS+”. The implementation period for this project “Development of a targeted curriculum for undergraduates in solar energy in Uzbekistan” is planned for 2024-2026, and the creation of educational and scientific laboratory programs of a new format has also been established.
A similar atmosphere has been created in the Jizzakh Youth Technopark, which began work at the Jizzakh Polytechnic Institute. An educational, research and production zone of a new format, putting youth ideas into practice, acceleration centres, virtual laboratories, engineering education courses are equipped with the most modern technologies. In the technology park, young people will be able to master the most modern professions and start working.
Students of the Jizzakh Polytechnic Institute have the opportunity to do internships not only in the building of the higher educational institution, but also at various enterprises in the region. For this purpose, the institute has signed various cooperation agreements and contracts. One of them is the Jizzakh Free Economic Zone. At the same time, this zone plays a big role in the development of industry in the Jizzakh region.
Sanobar Eshbekova, Jizzakh Polytechnic Institute First Vice-Rector for Youth Affairs and Spiritual and Educational Affairs
The Jizzakh region of Uzbekistan proudly enjoys a rich tradition in sport and physical culture. The regional government actively encourage a healthy lifestyle through sport and exercise, particularly among young people. FC Sogdiana Jizzakh play in the Uzbekistan Football Super League and the region has hosted national tournaments in a wide range of sports for many years. In 2023, Jizzakh hosted the World Championship of Belbogli Kurash, a belt variation of the now well-established international jacket wrestling sport of Kurash.
While mainstream global sports such as football are very popular, Jizzakh, in common with the rest of Uzbekistan, retains a serious interest in its own indigenous sports and traditions. Kurash is a form of wrestling where victory is gained by throwing the opponent on to their back utilising a grip on the opponent’s jacket or belt. It has existed in different regional variations for well over 3000 years with tournaments taking place at festivals and weddings. Following Uzbekistan’s independence in 1991, a single synthesised international version was created and currently the International Kurash Association boast well in excess of 100 national federations spread across all continents of the world. Kurash is now a fixture in the Asian Games and other major international multi-sport events and has realistic Olympic aspirations.
One of the most famous Kurash stars of the last twenty years has been Jizzakh’s Olim Ravshanov, the 2007 world champion in the under 66kg category.
Having competed (unsuccessfully!) against Olim at the prestigious Al-Hakim At-Termiziy Tournament in Termez and also, as a fellow competitor, witnessed his outstanding performance when winning his world championship in Ulan Bataar, Mongolia, I can truly attest to his outstanding skill, modesty and sportsmanship. Thanks to the IKA and Uzbekistan Kurash Federation, I have been able to secure this account from Olim summarising his life in Kurash and ongoing commitment to this fascinating sport.
“Even if given the opportunity to choose again, I would still choose Kurash!” Olim Ravshanov
“This may sound like a very lofty statement but I am grateful for my fate because my life has been totally dedicated to Kurash.
My name is Olim Ravshanov. I am 39 years old and was born in a village called Bogdarchilik in the Dostlik district of Jizzakh region.
I am a professional Kurash coach currently coaching the national youth team of Uzbekistan. Previously I was a full-time athlete winning world championships at both youth and adult levels. In addition, I won the Asian continental gold medal and many other international tournaments at home and abroad.”
STARTING KURASH
“Like many children in Uzbekistan, I became interested in Kurash and started training when I was very young, so young and so long ago that I do not remember the exact age. I breathe Kurash!
My two elder brothers were very famous Kurash athletes and were my inspiration. The exploits of my brother, Mamadiyor, with his incredible throwing techniques aroused great admiration, interest and envy in me as well as the thousands of spectators present at his contests. From this I developed the desire to become a successful athlete like him.
From starting as a spectator at traditional Kurash matches held at weddings and festivals, I progressed to become a participant. I was very fortunate to have the support of my brothers and the lessons of my teachers.” WORLD CHAMPION
“Sometimes I experienced hard times in training but, over the years, these difficulties were quickly forgotten when I began to make small achievements in competitions. I won the Jizzakh regional youth championship for the first time when I was 15. From this I was lucky to go on and win the national championship. The most exciting thing about that result was that I won a place to represent Uzbekistan at the World Youth Championship in Tver, Russia in 2000.
This was a real happiness for me. Before the world championship, I participated in very high-level training sessions to help me achieve the expected result. I won the World Youth Championship! I won many tournaments after that, however, the joy of that first world victory still gives me a thrill!
From 2002, I started training under a new teacher, Omon Toymurodov. Under him, I progressed through the Uzbekistan senior ranks and on to the national team. The highlight was winning the gold medal at the 2007 World Championship in Mongolia. In 2009, I was selected for the Asian Championships in Iran and again achieved the gold medal. Around this time, I also won international tournaments in Great Britain, France, and Turkey.”
COACHING
“Since retiring as an athlete, I have been engaged in coaching. I had no choice! I haven’t thought of any field of activity other than Kurash. Kurash is a way of life for me. I grew up in Kurash. I have lived a Kurash life. Even if given the opportunity to choose again, I would still choose Kurash!”
COACHING AND COACH DEVELOPMENT
Today, Olim coaches the Uzbekistan youth team. Apart from this daily responsibility, he is heavily involved in global coach development on behalf of the IKA. He is chief technical coach on many of the IKA’s international coaching qualification courses including that held alongside the recent world championships in Ashgabat, Turkmenistan.
Kurash enthusiasts in the UK await Olim Ravshanov’s return!
Paul Sawyer with thanks to Jamshid Namozov (International Kurash Association) and Orzubek Musinov (Uzbekistan Kurash Federation
Folk music was considered risqué by some due to political reasons for decades, but like the Jazz style of America that was also considered equally as taboo, it has become a defining musical style of Uzbekistan.
In terms of vocal styles, the main folk style is known as Bakhshi and consists of melodies that are passed down from generation to generation, so no notation is needed! Several important musical instruments are still played today that bridge the gap between old and new traditions:
Dutor – This instrument is a two-stringed Lute that has a warm tone and is one to two metres in height. Dutar literally means “Two Strings” and these strings are made from silk or nylon, opposed to Guts which had been the preferred material of choice for centuries. This instrument should not be confused with the Dotor, that originates in Bangladesh.
Rubob – Originating from Afghanistan in the 7th century, this instrument very much resembles a Lute and has a short neck. The Rubob is carved from a single piece of wood, which is usually Mulberry. It has three melody strings, three drone strings and usually twelve sympathetic strings. The head of the Rubob is made from animal skin, most commonly a goat. Being known as “The Lion of instruments” is certainly a title to be proud of indeed and the Rubob is performed all over the World due to its popularity.
Tanbur – The Tanbur originates from Central Asia from the Ancient period and is a stringed instrument. It has four strings made of metal than run across the small bridge of wood of the body of the instrument. Again, made from Mulberry, this instrument has been giving joy through song since the Parthian Area where the name Tanbur is derived from Middle Persian texts.
These wonderful musical traditions can be performed at venues such as the prestigious Jizzax Viloyat Musiquali Drama Teatri or Open-Air Festivals, the possibilities are endless when continuing the joy of music.
Jizzakh, a vibrant province in Uzbekistan, showcases a remarkable blend of tradition and modern enterprise. Its bustling cities—Jizzakh, Gallaorol, Dashtabad, and Dostlik—are home to a diverse industrial base, ranging from mineral extraction and cotton cultivation to advanced manufacturing in electronics and construction materials. This thriving economy is supported by key industries like cotton processing, building materials, food production, and light industry, including textiles and apparel.
Each area in Jizzakh is known for producing unique, high-quality products. Dashtabad is famous for its building materials, Zomin for its exquisite onyx, and Baxmal for its luxurious marble. Numerous factories contribute to a robust infrastructure in brick manufacturing, flour milling, and furniture crafting. The region is also rich in natural resources, with the Marjan bulak gold mine and operations extracting lime, wollastonite, tungsten, and lead, cementing Jizzakh’s status as a cornerstone of Uzbekistan’s mineral wealth.
In the 21st century, Jizzakh has become a hub of international cooperation, hosting joint ventures with partners from the UK, Tajikistan, Syria, Poland, Pakistan, China, Indonesia, and Russia. These partnerships have brought world-class products to the market, from vegetable oil and silk fiber to cotton cellulose and mineral water. The region’s entrepreneurial spirit shines through with the production of industrial goods, batteries, and even KIA cars within its free economic zone, making Jizzakh a center of innovation and global collaboration.
Agriculture is the lifeblood of Jizzakh’s economy, with cotton as the dominant crop, complemented by grain, cocoon farming, and a rich variety of fruits and vegetables. The region’s fertile lands are irrigated to support a diverse agricultural output, from potatoes and rice to vineyards and orchards. Animal husbandry is also a key component, with large numbers of cattle, sheep, goats, horses, and poultry, reflecting a dynamic agricultural model that sustains and drives the local economy.
Jizzakh’s investment potential is immense, thanks to special economic zones that foster international collaboration and innovation. Combined with its abundant natural resources and dedicated workforce, the region offers a compelling opportunity for investors seeking to bridge the gap between history and progress.
Jizzakh is more than just an investment destination; it’s a partnership with the land and its people, an invitation to be part of a story that continues to unfold. This province is a mosaic of experiences, blending past, present, and future, and is waiting to be explored and cherished. Whether you’re a traveler, historian, nature enthusiast, investor, or academic, Jizzakh welcomes you to join its ongoing narrative. Here, in one of Central Asia’s most captivating corners, the spirit of Jizzakh whispers tales of resilience and beauty, promising a journey of unforgettable experiences and boundless opportunities. Jizzakh is not merely a place to visit but a legacy to be part of—a canvas where every visitor leaves a mark, and every investment seeds the future.
— Akhror Burkhanov Press Secretary, Minister of Foreign Affairs of Uzbekistann
Uzbekistan, particularly the Jizzakh Region, has some beautiful and varied countryside. You might be surprised to hear that it also has some impressive castles and fortresses. In Europe we think our history is full of castles, princesses and knights, especially during the middle ages. It is little known that many of these old legends originate from central Asia. Folktales and fairy tales have indo-european and central Asian origins that even go back five thousand years. The European medieval princess with her pointed hat, for example, had central Asian origins.
Many people know the famous tourist sites of Samarkand, Khiva, and Bukhara, but impressive as they are, Uzbekistan has so much more than this and the lesser known Jizzakh region is worth exploring for its rich history and culture.
Jizzakh is located south east of Samarkand and north west of Tajikistan and was an important stop on the great Silk Route. The Jizzakh region includes several national parks, including Zammin, the ‘Switzerland’ of Uzbekistan. With its alpine meadows, bright red tulips, snow white acacias, hazelnut, birch, and fir trees, you can find Uzbekistan’s famous black storks in the Guralashsoy gorge. The region has over 370 cultural sites and also boasts the ‘iron gates’ of Timur and its intriguing fortifications dating back from the Silk Route days. There are also various yurt camps, Sanatoriums, and hotels, that join the rivers, lakes, forests, deserts, hills, valleys, and mountains, found in the region.
MYK FORTRESS
In the Zaamin district of the picturesque canyon Chortagna, in the headwaters of the Yettikachi river, sit the ruins of the ancient fortress of Myk. The ruins are at an altitude of about 2000m and consist of four locations called Myk I, II, III and IV.
It is listed as a Zoroastrian castle, though its various transitions and rebuilding continued through to Islamic times. The government of the region was historically run by a handful of aristocrats before Islam. The leader of these aristocrats was the ruler of Utrushana who bore the title of ‘Afshin’, or grand prince. The Afshin ruled with absolute power in the country, and he was deified even after the introduction of Islam. The capital of Utrushana was Bundzhikat in what is now the ruins of the village of Shakristan (Tajikistan). Zaamin was the second largest city in Utrushana, after Bundzhikat. However, Zaamin was older and located directly on the Silk Route. Starting in the 10th century, the road through Zaamin became increasingly important. In the middle ages the region developed an important iron mining and smelting industry. The importance of steel and iron required the control and protection of the Afshins of Utrushana. This is what drove the importance of the fortress and political centre of Myk Fortress as it enabled the authorities to monitor and control the iron and steel production.
Myk is located 43 km south of the city of Zaamin, formed by the widening of the gorge by two lateral tributaries of the Myksava river. The history of Myk castle spans 500 years and consists of two castles of different periods, upper Myk 1 and lower Myk 2 and the industrial and residential settlement Myk 3. North of the ruins, until the mid 1930s, there was the village of Myk. Medieval ceramics and iron slag were also found in the village the on the left bank opposite the Ettykechusai river. A gold coin of the Korezmshah Muhammad period (1200 – 1220) was also found.
Myk 1 appears to be the ruins of a castle from the seventh to the eighth centuries. It is located at the top of a rocky cliff at an altitude of 80 metres. It is built into the natural terrain creating a powerful stronghold that overlooked the entire surrounding territory. The fortress is made of pakhsa blocks further built on with the rectangular bricks. It has three main towers with the further remaining fourth tower. There is a residential tower or dungeon at the southern end of the structure.
In 714, during the first Arab invasion of Utrushana, Myk 1 was looted, burned, and almost completely destroyed. Only a small part of Myk 1 castle remains.
The dungeon consists of barracks, the main hall, and a cult, or religious, room. The walls were decorated with murals of red blue black and yellow painted murals, which are now found in the rubble on the floor. The cult room features two black triangles on a white background. A neighboring room held an altar which held a sacred fire that was constantly burning. Columns, a truncated pyramid, a further altar, and further features are also found in the ruins. Bird and animal bones were also found in the ash pit beneath the altar. Myk 3 is located in the production village with metallurgical furnaces and archaeological layers up to three feet deep with iron slags. The entrance to the village and the Myk valley is blocked by a watch tower 7 km north of the castle. Today, only the foundations remain.
Restoration of the Myk castle began in the 9th century, according to the ‘history of prophets and kings’ written by at-Tabari. It was at this time the stone castle Myk 2 was built. It is located 50 m below Myk 1 directly above the village of Myk 3. Myk 2 was built in a square shape with the corners oriented to the cardinal points of the compass. Partly built into the cliff, the ‘Barbican’ still stands. There are towers, both inside and outside the walls, which are largely preserved.
The castle was built in the style of the Korusan empire, widely found in the middle East at this time. It was especially popular during the construction of the city of Samara, the new capital of the caliphate around this time. Other castles in central Asia can’t compare to the construction of Myk 2, being built by builders from transcaucasia. The build quality was excellent. After being repaired several times, Myk 2 was captured and destroyed between 1028 – 1035 during a siege. Many ceramics, iron instruments, weapons, and copper pieces, remained buried in the ruins afterwards. Some jewellery, glasses, an inkwell, and musical instruments were also found. A large treasure of silver-plated coins was found, wrapped in linen. 1,300 coins were found, but it seems the treasure was much bigger. The Foundation of this wealth was undoubtedly the mining and processing of iron, especially in Myk 3. Iron mining and processing continued in Myk 3 village long after fall of the castle.
The final sudden destruction of the fortress in the middle of the 12th century was due to the Karakhita invasion of Transoxiana. Near to Myk, in 1141, a famous battle occurred between army’s led by Sultan Sanjar and the hordes of Karakhiai. Sanjar’s army was thoroughly beaten. Castles and battles featured heavily in central Asia just as in Europe during the middle ages.
Castles and fortresses, kings and sultans, were part and parcel of life in middle ages central Asia. Myk fortress is no different. Tolkien’s ‘middle earth’ is based on Viking legends of Iceland, which in turn came from their Viking/Scythian origins in central Asia, but that’s a subject for another article. As Central Asia opens up, beautiful Uzbekistan will become better known globally together with its middle ages castles.
The period of the Russian Empire’s domination of Central Asia in the 1960s and 1970s gave impetus, among other things, to the expansion of irrigation construction and the irrigation of previously undeveloped areas.
This was a consequence of the establishment of peaceful life and the cessation of feuds. However, this was at the expense of the continuation of the existing aryks (channels). The increase in cultivated areas achieved in this way could not be large, and the construction of new irrigation channels was necessary to significantly increase irrigated areas.
Invited experts were highly impressed by Turkestan’s potential for agricultural production. One Turkestan journal stated that the region had ‘the possibility of developing… diverse and valuable branches of agriculture, capable of replacing American cotton, French and Hungarian wine and American dry fruits, Italian and Japanese silk, Australian wool and lard, and a mass of other products’. Although irrigation was the basis of and essential condition for the prosperity of Turkestan’s main industry – agriculture – the area of irrigated land was small in relation to the total area of the region. In all the provinces of the Governor-General’s Office of Turkestan it represented less than 2 per cent.
The construction of new large canals was not feasible for the local population due to the primitive nature of their technical tools. And due to the impossibility of using the previous organisational methods. The expansion of irrigation and the irrigation of new areas planned to make Central Asia the main area of cotton production for the growing Russian textile industry. To solve this problem, water resources had to be studied and possible irrigation areas identified.
One of the most promising areas was the Hungry Degree. This was a fairly large area south of the left bank of the Syr Darya River as it exits the Fergana Valley, reaching as far south as the town of Jizzak. Before 1917, Jizzak was one of the district towns of the Samarkand region, with a population of less than twelve thousand people, where trade was conducted and several handicraft factories were located. It used to be the only relatively large settlement on the edge of the Golodnaya steppe.
The first attempts to develop the Hungry Steppe began soon after the establishment of the Turkestan Governorate. In 1869, at the suggestion of Governor-General K.P. von Kaufmann, a survey party led by Baron Aminov was sent to the steppe. And in 1871 the Tashkent engineer N.F. Ulyanov was sent here to draw up the project directly. The following year, the realisation of his project began.
The first attempt to irrigate part of the Hungry Steppe was unsuccessful; due to a lack of funds and labour, the work was very slow and often stopped for long periods. A few years later, work on the canal, already named the Kaufman Canal, was abandoned until better times. Among the pioneers of the development, a member of the imperial family, Grand Duke N.K. Romanov, who lived in Tashkent due to a “family disgrace”, occupies a prominent place. In 1883-1885, on his initiative, the Iskander-Aryk canal was built on the right bank of the Chirchik River in the Tashkent district, irrigating 4.5 thousand hectares of land. After this success, in 1886 the Grand Duke began the construction of the Bukhar-Aryk Canal from the Syr Darya River. With the help of this canal it was planned to irrigate the Golodnaya steppe and to transfer the water of the river to the possessions of the Bukhara Emir. The Bukhar-aryk was built in 6 years and dug for 27 kilometres. On 9 May 1891, water was sent through the canal.
Unfortunately, this experience was unsuccessful. Due to technical miscalculations, the canal was soon out of order.
Despite this failure, in the autumn of 1891 N.K. Romanov began to build a new canal in the Hungry Steppe under the professional technical supervision of a group of experienced engineers. Its construction was completed in September 1895 and it irrigated 7.6 thousand hectares of land in the north-eastern part of the Hungry Steppe.
The villages of Dukhovskoye, Konnogvardeyskoye, Nadezhdinskoye, Nikolskoye, Romanovskoye, Spasskoye were established on the irrigated land. The Golodnostepskoe experimental field for breeding research was created on 200 hectares. A considerable part of the developed land was given to representatives of the indigenous population. A little later the Grand Duke ceded the irrigated lands and irrigation facilities to the state under certain conditions.
The authorities’ plans for irrigation in the Turkestan region became more active in the mid-1990s after the visit to Turkestan of the Minister of Agriculture and State Property, A.S. Ermolov. Substantial funds were allocated from the state budget for survey work, and a team of Russian engineers and technicians was sent from the Centre.
Preliminary surveys covered about 655 thousand hectares in the Syr Darya, Fergana and Samarkand regions. As a result of this research, which continued until 1900, eight irrigation projects were drawn up, covering a total area of about 229 thousand hectares and costing about 12 million roubles. The irrigation of the Hunger Steppe was again recognised as a priority.
To this end, a 37-kilometre main canal was to be built from the Syr Darya. A budget of 2.25 million roubles was allocated. The construction of the canal was supposed to be completed in 5 years, but due to numerous problems explained by the novelty of the case, the construction was delayed and the cost estimate increased to 7 million rubles.
Finally, in the autumn of 1913, the works were completed and on 5 October 1913, the canal was ceremonially opened. It was given the name “Romanovsky”. Thanks to this canal 38 thousand hectares were irrigated.
On the day of the canal’s inauguration, F.F. Tolmachev, the canal’s director, said: “Today is a holiday of culture, a holiday of engineering knowledge and art, which this time will serve the cause of unusual, rare – I would say, magical beauty, the cause of reviving the Hungry Steppe, the cause of turning the dead desert into a flowering oasis of the richest breadbasket in the very near future”.
By 1917 there were 17 settlements on the irrigated land of the Hungry Steppe, with 3677 families of new settlers. In addition, water from the Romanovsky canal, renamed the Northern Golodnostepsky canal after 1917, was used by the indigenous inhabitants of the kishlaks of the Begovat district (before 1917 – Nausskaya volost of the Khojent district).
The inhabitants received water free of charge. As a result, the kishlaks of the Begovat district were given an opportunity for more sustainable economic development, their population began to grow and quite settled farms were formed. Life, however was initially quite difficult. Malaria was often rampant. Frequent plagues of locusts were a disaster. New agricultural conditions were unfamiliar, especially the salinity of the soil, hot winds and irrigation. Eventually, thanks to the diligence and patience of the Russian peasants, their famine-stricken farms eventually achieved astonishing success, and life flourished.
The new power established after 1917 did not leave the Hungry Steppe unnoticed. As early as 1918, the country’s leadership passed a law ‘On the organisation of irrigation works in Turkestan’. Despite the civil war and intervention, the central government allocated 50 million roubles for the irrigation of 655.5 thousand hectares of land in the Hungry Steppe, the steppe zones of Dalverzin and Uch-Kurgan, intended for cotton fields.
Sharaf Rashidov made a colossal contribution to the development of the Hungry Steppe. As a result of the tasks of development and irrigation of virgin lands in the 60s and 70s, the economy grew considerably and Uzbekistan achieved a certain economic and social position among the republics of the Soviet Union. There were many difficulties, and the great merit of Sharaf Rashidov was to solve all the organisational problems. He was able to use every opportunity rationally to protect the interests of the people and raise their standard of living. His memories of this project became the basis for his novel “Winners”, which is still relevant today.
Yuri S. Flygin, Historian, publicist. Head of the Department of Historical Disciplines of the Tashkent Theological Seminary.
THE POWER OF POETRY: RASHIDOV’S ETERNAL KASHMIR SONG
The romantic novella The Song of Kashmir (1956) reflects the Indian people’s struggle for liberation. Judging by its tone, this summary of Rashidov’s works and the reference in it to The Song of Kashmir date from Soviet times, and at first glance seem far removed from the genre or the content of the piece. The novella itself is presented as a dramatic and florid retelling of a traditional Kashmiri legend about the cyclical change of seasons and the yearly triumph of the forces of life over the forces of death and decay. The novella’s narrative of natural wisdom is developed through the story of the all-conquering love between Bambur, the King of the Bees, and the spring narcissus, personified by Nargis and surrounded by other equally beautiful and life-loving flowers. Their antagonists, the cruel Blizzard and the enigmatic bringer of death, Harud, overwhelm the blossoming valley with their vile power but in the end are defeated, powerless against the love and the force of life embodied by the flowers, the bees, the trees and the sun shining down on the valley.
In August 1953 Sheikh Abdullah and a number of his associates were arrested by the Indian authorities, accused of conspiring with Pakistan (and thus also with the USA) against the Indian state with the aim of seceding from India and joining Pakistan. Nehru was apparently shocked when he saw the evidence of his former friend’s scheming against India. The infamous Kashmir Conspiracy Case began and there were demonstrations and civil disturbances all over the country. At the time it looked as if Nehru had managed to unravel the imperialist plot, and in 1955 the Soviet leaders Nicolay Bulganin and Nikita Khrushchev paid a triumphal visit to India to finally cement the victory of the left-wing forces over the capitalist reactionaries. But what does all this have to do with The Song of Kashmir?
Among that large Soviet delegation to India was Rashidov, who attended a performance of the first opera in the Kashmiri language written by the poet Dinanath Nadim (a major figure of the Cultural Conference, a progressive writer’s movement in Kashmir). The opera, Bombur taa Yamberzal (The Bee King and the Narcissus) was based on a traditional Kashmiri legend, radically re-worked by Nadim. According to Moti Lal Kemmu, a prominent playwright and theatre critic, who also took part in the performance, in our discussions the 1953 episode [the alleged conspiracy with Pakistan – AU] was attributed to imperialistic intrigue. Since the Cultural Conference was an organisation of progressive writers, artists and performers, it promoted cultural programmes reflecting the unity of all peace-loving Kashmiris and exposing imperialistic manoeuvring. Nadim decided to reflect this political position in his opera, which he created after a visit to China and influenced heavily by an opera he had seen called The White Haired Girl. This, one of the eight model operas of revolutionary China, told the story of a peasant couple who are separated by enemy figures, only to be reunited after the protagonist joins the Chinese revolutionary army fighting the Japanese invaders. The reunion is made possible by victory over the enemy and, simultaneously, the overthrow of an evil landowner who had held the girl in captivity. The plot, which parallels the liberation of the motherland and that of the fiancée in an act of courageous resistance at both romantic and political levels, was created within Socialist Realism and also became a template for several Asian writers. The Song of Kashmir was published in Uzbek (Kashmir qo’shig’i) in 1956, shortly after the Soviet delegation to India; in1958 it was translated into Russian, and in 1961 the Uzbek composer Georgy Muschel wrote a ballet based on the novella. In an article about the composer’s life, Lilia Nikolenko wrote: The ballet was created out of [Muschel’s] direct impressions of Sharaf Rashidov’s poem, The Song of Kashmir, which reflected a poetic Indian legend. The composer also wrote the libretto to the ballet, in which the common striving of the people of the East for independence and the triumph of peace and goodwill are manifested with power and passion.
It is interesting to see how the public discourse surrounding The Song of Kashmir gradually changed over time. Eventually it lost all reference to the opera Bombur taa Yamberzal and its significance for politics and society in Kashmir in the mid-1950s. Dinanath Nadim is mentioned only as a re-teller of an ancient Kashmiri legend. The politically significant identification of the
Kashmiri and Indian cultures is taken for granted and the plot as presented by Rashidov now symbolises the common effort of the peoples of the East in their struggle for independence. Political and literary references and remakes of The Song of Kashmir continued to proliferate, using a growing range of media.
In 1965 a cartoon, Nargis, was made in the USSR based on The Song of Kashmir. This version featured a doppelgänger motif and the dramatic death and resurrection of the protagonist. In 1967, twelve years after the first performance of Bombur taa Yamberzal, Dinanath Nadim’s opera received the Sahitya Academi Award for its contribution to the development of Kashmiri literature. According to the Kashmiri writer and blogger Vinayak
Razdan, in 1971, the Soviet government conferred on Nadim the Soviet Land Nehru Award, a prize given by the Soviet Union to selected Indian artists in recognition of their outstanding work.
In the late 1970s, in the context of growing tension between India and Pakistan, Rashidov, who by now had retired from literary work, re-published The Song of Kashmir with the additional commentary about the various possible interpretations of its plot. According to the Indian journalist Alok Shekhar, in 1984 Rashidov’s novella inspired and informed the famous Soviet-Indian film The Legend of Love. In another curious twist, another major Asian writer, Salman Rushdie, gave the name Bombur Yamberzal to one of his characters in Shalimar The Clown, a novel about Kashmir and the politics of the sub-continent that ripped apart the lives of those caught in the middle of the battleground. To underline the inherent contradiction within the plot, Rushdie named Bombur Yamberzal’s wife, Harud, a small but remarkable touch of his postmodernist irony. The resilience and flexibility of the legend is indeed remarkable.
By Shishir Raj. Advocate. Supreme Court of India. New Delhi
It is no exaggeration to say that the Uzbek samsa (also somsa) is now known all over the world. Uzbek restaurants are growing in popularity and can be found in many countries of the world. And samsa has always been an integral part of Uzbekistan’s traditional gastronomic wealth, especially samsa with meat and kurduk.
The samsa is a flour based product. In Uzbek cuisine, it is usually round and traditionally baked in a tandoor, although triangular samsas baked in a gas oven is also common today. Even within Uzbekistan itself, samsa varies from region to region, and the discerning gourmet has the opportunity to experience a variety of different flavours by tasting, for example, The Alot samsa contains tomato, while the Samarkand samsa comes with a characteristic set of spices. There is even a Turkish Uzbek samsa with cheese, which has been invented relatively recently and is more for tourists. The Jizzakh samsa is considered a gastronomic masterpiece. It has long been a favourite dish of locals and visitors alike, and is considered the gastronomic trademark of Jizzakh. The way it is prepared surprises those who taste it. The secrets of samsa making have been handed down from generation to generation for several centuries. There is no unanimous opinion about how and when it first appeared, and each institution will tell you its own, different version.
What can be objectively said about the characteristics of Jizzakh samsa? First of all, its weight is astonishing. The size of the samsa is three or four times bigger than the average, and for tourists it can become a main course, after which there is no room to tast anything else!
Secondly, the samsa dough is very thin and the meat (usually mutton) is coarsely chopped. This allows the filling to be cooked so that it retains its juices and flavour. Onions and a little fat are also added to the filling to keep it juicy and rich in flavour. Because of its size, such a samsa is often eaten with a spoon, like soup.
Thirdly, the samsa is cooked in a vertical tandoor. The raw product is placed on the walls and cooked under the influence of dry heat and pressure. Curiously, despite its size it does not fall down in the tandoor. This is a secret of the Jizzakh masters.
Local people call it “Qipchoq somsa”, which means “samsa from Kipchak”. There is a saying: “If you have no physical strength left, go to Kipchak and eat samsa”. According to one version, this refers to the Kipchak mahalla (district) in Jizzakh.
If we take into account the climatic conditions of Jizzakh, we can explain the love and reverence felt locals for this dish. It is a fact that in Jizzakh there are very cold winters, during which a hot and juicy samsa will warm and fill you with strength, and during hot summers, it replaces a full meal. It should be noted that the flavour of this dish is therefore very difficult to reproduce elsewhere. This is due to the special climate, sun, water and air. Vegetables and grasses grown on this fertile land have a bright flavour.
Nowadays you can find many videos on YouTube and TikTok showing Jizzakh samsa from all angles, but this magnificent dish is worthy of personal acquaintance wherever you are from.
Historic Debut: Uzbekistan Hosts Inaugural World Coaching Championship During Eurasian Creative Week
From 22 to 29 June, Uzbekistan hosted the first international World Coaching Championship, as part of the 8th international festival Eurasian Creative Week. For the first time, the festival events took place in three cities of Uzbekistan: Tashkent, Khiva and Nukus.
The festival programme kicked off in Tashkent on 22 June in the Great Hall of TEAM University, where a charity ball was held by Silk Road Media Ltd. The event was dedicated to the 20th anniversary of the festival and brought together more than a hundred representatives of the business and cultural communities from Uzbekistan, Kazakhstan, Russia, USA, UK, India, Belarus, Finland, Germany, Kyrgyzstan, Tajikistan and Israel.
The ball was opened with a welcoming speech by Andrew Wachtel – Chairman of the Board of Directors of TEAM University (General Partner of the Charity Ball). Andrew told the international guests a little about the University and emphasised the importance of such events in strengthening international relations. The guests were then welcomed by Marat Akhmedjanov, founder and head of Silk Road Media Ltd holding (UK), the publishing house. Marat Ismailovich told about the history, mission and values of the holding and thanked everyone who could join the celebration of the company’s anniversary.
As the speaker of the event, Taina Kaunis, advisor to Silk Road Media Holding, noted, in 2024 the round date will be celebrated not only by the holding itself, but also by its projects. For example, the International OCA Magazine is celebrating its 15th anniversary, the Hertfordshire Press is celebrating its 10th anniversary and the Eurasian Creative Guild (London) is celebrating its 9th anniversary.
The guests of the ball, including the famous artist Alinur Rashidov, the director Aliaskar Fatkhullin, the internationally renowned composer Tolibkhon Shahidi, representatives of the diplomatic corps of the embassies of various countries in Uzbekistan, honoured cultural figures of Uzbekistan, as well as heads of large companies, got acquainted with the charitable projects of the holding. Special attention was paid to the publication of books by authors from Eurasian countries (Central Asia, Eastern Europe), the organisation of festivals and the promotion of the region’s creative people at the international level. More than 30 people supported the charitable work of Silk Road Media, showing their indifference. Elish & Superheroes, a unique project to create a comic book museum dedicated to autism and inclusion, received the most support from guests.
As part of the ball programme, the first international coaching championship of its kind, the World Coaching Championship (WCC), organised by Silk Road Media together with the general partner of the championship – the Elena Bezrukova Centre (Kazakhstan), was inaugurated. Elena Bezrukova herself, as the President of the Championship, greeted all the participants of both the competition and festival programmes of the Championship and pointed out that the coaches-competitors have already become the winners of the WCC and the determination of the winners will be held on 25 June. Sheikh Dawood, General Manager of Le Grande Plaza Hotel – also a partner of the festival – also offered words of support to the guests and participants of the WCC. He wished all participants good luck in the competition.
The New Silk Road Charity Ball was also the venue for the official launch of the first issue of the Eurasian Creative Guild magazine (London). The editor-in-chief of the issue, Guardian of ECG (London) Saltanat Khamzeeva (Kazakhstan) told about the main moments in the history of the issue and also thanked other members of ECG (London) who wrote articles for the issue, some of whom were present at the ball.
An important event and the highlight of the ball programme was the award ceremony of the commemorative medal named after Jonathan Fryer (UK) – writer, literary researcher and member of ECG (London). The medal was awarded for the contribution to the development and promotion of cultural projects of Eurasian countries at the international level. The medal was presented to
– Gulsifat Shahidi (Tajikistan) – prose writer, publicist, literary scholar, academician of the International Academy for the Development of Literature (MARLI), winner of many international awards.
– Gulnara Rashidova (Uzbekistan) – head of the Sharaf Rashidov Foundation, academician, public figure. The medal was received by Said Burkhanov, representative of the Foundation.
– Akmal Nur (Uzbekistan) – painter, People’s Artist of Uzbekistan, Laureate of the State Prize of Uzbekistan, full member of the Academy of Arts of Uzbekistan, Chairman of the Academy of Arts of Uzbekistan.
– Boris Babaev (Uzbekistan) – journalist, founder of Kultura.uz and Intellectual Club.
– Alexey Ulko (Uzbekistan) – researcher, linguist and art critic, participant and jury member of Central Asian festivals of literature and experimental cinema.
– Sirojiddin Rauf (Uzbekistan) – Editor-in-chief of the magazines ‘Sharq Yulduzi’ and ‘Zvezda Vostoka’ (‘The Star of the East’).
– Lola Saifi (Uzbekistan) – Founder of the Human House Gallery.
The medal was presented by Marat Akhmedjanov and honorary co-chair of the ball Gulsim Batyr – President of Tashkent Women International Group. She noted the importance of such platforms for self-realisation, communication and creative development of women as ECG (London).
Ball guests also enjoyed a concert programme by the Avicenna vocal duo and the NAVO folk ensemble from Uzbekistan, who performed on folk instruments to the delight of the international guests.
On 23-24 June, with the help of Anna Lari, co-founder of ECG (London) and director of the festival programme, master classes and trainings were held by leading coaches of the World Coaching Championship (WCC) – Marina Galiy, Marina Alyassova, Natalia Gerasimova, Gennady Gorovoy, Viktor Grebennikov, Artem Volsky, Vladislava Baimagambetova, Kuralay Nurkadilova, Taina Kaunis.
The winners of the championship were
1st place – Natalia Gerasimova (Israel) and Vladislava Baimaganbetova (Kazakhstan)
2nd place – Marina Alyassova (Russia) and Artem Volsky (Kazakhstan)
3rd place – Gennady Gorovoy (Israel) and Marina Galiy (Kazakhstan)
“For breadth and boldness of thinking” – Susanna Akopyan (Armenia)
“For harmonious combination of family and educational activities” – Zhanara Riffert (UK)
“For systematic and authorial view of women’s development” – Anna Gharib (UK)
“For the aesthetic presentation of information” – Karina Kay (Italy)
“For the symbiosis of professions that develop a person” – Indira Laktaeva (USA)
“For the development of erudition” – Marina Galiy (Kazakhstan)
“For the ability to listen to others” – Marina Alyassova (Russia)
“For the ability to work with the emotions of the audience” – Natalia Gerasimova (Israel)
“For a vivid example of dedication to his dream” – Gennady Gorovoy (Israel)
“For the development of entrepreneurial thinking” – Artyom Volsky (Kazakhstan)
“For active citizenship in education” – Vladislava Baimaganbetova (Kazakhstan)
“For professional generosity” – Victor Grebennikov (Kazakhstan)
“For exemplifying resilience and vitality” – Kuralay Nurkadilova (Kazakhstan)
“For effective multitasking” – Taina Kaunis (Finland)
We thank the WCC jury:
Elena Bezrukova
Maria Muchinskaya
Nodira Abdullaeva
Viktor Grebennikov
Kuralay Nurkadilova
25 June took place:
– Presentation of animated video aids on ecology and psychology by Elvira Zhusupbekova.
– Poetry lesson with the Belarusian poet Maria Muchinskaya.
– Creative meeting of writers and editors with Saltanat Khamzeyeva.
– Advice and recommendations from Central Asia’s first literary agency by Bakhtygul Makhanbetova.
On 26 June, participants travelled to the legendary city of Khiva, where their day began with a creative quest “Sands of Time: In the Footsteps of Pakhlavan Mahmud” around the historical complex of Ichan-Kala. As part of the creative quest, the guests learned the story of Pakhlavan Mahmud, an outstanding thinker and fighter, tanner and madrasa teacher. In the evening of the same day, the festival participants shared their most vivid impressions and surprising discoveries, as well as the works created during the day. The guests paid special attention to the fact that even a simple man like Pakhlavan Mahmud was able to earn such love and respect from the people that it was an honour for Khans to be buried at his feet (historical fact – the mausoleum of the Khans of Khorezm is located in the building built around the workshop and then the tomb of Pakhlavan Mahmud, which became and remains a place of pilgrimage). The evening, thanks to the Khimiyat of Khiva, was decorated with a concert of folklore and ethnographic folk ensembles “Saikal” and “Doston”. On 27 June, Elena Bezrukova, the President of the World Coaching Championship (WCC), held a master class for the guests to regain their strength, as they had two busy days ahead of them.
On 28 June, the participants of the festival left for Nukus.
The Discovery Travel Forum, unique in its format and content, was held in the conference hall of the ASEM Hotel, which is traditionally characterised by an applied working format. Representatives of the hospitality industry had the opportunity to learn from a Kyrgyz expert, Marina Bashmanova, about the art tourism trend relevant to the region (this trend was selected in advance in dialogue with the Tourism Department of Karakalpakstan). The discussion on world practice in this field aroused great interest among the participants. International experience in tourism development through creative industries was also shared by Taina Kaunis, consultant of the British holding Silk Road Media, who particularly emphasised the prospects of developing cinema as an attraction for the region. Vladislava Baimagambetova, a business coach from the Elena Bezrukova Centre (Almaty, Kazakhstan), provided the Forum participants with unique practical information on international requirements for organising work in the tourism industry. Elena Bezrukova, the founder of the Centre and a business coach with over twenty years’ experience, led a training session for the participants, which allowed them to take a fresh look at the opportunities they already had for business development.
The creative members of the delegation – poets, writers and artists – were given a tour and mini-lecture by Tigran Mkrtychev, Director of the Savitsky Museum. During the tour of the exposition, he told the guests about the historical contribution of Igor Savitsky to the treasury of international art.
In the evening of the same day, the legendary Savitsky Museum hosted an exhibition of Igor Savitsky’s works. On the evening of the same day, the legendary Savitsky Museum hosted the immersive exhibition “Treasures of the Silk Road”, which became a true artistic event and revealed the splendour of the cultural heritage of the Eurasian region. The show included the immersive exhibition itself (projections and “animation” of paintings on the walls of the museum building), a concert and the presentation of the British art catalogue “The Great Steppe Treasure”.
The exhibition was organised by the British non-profit organisation Eurasian Creative Guild (Silk Road Media Holding) with the support of Tigran Mkrtychev, Director of the Savitsky State Museum of Art, and the Council of Ministers of the Republic of Karakalpakstan (Uzbekistan).
A unique exhibition of works by artists from the UK, Lithuania, Russia, Kazakhstan, Kyrgyzstan, Belarus and Uzbekistan unfolded on the walls of the Igor Savitsky Museum. They embodied their vision of the richness and diversity of visual images – paintings and photographs – of the Eurasian space. The works of Maria Yanovskaya, Rozalinda Abdykadyrova, Larisa Pak, Shayzada Bakenova, Olesya Davidovskaya, Maria Muchinskaya, Polina Lakhtina and others were exhibited. It was not just an exhibition of paintings, but a real immersion into the world of art, where each painting became a window into the majestic cultural heritage of the region. This was emphasised by the inclusion of classical paintings from the museum’s own collection alongside works by contemporaries.
Musical accompaniment to the projections in the darkness of the night and urban lighting created a fully immersive experience. “It was an incredible experience to be immersed in the cultural heritage of Eurasia. Seeing the exhibition in such a unique place as the Igor Savitsky Museum was truly exhilarating. I thank the organisers for the opportunity to dive into this world of art and history! – commented Gennady Gorovoy, a guest from Israel.
The event was attended by over 100 guests, including residents of Nukus as well as delegates from various countries, including Uzbekistan, Kazakhstan, Russia, the UK, Belarus, Finland and Israel.
The festival is organised by the British non-profit organisation Silk Road Media Ltd – Eurasian Creative Guild (London) with the support and participation of Le Grande Plaza Hotel (Tashkent), Bek Tashkent, Bek Khiva, ACEM (Nukus), ARAL (Nukus), Council of Ministers of Karakalpakstan, Savitsky Museum (Nukus), Khiva City Hokimiyat, Ichan-Kala Museum (Tashkent), Human House Gallery (Tashkent), TEAM University (Tashkent) and Ichan-Kala Museum (Nukus). We are grateful to the Council of Ministers of Karakalpakstan, Savitsky Museum (Nukus), Khokimiyat of Khiva, Ichan-Kala Museum, Human House Gallery (Tashkent), TEAM University (Tashkent), AkSai Travel Agency (Bishkek, Kyrgyzstan). Special thanks to General Lessons Educational Centre for providing a team of volunteers and premises.
Eurasian Creative Guild (London) for 12 years of festivals has united more than 11,000 participants from 83 countries of the world, becoming the largest and most prestigious platform for the promotion of creativity of Eurasian artists. Follow us on social networks.
ECG World Championship Coaching: A Celebration of Creativity and Enlightenment in Uzbekistan
ECG World Championship Coaching and Eurasian Creative Week will be held in Uzbekistan (Tashkent, Khiva, Nukus) from June 22 to 29. The event is organised by the Eurasian Creative Guild and the Elena Bezrukov Center. Participants of the festival are coaches and artists from Kazakhstan, Israel, USA, Italy, Finland, Belarus, Great Britain, Kyrgyzstan, Uzbekistan and other countries.
The championship will include trainings and master classes from outstanding coaches Marina Galiy “The Phenomenon of Lying”, Marina Alyasova “The Joy of Living in the Age of Change”, Viktor Grebennikov “How to Break Your Financial Ceiling?”, Taina Kaunis, “From Unpacking Personality to Brand Packaging”, Artem Volskiy “Weekly Planning”, Gennady Gorovoy, “How to turn defeat into victory?”, Kuralai Nurkadilova “How to Become a Global Brand?”, Nodira Abdullaeva, Vladislava Vityazeva and others.
“During the ECG World Championship Coaching and Eurasian Creative Week, we are thrilled to provide a platform that fosters creativity, learning, and personal development. This event embodies our commitment to empowering individuals to unleash their full potential and embrace the ever-evolving world around us. We invite everyone to join us for this celebration of innovation, knowledge, and inspiration.” – Elena Bezrukova,President of the Championship.
On the 25thof June, the championship will explore the theme of literature, featuring appearances by editors, publishers, literary critics, and poets.
There will be an opportunity to hear advice and recommendations from the first literary agent in Central Asia Bakhtygul Makhanbetova, professional editor Saltanat Khamzeyeva will talk frankly about the meaning and benefits of writing books, and publisher from London Marat Akhmedjanov will give a speech on the theme: Development of personal brand through publishing. Maria Muchinskaya, a poet from Belarus, will read poetry. And the poetess from Kazakhstan Elvira Zhussupbekova will raise an important topic of ecology and immerse the audience in the world of author’s poetry “Soul Poetry Therapy ”.
Further events will unfold in Khiva on June 26th and 27th, followed by a presentation of the new issue of the art catalogue “Treasure Trove of the Great Steppe” and more at the Savitsky Museum on June 28th and 29th.
On 28th June, an immersive exhibition of paintings in the “Louvre in the Desert” by artists from UK, Kazakhstan, Russia, Kyrgyzstan, Germany, Lithuania, Belarus will be held. The works of Maria Yanovskaya, Xeniya Dubovaya, Alina Khayrudinova, Roza Red, Shaizada Baikenova and others will be shown.
The ECG World Championship Coaching and Eurasian Creative Week is indeed shaping up to be an exceptional celebration of creativity, knowledge, and cultural exchange, offering an unparalleled opportunity to immerse oneself in a world of inspiration and education.
On May 24-28, the 6th ECG Film Festival will be held at Premier Cinemas Romford in the UK. This festival is proudly joining forces with the renowned Romford Film Festival for the 6th consecutive year, promising a diverse and captivating lineup of films.
Founded by the Eurasia Creative Guild. Serving as a cultural bridge between Eurasia and the British audience, this event aims to foster a deeper understanding and appreciation of cinematic and artistic expressions from the region.
With approximately 100 submissions from 22 different countries, the festival has curated a selection of compelling movies from Spain, Kazakhstan, Kuwait, UK, Iran, Uzbekistan, Russia, Cyprus, Kyrgyzstan, Jordan, Tajikistan, Armenia and China. It’s a truly international showcase of cinematic talent!
In addition to the competition lineup, there will be a special non-competitive program organised. Some films will be thought-provoking, others will make the whole family smile, and others will be informative and educational.
Icon directed by Vera Storozheva (drama)
Aul Challenge directed by Islam Satyrov (family comedy)
3723 Voznesensky directed by Valery Belov (documentary)
Cherkess directed by Mohydeen Quandour (drama)
And mark your calendars for the grand opening ceremony on 24th May at 2.00 pm, where we will unveil an exhibition of Central Asian artists, including headliner Rahima Makhmut from Kyrgyzstan.
In continuation of the opening of the festival, the book by Gulsifat Shahidi, a writer from Tajikistan, will be presented.
After the audience enjoys the films of the film festival an award ceremony awaits them.
The excitement doesn’t stop there! Save the date for the awards ceremony on May 28th at 19:00, where the winners from both festivals will be celebrated. ECG will present awards for Best Eurasian Film, Best Short Film, Best Documentary, and Best Screenplay.
Let’s not forget to express our heartfelt gratitude to the esteemed members of our jury. Their expertise, dedication, and discerning taste have been instrumental in shaping the festival’s lineup and recognizing the outstanding talent showcased. We extend our sincerest thanks for their invaluable contribution to the VI ECG Film Festival, and we look forward to celebrating their collective wisdom during the awards ceremony. Thank you, jury members, for your unwavering commitment to the art of cinema!
From 24-28 May, British audiences will immerse themselves in the world of Eurasian cinema, discover new perspectives and celebrate the art of storytelling at the ECG Film Festival (http://eurasianfilmfestival.uk) . The opportunity to unite different cultures through the art of cinema is truly something special.
The practice of international and local conferences is not new. It is a very effective way to focus on a particular issue or area of research and to get multiple views to discuss. But as soon as we shift the POV from discussing the topic in general to some very practical decisions and troubleshooting, we have a kind of bottleneck. On the one hand we have international summits and forums and etc with a very broad agenda and a lot of common toolboxes that are directly useless for any single region (the smaller the region, the less things to do it can get as a summary). On the other hand, local events are deeply linked to the situation within the region and often have no capacity to rise above it. That’s not to say they’re all useless, not at all, just not as effective at troubleshooting as regions need them to be.
What is the solution? Let’s take a look at the experience of the OCA Magazine project called Discovery Travel Forum. It has a history of more than twenty years and was designed specifically for the development of the tourism sector in Central Asia and the CIS countries.
In 2023, we changed the format from a classic panel and workshops with international speakers for the local audience to a hybrid of roundtables, brainstorming sessions and case studies where world experts, local officials, business and community work together on very practical issues and share their experiences with each other.
The first ‘strategic session’ of its kind took place in 2023 in Burabay National Park and Resort, Kazakhstan, and included two key steps. The first was an in-depth analysis of the picture of the region in detail, which was essential for setting the goals of the Discovery Travel Forum. So, in June 2023, the OCA team held a round table with the officials and hoteliers of the Burabay region. The main focus of the conference was the question: what do international tourists expect from a trip to Burabay and what are they willing to pay for? Participants at the event received an answer from a highly experienced traveller, Gareth Stamp, originally British, living in Bulgaria and working in the UK, Kazakhstan and now Nairobi for many years. He pointed out that the demographics of tourism are changing and that the modern, well-to-do traveller is someone over 45 who is not looking for adventure, but is also not looking to just relax in a spa (especially as Central Asian countries cannot yet offer these services at least at the same level as resorts in other parts of the world). “We want to show our friends unusual photos, souvenirs and handicrafts. After all, we want to share great stories,” says Gareth. That’s why the region needs the brand to attract not only inbound tourists and backpackers, but also the international affluent audience.
The practice of international and local conferences is not new. It is a very effective way to focus on a particular issue or area of research and to get multiple views to discuss. But as soon as we shift the POV from discussing the topic in general to some very practical decisions and troubleshooting, we have a kind of bottleneck. On the one hand we have international summits and forums and etc with a very broad agenda and a lot of common toolboxes that are directly useless for any single region (the smaller the region, the less things to do it can get as a summary). On the other hand, local events are deeply linked to the situation within the region and often have no capacity to rise above it. That’s not to say they’re all useless, not at all, just not as effective at troubleshooting as regions need them to be.
What is the solution? Let’s take a look at the experience of the OCA Magazine project called Discovery Travel Forum. It has a history of more than twenty years and was designed specifically for the development of the tourism sector in Central Asia and the CIS countries.
In 2023, we changed the format from a classic panel and workshops with international speakers for the local audience to a hybrid of roundtables, brainstorming sessions and case studies where world experts, local officials, business and community work together on very practical issues and share their experiences with each other.
The first ‘strategic session’ of its kind took place in 2023 in Burabay National Park and Resort, Kazakhstan, and included two key steps. The first was an in-depth analysis of the picture of the region in detail, which was essential for setting the goals of the Discovery Travel Forum. So, in June 2023, the OCA team held a round table with the officials and hoteliers of the Burabay region. The main focus of the conference was the question: what do international tourists expect from a trip to Burabay and what are they willing to pay for? Participants at the event received an answer from a highly experienced traveller, Gareth Stamp, originally British, living in Bulgaria and working in the UK, Kazakhstan and now Nairobi for many years. He pointed out that the demographics of tourism are changing and that the modern, well-to-do traveller is someone over 45 who is not looking for adventure, but is also not looking to just relax in a spa (especially as Central Asian countries cannot yet offer these services at least at the same level as resorts in other parts of the world). “We want to show our friends unusual photos, souvenirs and handicrafts. After all, we want to share great stories,” says Gareth. That’s why the region needs the brand to attract not only inbound tourists and backpackers, but also the international affluent audience.
The second stage was the Discovery Travel Forum (DTF) itself in September 2023. The group of experts from the UK, Poland, Finland, Kyrgyzstan, Kazakhstan and Uzbekistan arrived in Burabay a few days before the DTF to take a look at the region. They had plenty of time to immerse themselves in the tourist life of the town of Shchuchinsk (one of the most expensive zones of the resort), so at the session they built their presentations around the pool of observations. The local speakers – hoteliers and community activists – shared their vision of the problems of tourism in the region.
The local participants pointed out that in Burabay all agents of a market are out of sync, and this is one of the main problems. Officials write some programmes based on European experience, but not based on the regional specifics, each hotel and resort plays its own games fighting for the current inbound clients, and a community does not know how to attract tourists. Natalie Bays, the director of NoCollective (UK), made a comparison between the city of Shchuchinsk and Romford (London) as tourist destinations. Natalie is one of the active business communities in Romford, influencing its cultural and economic development, so she has a lot of successful cases of destination marketing to share with the participants. First of all, you need to build a local business community working on investment and development in Burabay with a common strategy to inform each other. And you should involve the locals more, that is the most important thing to survive in the area,’ she said. The same position was discussed by Adam Siemienczyk, who has experience in both the UK and Poland. He spoke more about local services as an important part of the economy of experience.
Marina Bashmanova, one of the most experienced figures in experiential and creative tourism in Kyrgyzstan, gave a colourful and highly informative presentation on art tours, their economy and impact on the region. It was the key point of the DTF where all participants got a new perspective for the development of the region. Marat Akhmedjanov, publisher and founder of the Eurasian Creative Guild, also shared his twenty years of experience in publishing travel guides and promoting the territories through literature, visual arts and international events such as festivals and forums.
All the cases and solutions were discussed by the speakers representing Kazakhstan – Elena Bezrukova, business coach on HoReCa from Almaty, Artyom Volsky, one of the most successful hoteliers of Burabay resort, and Nadezhda Atremieva as a blogger and social activist of Burabay. All colleagues noted that the session gave them a lot of real solutions to put into practice. At the same time, the session allowed us to identify some serious limitations that make growth very slow and ineffective. First of all, it’s the lack of experience of HoReCa business owners in this area. Most owners invested in the “boxes” and expected a very short-term ROI and low re-investment, which doesn’t work well for the sustainability of the tourism sector.
This strategic session shows the highest effectiveness in terms of unboxing the region in 3D format and discussing the use of all technologies and practices directly with experts.
by Taina Kaunis, an expert in integrated marketing communications and branding
The local participants pointed out that in Burabay all agents of a market are out of sync, and this is one of the main problems. Officials write some programmes based on European experience, but not based on the regional specifics, each hotel and resort plays its own games fighting for the current inbound clients, and a community does not know how to attract tourists. Natalie Bays, the director of NoCollective (UK), made a comparison between the city of Shchuchinsk and Romford (London) as tourist destinations. Natalie is one of the active business communities in Romford, influencing its cultural and economic development, so she has a lot of successful cases of destination marketing to share with the participants. First of all, you need to build a local business community working on investment and development in Burabay with a common strategy to inform each other. And you should involve the locals more, that is the most important thing to survive in the area,’ she said. The same position was discussed by Adam Siemienczyk, who has experience in both the UK and Poland. He spoke more about local services as an important part of the economy of experience.
Marina Bashmanova, one of the most experienced figures in experiential and creative tourism in Kyrgyzstan, gave a colourful and highly informative presentation on art tours, their economy and impact on the region. It was the key point of the DTF where all participants got a new perspective for the development of the region. Marat Akhmedjanov, publisher and founder of the Eurasian Creative Guild, also shared his twenty years of experience in publishing travel guides and promoting the territories through literature, visual arts and international events such as festivals and forums.
All the cases and solutions were discussed by the speakers representing Kazakhstan – Elena Bezrukova, business coach on HoReCa from Almaty, Artyom Volsky, one of the most successful hoteliers of Burabay resort, and Nadezhda Atremieva as a blogger and social activist of Burabay. All colleagues noted that the session gave them a lot of real solutions to put into practice. At the same time, the session allowed us to identify some serious limitations that make growth very slow and ineffective. First of all, it’s the lack of experience of HoReCa business owners in this area. Most owners invested in the “boxes” and expected a very short-term ROI and low re-investment, which doesn’t work well for the sustainability of the tourism sector.
This strategic session shows the highest effectiveness in terms of unboxing the region in 3D format and discussing the use of all technologies and practices directly with experts.
by Taina Kaunis, an expert in integrated marketing communications and branding
In 2023, the cultural treasury of Bishkek received a new addition: the immersive audio performance ‘Connections’.
This theatrical project follows a site-specific ‘promenade performance’ format, combining an audio guide to the city’s landmarks with an emotionally charged artistic performance.
During this excursion performance, the audience does not sit in armchairs but instead become the main characters and actively participate in the action. Following the audio guide, they are constantly on the move and led through secret paths in the centre of Bishkek. Along the way, they are presented with opportunities to engage with the city and each other. Although the immersive audio performance format is not new, this experience offers a unique and exciting way to explore the city. Audio plays are a great alternative to traditional tours, which can often be dull and fact-heavy. They allow tourists to uncover the secrets behind the facades of houses and museums, revealing fascinating stories. The main function of this format is to promote the brand of the territory by creating a romanticised image of the city. This image is what tourists fall in love with and then enthusiastically share with their friends, acquaintances, and social media followers. Such recommendations organically increase the region’s tourist attractiveness.
However, the sociocultural project ‘Connections’ not only included a lyrical component in the guide for first-time tourists in Bishkek, but also aimed to support the cultural integration of newcomers into the vibrant life of the Kyrgyzstan capital. Unlike many projects that reveal the history of key places in the city through a literary monologue or character interaction, ‘Connections’ focuses on fostering a deeper understanding of the city’s culture.
The main character, Baha (Bakyt), builds friendly relationships with the city’s guests and reveals the boundaries of the upper, middle, and lower worlds. Viewers discover Bishkek through the personal stories of its residents and learn important subtleties of how to become a local in the city. “Connections” is based on stories from contemporaries about the past, personal stories and little-known facts that create an indescribable atmosphere of mystery and intrigue, captivating the reader from the very beginning and not letting go until the last step. Therefore, “Connections” makes the city an attractive tourist destination not only for external visitors but also for residents of Bishkek.
According to the project’s creators, Vyacheslav Koshelev and Sergey Makarov, the project’s history is interesting and fraught with difficulties. Despite these challenges, the project was successfully launched and well-received by the public. However, due to the format’s relative inaccessibility and the discomfort of walks lasting over two hours in winter, the project’s ‘theatre season’ is limited to March through November. However, the main challenge was the urban environment.
The project aims to showcase not only the tourist attractions of Bishkek but also the daily life of its residents. Therefore, the route was designed to pass through authentic courtyards. Negotiating with local residents was necessary to ensure that tourists have unobstructed passage through the city. This can be a challenging task in a constantly developing metropolis.
Additionally, it is important to consider the accessibility of the urban environment for people with disabilities, pregnant women, and the elderly. Unfortunately, some areas of Bishkek’s urban environment are not yet accessible, and this issue has yet to be resolved by ‘Connections’.
Currently, ‘Connections’ is preparing for the opening of the 2024 season with an immersive audio performance, which offers prospects for new partnerships. Negotiations are underway to create similar performances in Karakol and Osh, as well as in Uzbekistan.
THE CREATIVE INDUSTRIES AS A NEWDRIVING FORCE FOR THE CONOMICDEVELOPMENT OF KAZAKHSTAN
We use the products of the creative industries every day: for example, when we look at social media, watch films, listen to music, walk around town or go shopping. The creative economy sector includes art, design, fashion, animation, computer game development, architecture and urbanism, film, television, new media, music and sound design, marketing and communications, publishing, journalism, creative education and others. Creative industries are one of the key drivers of the modern economy. The 29.5 million jobs in the creative industries are more than the automotive industry in Europe, the US and Japan combined (25 million).
For a long time, creativity in Kazakhstan was considered an unprofitable endeavor. But the situation has changed. Creativity is in demand in many areas of life, especially after the pandemic. Today, to make a profit, companies need to stand out – to create a unique product, to find new ways of interacting with customers and to keep them interested. Creative industries help solve these problems. Creative industries grow even in times of crisis because there are no fixed factors of production – it is the creative activity of people that needs brains. This creates new businesses, which in turn create new jobs.
Today, 95 thousand people are employed in the creative industry, investments in fixed capital amount to 33.3 billion tenge, the number of operating business entities is 32 thousand units, and the contribution of the creative industry to the economy of Kazakhstan is about 2.7%. Creative industries are developing in Astana, Almaty and Shymkent. In general, creative industries have a positive impact on public life and we need to strengthen our work in this direction.
Creative industries have a high gross value added. Over 10 years, this indicator has tripled in Kazakhstan, but the share of the creative industries in Kazakhstan’s GDP has remained the same – around 3%. For comparison, countries with developed creative economies spend on average 19 times more than Kazakhstan on supporting the creative industries as a percentage of GDP. Today, the problem of developing the creative economy in Kazakhstan is being actively studied and various solutions are being sought. The state also understands the need to develop the creative economy.
On 30 November 2021, the Government of Kazakhstan approved the concept of development of the creative economy for 2021-2025. According to this document, by 2025 the contribution of creative industries to Kazakhstan’s economy should increase to 5%; employment in creative industries – up to 4%; the number of SMEs in creative industries – 1.5 times.
The concept is expected to result in the creation of 30,000 new jobs and an increase in exports of creative industry products by $200 million. Since the beginning of 2022, the Ministry of Culture and Sports of the Republic of Kazakhstan and the Department of Creative Tourism and Creative Industries of JSC “NC “Kazakh Tourism” have been working on promoting the legislative inclusion of creative industries in the Law “On Culture” and the Code of Entrepreneurship. The head of state signed a law formalizing the concept of creative industries in Kazakhstan. The task of developing creative industries was outlined by the President in his address to the people of Kazakhstan. The key principles of development should be the equality of academic (museums, biennials, exhibitions, public art) and market integration (auctions, fairs, galleries, art consulting), where the development of art and its commercialization (monetization) will be equally important for the state, as well as the maximum removal of industries from the shadows.
When we talk about the development of creative industries in the regions, there are already a number of positive effects. For example, the increase in the cost of housing in the area of the main attractions. Such attractions can be creative clusters and visitor centres, guesthouses, etc. In Astana, the creative centre Ozge Epic gathers creative intellectuals on its premises. It hosts theatre productions and creative evenings that address important social issues. At the end of 2023, the Art Hub Amanat creative centre was opened in Shymkent. This is a successful and colourful project aimed at developing and supporting Made in KZ products. It showcases the products of Kazakh producers of clothing, textiles, footwear and accessories. It also hosts master classes, fashion shows, music and creative evenings. Now that centre is looking for an investor to open a special gastronomic café.
It is worth noting that Kazakhstan’s gastronomy is also becoming extremely interesting for the local and global market. For example, the city of Almaty was ranked 25th in the prestigious list of “52 places to visit in the New Year” published by the New York Times. “The growing importance of gastronomic culture is increasingly visible in Almaty. The ‘neo-nomadic’ cuisine, based on flour, water and meat, is taking on innovative forms,” the publication notes. Many have already heard of Tary Ethno cafe, one of Kazakhstan’s most popular cafes, which has expanded its presence by opening a branch in Chicago in October 2023.
More generally, creative clusters and cities attract citizens and tourists and serve as a platform for the manifestation of local entrepreneurship. According to the Office for National Statistics, as of 1 January 2023, the creative industry included 248.2 thousand active legal entities and individual entrepreneurs, or 13.8% of all legal entities and 13.1% of all individual entrepreneurs.
To date, major local and international projects have been realized in the country. A breakthrough project was the release of the first virtual clothing collection for the physical brand Global Nomads in cooperation with the agency Digit IN, which was placed on the NFT platform and became the start of a new project – the Astana Ballet Theatre plans to create a collection of virtual ballet costumes and place them on the NFT platform. The Digital Bridge International IT Forum in 2023 brought together more than 30,000 participants, including delegations from 30 countries, representatives of more than 300 IT companies, 450 speakers, more than 100 investors and business angels, and more than 150 start-ups. I moderated a session on creative industries with Timur Bekmambetov, Ernist Umetaliev, Ernar Kurmashev, Mikhail Bychenok and Olzhas Baimagambetov. Each of the speakers represents different areas of the creative industries and works with famous artists around the world. And all participants noted how the situation in this segment has changed positively in our country over the last 2-3 years.
Today, countries, cities and regions within the country, as well as individual companies, are competing for the best specialists, leaders of extraordinary ideas and creators of innovations. I would say that “creativity is a national trait of Kazakhstanis” and we can make a powerful breakthrough through the creative sector in the next 5-7 years.
by Irina Kharitonova, Expert on cultural and creative industries in Central Asia, Europe and the CIS, Director of the Public Foundation for Sustainable Development of Central Asia Creative & Innovation Institute
TOURISM INDUSTRY IN THE CENTRAL ASIAN REGION: KEY CHALLENGES AND OPPORTUNITIES FOR SUSTAINABLE FUTURE
The Central Asian region, including Kazakhstan, Uzbekistan, Kyrgyzstan and Tajikistan, is famous for its picturesque landscapes, diverse cultures and rich history. In recent years, the region has emerged as a promising destination for international travellers seeking unique experiences in remote locations. The cultural heritage, eco-tourism, adventure and wellness sectors will continue to grow and attract new visitors. The rapid development of tourism is uneven and usually reveals some gaps in the industry landscape and can be used as a point for further improvement of initial plans and strategies.
Most of these challenges are organic to relatively new and rapidly developing destinations, and the only strategy is to turn them into opportunities through long-term planning and systematic implementation. They are clearly recognised by regional governments and key stakeholders, and great efforts are being made to improve them, although it’s a never-ending process.
1) Infrastructure development Central Asian countries have made significant investments in infrastructure development to improve accessibility for tourists and enhance the overall tourist experience. Airports have been modernised and new ones built, such as Nursultan Nazarbayev International Airport in Kazakhstan and Samarkand International Airport in Uzbekistan. Road networks have been improved, making it easier to travel between cities, and attractions and accommodation have been developed. Global hotel chains are already present in the region, with more than 60 properties currently operating and more in the pipeline for the next few years.
2) Heritage conservation The preservation and restoration of historical sites and cultural heritage is a priority in Central Asia. Preserving and restoring historic sites and cultural heritage is critical to attracting tourists. Governments and organisations in Central Asia are actively investing in these efforts to provide an authentic and immersive experience for visitors. Uzbekistan’s UNESCO World Heritage sites, including the historic centres of Samarkand, Bukhara and Khiva, have undergone extensive renovations. Kazakhstan’s Khoja Ahmed Yasawi Mausoleum and Kyrgyzstan’s Sulaiman-Too Sacred Mountain have also received attention for their conservation.
3) Regional cooperation Central Asian countries have recognised the importance of regional cooperation in promoting tourism. Initiatives such as the Silk Road Tourism Development Association, which includes member countries and international partners, are promoting cooperation in marketing, infrastructure development and policy frameworks to unlock the region’s collective potential. They focus on joint marketing campaigns, sharing best practice and facilitating cross-border travel to maximise the potential of the Silk Road route.
But none of the above challenges, however important, can be met without mentioning the crucial one – the quality of human capital for the tourism industry and services.
The education system is the foundation for this. While tourism and related sectors are developing rapidly with their needs for professionals, the education system itself is more conservative and not as flexible to respond to the current demands of the industry. Higher education is primarily focused on academic indicators and quantitative parameters rather than the needs of the industry, although some universities have successfully implemented contemporary curricula and collaborated with global institutions for joint programmes and dual diplomas. But the results of this activity won’t be seen very soon, it’s a long-term perspective.
In order to support the industry with quality human capital, educational institutions should be organised as a system, involving young people in discovering and enjoying the tourism, hospitality and service sectors before entering universities. Foundation and induction courses for secondary school students will enable them to make sensible choices for further education and a successful future. But a major role in providing professional human capital for the industry should be played by vocational education and training – with narrower and more practical modules, short-term programmes, industry partnerships and educational support from globally recognised players. The next issue is that young people often do not see the tourism sector as prestigious enough for their careers and are not satisfied with the offers and salary levels after graduation. In this case, the sooner they start taking real steps into the industry, the sooner they will master their skills and improve their career path.
What is more, once they are in the industry, they will return to education to update and refine their skills, to acquire new relevant tools for their own projects and, for some of them, to continue as certified coaches or trainers.
So, the concept of lifelong learning, truly linked to the specifics and needs of the industry, is the most relevant strategy for the quality of human capital. With this in mind, many new hotels, restaurants, travel agencies and related services will be opened and operated in the Central Asian region in the coming years. And in order to make it happen with a consistently high level of service, we should start today to implement the best contemporary educational practices, involve the young generation to enjoy tourism and create their successful careers, along with building a sustainable future for Central Asia.
by Artem Klykov, PhD, MBA Professor of Tourism Silk Road International University of Tourism and Cultural Heritage, Samarkand SWISSAM University, Saint Petersburg
Uzbekistan is the only country in Central Asia that borders every country in the region. Uzbekistan is one of only two countries in the world that does not even have neighbours with access to the sea (the other being Liechtenstein). The oldest cities in Uzbekistan are over 2750 years old (Samarkand, for example, is as old as Rome and is one of the oldest cities in the world). Uzbekistan is the only country in the world where more than 90% of the cars are Chevrolets, and more than half of them are white.
These are not all the amazing facts that tourists will encounter while travelling around the country. The Republic of Uzbekistan has made remarkable progress in structural transformation, improving the investment climate and creating a freer, more transparent and level playing field for entrepreneurs, and has improved its position in international rankings on investment climate and doing business, despite the negative impact of the COVID-19 pandemic. Since 2016, more than 100 regulatory legal acts have been adopted to develop the tourism sector in Uzbekistan, with a number of state programmes have been adopted, which have demonstrated their high efficiency. Large-scale measures and reforms in the development of tourism infrastructure, diversification of tourism products of different profiles have led to the dynamic attraction of tourists to Uzbekistan.
The main problem of tourism development is the insufficiently developed system of transport aviation logistics, insufficient coverage by flights of promising tourism markets. Although in recent years systematic work has been carried out to increase the number of flights by foreign airlines, 6 new national airlines of Uzbekistan have been opened to serve foreign and domestic flights. In the current conditions of globalisation, Uzbekistan is trying to provide full access to modern interactive opportunities and remove all existing technical barriers. Cardinal liberalisation of the visa regime (visa-free regime with 93 countries, electronic visas with 57 countries, transit visas with a stay of 5 days for citizens of 53 countries) allowed for a short period of time to ensure a cardinal, essentially annual growth of tourists in the amount of 30% per year in the period before the pandemic.
Visitors from neighbouring countries accounted for the largest share of visits to Uzbekistan in 2022, with 81% of the total tourist flow. At the same time, the most significant increase in flows from other CIS countries in 2023 will come from Russia (by 12% compared to 2019), despite the fact that tourists from Russia already account for more than 80% of the total tourist flow from CIS countries outside Central Asia. Among non-CIS travellers, Uzbekistan is most popular with citizens of Turkey, India, South Korea, Germany, Italy and US.
Uzbekistan has a huge potential and is gaining its worthy place in the international market of tourist services. Today, priority is given to the development of ecological tourism, for which the country has excellent conditions – all four seasons are expressed and unique natural areas from mountains and deserts to forests and lakes are presented. The national system of protected areas includes 8 nature reserves, 2 nature parks and 1 national park, 6 natural monuments, 11 wildlife sanctuaries, more than 50 water protection zones. The only place that modern Uzbekistan cannot offer is the sea. Uzbekistan’s Aral Sea is a clear example of man’s negative impact on nature. In order to draw the attention of the international community to this problem, special routes have been developed where tourists can visually see the consequences of human impact on the environment. There is also a strong emphasis on developing measures to reduce the negative impact of human activity on the country’s ecology.
Uzbekistan also emphasises the development of rural, agrarian, extreme mountain and other types of alternative tourism. These destinations are attracting audiences that are moving towards event tourism and the experience economy.
Traditional cultural tourism is also flourishing. The splendour of many historical monuments preserved since ancient times, their unique architectural style, which has survived hundreds and even thousands of years, continues to amaze the whole world. Most international tourists come to Uzbekistan to see with their own eyes the wonderful works of art created by our ancestors, to feel their greatness and to immerse themselves in the world of legends about great amirs, invincible warriors, brilliant scientists and philosophers. More than 7,400 tangible cultural heritage sites are under state protection.
Tourism is the most sensitive sector, reacting instantly to events in the world, from natural disasters, political and economic crises to epidemics and artificial intelligence. The tourism industry is currently undergoing global and fundamental changes that are fundamentally altering traditional views of the industry. These include the acceleration of digitalisation, the introduction of information technology and the use of new interactive methods to enhance the attractiveness of tourist destinations. For example, artificial intelligence has become an objective reality in tourism. Already, such artificial intelligence algorithms can generate a variety of tourism products and programmes for different categories of travellers. Today, Uzbekistan is integrating new technologies and approaches into the tourism industry. For example, the night-time economy has huge potential to provide employment for the local community and additional monetisation of tourist services in the tourism industry. Every tourist is interested in making the most of their time in the country they are visiting, but not all countries offer such opportunities at night, such as round-the-clock visits to museums, entertainment centres and other attractions. Great results have been achieved in this area in Great Britain, Thailand, Japan and other countries with developed tourism, and we are adopting their experience and adapting it to our realities. Our country is also actively creating infrastructure for the development of inclusive tourism, and facilities for comfortable recreation and travel are being installed at tourist sites and cultural heritage sites for the physically challenged and disabled. In addition, in order to attract a wide range of foreign investors to the tourism industry, public-private partnership mechanisms are being used to stimulate the contribution of investment to the development of tourism infrastructure facilities.
In 2019, Uzbekistan entered the top 20 countries in the world that have achieved the greatest results in improving the business environment, ranking 69th out of 190 countries in the Doing Business 2020 ranking. Not resting on our laurels, we are continuing our steady development in this area.
by Shukhrat Isakulov, Doctor of Economics, Head of the Transport Logistics Development Department of the Tourism Committee under the Ministry of Ecology, Environmental Protection and Climate Change of the Republic of Uzbekistan
I was born into the first generation to fully immerse themselves into the internet. As a teen, I could have spoken to anyone in the world from my home computer at any time; but despite this – I was only ever interested in talking to the bubble of friends I saw every day at school. I grew up in Romford, a metropolitan town on the very eastern edge of London and considered myself an artist from a young age. Art to me was drawing and painting in my own time and the occasional school trip to the London galleries, where we would see exceptional portraits and landscapes. London is the place to grow-up for art-lovers, but not the only place you should grow as an artist.
It wasn’t until I reached university that I truly experienced other creative cultures. People that lived and made artworks from different countries and studied with me, they made artworks that I couldn’t recognize in adjacent to the National Gallery. University of the Arts London is a world-renowned institution and therefore more than a third of my fellow students were from other countries. I was lucky that I was born in London and found myself at a ‘local’ university with so much prestige. In my Romford culture bubble at that time I would not have travelled abroad to study.
My first curatorial job in London was through my university course and was in collaboration with Hitachi Consulting. Organising a simple exhibition of my classmates’ work. This is where I honed my organisational skillset and understood that there was a value of art outside of an institution. The immediate challenges faced here were small but unanticipated. Transporting artists work from storage spaces because they didn’t live in the country, to negotiating fire regulations around culturally traditional materials. It was difficult but immensely satisfying. My biggest accomplishment, providing cultural stories in the form of artworks in a place for people to experience on a daily basis outside of a gallery space. It was not long after that me and my collaborator Joe decided to found The NO Collective (Est. 2010), an organisation which would support society through creativity (hyper-localism) and also support artists with access to unique travel opportunities; to collaborate internationally and bring new cultural influences home.
There were a couple of reasons we were interested in international collaboration. The first was to share the experiences it had brought us as artists. My and Joe’s first international residency was in Norway. As performance artists, we researched Norwegian culture and made artwork alongside Trondheim residents throughout 10 days. This led to recorded artworks, writing, personal logs and even caused a stir in the city, as people heard about our artwork. The experience of making and exhibiting in a different country was so transcendent to our professional art practise that we were hooked. Around the same time a relational aesthetics exhibition by Nicolas Bourriaud in London called ‘Altermodernism’ solidified the need I saw for collaboration with other cultures in a post-modernist world.
The second reason was that while working with small communities in and around London, we had noticed the culture bubble I had experienced growing up. The culture bubble for me is being safe at home in London, with what we already know. Especially in places like Romford, there are few creative organizations, despite culture being a brilliant tool to do social good. We wanted to bring new cultural and creative experiences to the communities we cared about.
I am proud to reflect on the international art programmes we have organized both at home and abroad over the last thirteen years and what they have meant for those involved.
In 2016 we began a project with the Council of State Support under the Auspices of the Government of Azerbaijan called ‘InAzerbaijan’. The programme, which lasted three years, to create a web portal about the country in the UK, was set apart by the creative means in which it was organized. The programme was researched in both the UK and in Azerbaijan by young people (aged 16 – 30) to ensure information was accessible for its readership. It included first hand research through authentic meetings with Azerbaijani communities and we produced extraordinarily creative content by inviting UK creatives to become resident artists for a week in Baku. This was the first Azerbaijan focused website in the UK and it included information which was highly regarded by tourists due to the method of research and the recording of unique experiences. Diplomatically it also provided a platform for conversation about a country that could have otherwise been misunderstood in the UK.
Practically speaking, during this project we made three separate trips to Azerbaijan. The first without any context of place (of course due to lack of information online or in libraries). The most important part of planning an international project is understanding the risk, therefore having a grasp of ‘mitigations’ before you leave is very important. Prior to our first trip I made contact with the UK Embassy in Baku and the Azerbaijan Embassy in London. I also spoke with our hotel and natives to understand any cultural and practical differences. Creating a timetable, putting insurance in place, a risk assessment, some ‘trip rules’ and providing an emergency contact list to all participants is essential.
It was this project that introduced me to the Eurasian Creative Guild which shares so many values with The NO Collective. Our first collaborative project, the ECG Film Festival has found its place alongside the Romford Film Festival which I co-organize in London, and a successful example of placemaking through culture.
Film is a fantastic way to share stories of culture and identity in a really accessible and entertaining way. I support four international film festivals a year in Romford which all bring huge benefits to the town. The Romford Horror Festival in February brings over one thousand static audience members to Romford over four days. There is independent and classic film, ‘horror’ pop up shops and entertainment. During this time local hotels are filled up with guests and restaurants in the local area benefit from an influx of customers. In June the main festival brings film makers from across the world to share their cultural stories. A bigger local audience is shared alongside the ECG film festival that brings more diverse stories from across the globe. Finally the East London LGBTQ+ Film Festival in the Autumn brings together a minority community to share international stories of identity and strength. This brings a different audience and meaning; International advocacy and a huge solidarity to the stories that might be less comfortable from different places.
The important organisation details to be considered in our home projects is to be aware and supportive of cultural difference and diversity. It is always our aim to be as welcoming as humanly possible to anyone who has travelled to join us. Helping with travel plans and providing location guides. This ensures that artists continue to travel to improve the quality of their work and the quality of the experiences that they can bring others.
The programmes that I enjoy participating in the most are those that take artists from places with less cultural infrastructure to a different country. As mentioned, (Norwegian residency), these are the trips that are real career changers. Recently we were invited to Burabay in Kazakhstan as a creative team, to paint a mural and make a film. This allowed our group of four creatives to immerse themselves in to a different culture of people living in the district and reflect these learnings in the work that was made. We also took home a whole realm of unique experiences including meeting an Ambassador and joining an arts festival. This was a huge legacy project, ensuring that local creatives can bring their quality experiences to positively agitate creativity in their own town. Immediate effects have meant more exposure for one of the participants and a new mural organised in a local town from another.
Working abroad is showcased as a brilliant tool for self-development in business. For creatives this is also true, however, unlike usual business-people, creatives also radiate positive change in their wake. They mix with all classes of society, creating projects and artworks that help us share values as humans. They create networks that lead to cultural bridges and diplomatic ties and best of all, they make friends to collaborate with beyond borders.
WHY IS BELARUS CONSIDERED THE TREASURE OF EASTERN EUROPE?
Belarus is a country with an ancient history and rich traditions, enchanting nature and astonishing architecture, industrial giants and well-developed agriculture, unique cuisine and hospitable people.
Belarus is located in the center of Europe at the intersection of many international routes. The capital of the Republic of Belarus is Minsk. Minsk is one of the oldest cities in Europe. The first written mention dates back to 1067. The population of Minsk is about 2 million people.
The climate in Belarus is moderate continental, there are no sudden temperature changes, severe frosts or stifling heat. Heavy rain, hurricanes and other dangerous weather events are extremely rare.
The modern cultural life of Belarus is dynamic and diverse. The country hosts many art, music, theater exhibitions and film festivals. Belarus entertains guests with all kinds of events. Here you can visit a theater forum or a folk culture festival, attend an open-air event dedicated to ancient crafts or national cuisine, take part in a medieval re-enactment.
Attention should be paid to national cuisine. The national cuisine of Belarus has a centuries-old history. Its development and formation were influenced by both climatic conditions and the country’s geographical position at the crossroads of Western and Eastern cultures and the world’s largest religions.
There are a huge number of restaurants and cafes in Belarus that specialize in preparing dishes of national cuisine, which also have thematic interior design – decorative elements reflecting the culture, flavor and national traditions of the Belarusian people. Belarus is famous for amazing folklore, unique rituals, and originality. Belarusian traditions are honored both at the state and at the family levels, they are passed from generation to generation.
Belarus is rich for museums, manors and ethnographic complexes. Guests of museums and numerous complexes can see ancient household items and works of decorative and applied art, hear Belarusian songs and learn about ancient dances of the Belarusian people. For enthusiasts who want to fully experience the ancient Belarusian way of life, agroeco homesteads are organized – rural houses that are suitable for relaxing and exploring the area. Here you can take a walk to the apiary, take part in an exciting haymaking, ride horses, and hunt.
However, the true soul of the Belarusian people is expressed in their traditional folk crafts, the skillful craftsmanship of artisans, which has been passed from generation to generation.
Straw weaving One of the most famous elements of Belarusian folk art can be called straw weaving.
Since ancient times, this craft has helped create durable and convenient products for everyday life and everyday household chores. Belarusians considered straw to be an analogue of gold, so it was often used in the decoration of church temples. In addition, straw weaving in Belarus was included in the UNESCO Representative List of Intangible Cultural Heritage.
Nowadays, artistic products and souvenirs made from straw are given as gifts to the closest people. Such products have no analogues in the world, this is one of the distinctive features of the artistic traditions of the Belarusian nation.
In Belarus anyone can try themselves as an artisan of this diverse and original craft.
Belarusian “malyavanka” (drawing). Another popular element of Belarusian folk art is malyavanki – these are painted carpets on fabric that were widely distributed on the territory of Belarus starting from the end of the 19th century. In the 20-30s of the 20th century, almost every Belarusian house had decorated walls with painted carpets, on which both scenes from everyday life and fantastic worlds of fairy tales and legends were painted. Belarusian malyavanki have always been popular gifts for anniversaries and weddings.
In Belarus, anyone can try their hand at creating a painted carpet, which will remind them of their visit to Belarus for many years.
Pottery Pottery has been known in Belarus since primitive times, when the first hand-molded earthenware and cooking utensils on fire appeared. Potters shaped the dishes on a potter’s wheel, fired them in forges or home ovens and subjected them to decorative treatments. Over time, pottery, like many others, turned into art. Various symbolic animals, musical instruments, toys and much more made from clay are also an important trend in modern Belarusian traditional art.
Cooperage Almost every locality along with a blacksmith, potter and miller, had its own cooper, who made barrels and dishes from oak, pine, and spruce materials. These materials were tied together with hoops – metal or wood. Containers for water, drinks, for storing food and various things – all this could be made by ancient Belarusian craftsmen. Today modern Belarusian artisans continue the traditions of their ancestors. A modern Belarusian cooper knows not only the techniques of making wooden utensils, but also understands the characteristics of a particular type of wood and can explain how to create these amazing items.
Weaving dolls In Belarus, there always has been a tradition of weaving motanka dolls, parents began making them in ancient times to please their children. Over time, these dolls became ritual. Some of them were made with medicinal herbs inside to cure the sick, some were intended to bring good luck or a good harvest. Some people believed that such a doll contained the spirit of ancestors and could pass on experience from generation to generation.
Felting wool Felting wool is an ancient Belarusian craft. Even in ancient times, people appreciated natural wool for its unique qualities. Shirts, hats, and pants were made from wool. At the end of the 19th century, winter shoes – felt boots – appeared in the everyday life of wealthy people.
Sometimes felt boots were decorated with painting and embroidery. Now the ancient craft of felting is coming back into fashion. An old folk craft is being revived. Young craftsmen use new techniques and materials, combine wool with silk, chiffon, linen, lace, resulting in original dresses, bags, and shoes.
Wood carving Wood carving is the most ancient way of decorating wood products. Compositions of traditional Belarusian carvings usually develop beautifully and freely in the form of plant shoots. Traditionally, Belarusians decorated wooden ships and houses, furniture, dishes, looms and spinning wheels with carvings. Modern Belarusian craftsmen maintain traditions by making a wide variety of items – boxes, wooden sculptures, wood paintings, figures and other products. If you want to visit the heart of Europe, try yourself out as an ancient artisan, feel all the uniqueness, flavor and identity of the Belarusian nation, then you should come to Belarus.
In our country, centuries-old traditions, natural wealth and modern experience are harmoniously intertwined. We always welcome guests and we know how to surprise them. Here every traveler will certainly find for himself what he went on the journey for.
Aleh Andreichyk, Deputy Minister of Sports and Tourism of the Republic of Belarus
HOTEL MANAGEMENT ‘INSIDE OUT’ FOR LOCALS AND INTERNATIONALS
When it comes to a process as complex as hotel management, many tourists don’t even think about how many little things make up their holiday experience. This is especially true in countries where the hospitality industry has only recently emerged as an industry in its own right and is now developing at an accelerated pace to be competitive. The editors of OCA Magazine decided to ask experienced hoteliers for their views on the state of the industry.
OCA GUESTS
Farkhod Tashtemirov, Uzbekistan
Currently in Uzbekistan
Mercure Tashkent Hotel General Manager,
FT Hotels Group LLC CEO,
Member of the Public Council
for Entrepreneurship Support under the President
of the Republic of Uzbekistan
Jesper Francl, Denmark
Currently in Kazakhstan
Rixos Borovoe General Manager,
Hospitality CEO,
Accor Hotels General Manager,
Copenhagen Goodwill Ambassador
OCA: Please, tell us about yourself and the experience. What were the highest points and achievements for you? Farkhod Tashtemirov (FT): I was born on 30 April 1971 in the Kishlak of Eshimaksak, Samarkand province. In 1993 I graduated from one of the best Russian universities with a degree in political science and returned to Tashkent, where I worked in the Ministry of Foreign Economic Relations of the Republic of Uzbekistan, then in the Small and Private Business Support Fund, the Parliament of the Republic of Uzbekistan, joint stock companies and banks. And in 2007 I reached a turning point in my career – I started working in the hotel industry as the Director of Sales and Marketing at Dedeman Silk Road Tashkent Hotel. From that moment on, I fully realised that hospitality is not just a job, it is my calling. Working in this field gives me constant pleasure and I can see the results of my work in a very short time. In 2010, having successfully passed all the stages of interviews and tests, I was hired by the international company of the aparthotel chain operator, The Ascott Group, in its European office in Paris. I spent six months working in all the departments, services and divisions of the European headquarters, as well as in several of the chain’s hotels in Paris. I was then appointed General Manager of Citadines Freedom Square Tbilisi apart hotel and I am still proud that my hotel was ranked among the top 5 best hotels in the chain for the next 3 years in a row, according to guest reviews, occupancy rate, service level, etc. After several years of working in Baku and Novosibirsk, I received an offer from Dedeman Hotels & Resorts International to lead the team that would open the chain’s first hotel in Moscow. During these 2 years I gained valuable experience of opening a hotel in a very short time and after opening the hotel took the first place in www.tripadvisor.com rating among all Moscow hotels. I think this is a very important achievement for any hotel general manager. In 2016, I returned to Uzbekistan, where I now manage the Mercure Tashkent Hotel. I also consider one of my achievements to be the successful rebranding process of Lumiere Hotel & Spa Tashkent to Mercure, an international brand of Accor Hotels, a world leader in the hospitality industry.
Jesper Francl (JF): I have been immersed in the hospitality industry for over two decades, with a wealth of experience spanning various roles within prestigious hotel chains. My journey in hospitality began with positions in F&B outlets, gradually ascending through the ranks to management positions. Throughout my career, I’ve garnered invaluable insights and expertise in hotel operations, guest satisfaction, and team leadership. One of my proudest achievements includes spearheading the transformation of several properties into award-winning establishments, recognized for their exceptional service and elevated guest experiences.
OCA: What key changes in hotel business did you observe for the last 10 years? FT: The hospitality industry, like many other industries, is evolving very fast and the major changes in the last 10 years are very closely related to the digitalisation of the hospitality industry in many aspects. In my opinion, a very important factor in the hotel business is e-reputation. Any hotel guest can write a review about the hotel, hotel services, and hotel staff on the Internet (www.tripadvisor.com, google.com, Yandex.ru, booking.com, etc.) at any time. A negative review, even if it is unreliable, will lead to the loss of potential guests of the hotel, will spoil the image and reputation of the hotel all the time it is online. A positive review will contribute to the development of the hotel, attracting new hotel guests, etc.
JF: Over the past decade, the hotel industry has undergone significant transformations driven by evolving consumer preferences and technological advancements. One of the key changes has been the shift towards personalised experiences, with hotels leveraging data analytics and guest feedback to tailor services and amenities. Additionally, sustainability initiatives have gained prominence, with hotels increasingly adopting eco-friendly practices to reduce their environmental footprint. Moreover, the rise of online booking platforms and social media has revolutionised the way hotels market themselves and engage with guests, emphasising the importance of digital presence and reputation management.
OCA: Do you feel the influence of the creative industries on the development of hotels? In what it is shown? FT: Currently, the hotel industry in Central Asian countries is becoming increasingly competitive, and innovative technologies have a direct impact on the sustainable development of hotels. Creative industries are always connected to the hotel business. Modern hotels cannot be imagined without modern architecture and design, print and digital products, online and offline advertising, audio-video products that convey information about hotels and their services, and much more.
JF: As the General Manager of Rixos Borovoe hotel, I don’t particularly feel a direct impact of the creative industries on hotel development. Our focus primarily lies on delivering exceptional hospitality experiences tailored to our guests’ needs and preferences. While we appreciate and value creativity in various forms, such as design concepts and guest experiences, our approach to hotel development is more rooted in providing excellent service, maintaining operational efficiency, and upholding the highest standards of quality and comfort for our guests.
OCA: What are the trends and problems now and what prospects are hotels waiting for in the next few years? Are there any regional factors that can play in a positive or negative way? FT: Today, hotel guests have become more demanding. He or she links the quality of his or her holiday to the level of comfort and the programme of the stay in the city, so the ecosystem of the accommodation establishment and the possibilities of expanding the range of services are beginning to play a special role. In recent years, especially after the pandemic, the hotel industry has had to make serious changes. Common trends include digitalisation (mobile apps to sell additional hotel services, intelligent room management, contactless check-in, etc.). With the right use of artificial intelligence, hoteliers can surprise and attract more guests. The second strong trend is the meetings industry (formerly the MICE segment). Stimulation of business tourism and event organisers are important factors in attracting corporate clients, increasing occupancy and ROI of hotels. What is important for Uzbekistan now is the mass opening of hotels of different levels, including international chains. This is very important for the development of the country as a whole, because if there are many hotels with international brands, it means that the country is safe for guests from other countries.
JF: Currently, the hotel industry is navigating through unprecedented challenges, including the aftermath of the global pandemic and shifting consumer behaviours. While recovery remains a top priority, hotels are also contending with emerging trends such as the rise of remote work and experiential travel. Embracing technology and innovation will be crucial in addressing these challenges and capitalising on opportunities for growth. Additionally, there is a growing demand for tourist experiences, presenting hotels with opportunities to attract more guests and cater to diverse traveller preferences. However, amidst these opportunities, one significant challenge is the difficulty in finding skilled talent to meet the evolving demands of the industry. Regional factors, such as geopolitical stability, infrastructure development, and tourism policies, will play a significant role in shaping the prospects of hotels in the coming years. By staying agile, adaptable, customer-centric, and actively attracting talent, hotels can position themselves for success amidst uncertainty.
OCA: What will you advise the specialists who are part of the hotel business now? FT: The hotel business is a very interesting, very attractive business. First of all, I recommend all young beginners to study, to learn not only the hotel business, but also mathematics, English and other languages. The second piece of advice is to have patience. Remember that your work will always be appreciated and you must work in a way that you enjoy.
JF: For specialists in the hotel business, I would advise staying agile and proactive in response to market dynamics and consumer preferences. Embrace innovation and leverage technology to enhance operational efficiency and guest experiences. Prioritise sustainability initiatives to align with evolving consumer values and industry trends. Cultivate a culture of continuous learning and development within your team, empowering them to deliver exceptional service and exceed guest expectations. Finally, foster strong partnerships with local communities, businesses, and stakeholders to create mutually beneficial relationships and drive sustainable growth.
