OCA MAGAZINE

IN MEMORY OF NAZIKEN ALPAMYSKYZY

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

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

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

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

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

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

IN MEMORY OF DULAT ISSABEKOV

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

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

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

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

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

IN MEMORY OF ANNA NIKOLAEVA

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

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

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

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

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

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

IN MEMORY OF ILYAS SULEIMANOV

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

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

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

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

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

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

OCA PEOPLE: ALESIA ISSA

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

OCA PEOPLE: DIANA ANPILOHOVA

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

OCA PEOPLE: YEGOR MYTSYK

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

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

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

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

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

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

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

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

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

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

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

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

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

OCA PEOPLE: ELENA ANANYEVA

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

OCA PEOPLE: MARIAZHUMAGULOVA

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

OCA PEOPLE: POLINA LAKHTINA

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

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

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

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

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

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

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

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

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

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

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

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

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

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

OCA PEOPLE: RAKHIMA ARLI

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

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

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

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

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

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

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

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

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

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

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

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

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

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

OCA PEOPLE: KSENIYA MOSALEVA GOLD

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

OCA PEOPLE: ALI ARTAMAN

ALI ARTAMAN: “THE SILK ROAD ADVENTURER INSTEAD OF “ACTIVELY PARTICIPATE IN THE FESTIVALS, AND KEEP YOUR SPIRIT UP!”

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

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

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

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

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

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

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

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

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

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

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

AA: Actively participate in the festivals, and keep your spirit up!

OCA PEOPLE: AFINA ABDULDAEVA

AFINA ABDULDAEVA: “I UNDERSTAND THAT EVERY PERSON IS A UNIQUE PERSONAILITY”

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

Afina Abduldaeva: Born in 1944. Grew up in the difficult post-war years. Graduated from a seven-year school in the village, Frunze Finance and Credit College, Kyrgyz State University, and later the Alma-Ata Higher Party School.

Worked as a teacher at a school, college, and university. Teaching experience: 39 years. Worked 11 years in party work as a secretary of the district committee, second secretary, inspector of the party commission under the Central Committee of the Communist Party of Kyrgyzstan.

I came to creative work late, after the death of my beloved husband in 1999, out of grief, I began to write poetry. The first book was published in 2000. Since then, I have published four collections of poems, several books about the lives of outstanding sons of the republic, collections of stories and short stories. I have translated several works of the Jewish classic Shalom Aleichem, the famous Kyrgyz writer Chingiz Aitmatov, and other works by several authors from Russian into Kyrgyz. In total, I have authored 30 books.

Life credo. I lived like all normal people, taught children kindness and love, tried to make each of my lessons interesting and useful, to support the spark of childish spontaneity. In difficult party work, I found and included elements of creativity, so I was a successful worker.

I passionately love everything I do, at the moment I enjoy creative work. I have a lot of life experience, so I strive to share with my readers everything good that I have acquired over the years. And I am happy when my works touch the soul, teach kindness and decency. At my age, it is very important for me to continue to receive recognition and respect for my work.

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

AA: Teaching was my calling, so I came to it after the first mistake in choosing a profession. In teaching, my Teacher and mentor was the school director, a wonderful teacher and a Man with a capital letter, Karabaev Abylai. In creativity, an example is Chingiz Aitmatov.

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

AA: 2024 was a jubilee and fruitful year for me.

In 2024, the following was published:

A collection of poems “Kut” (which means “Grace”),
The novel “Ilim imperiyasyndagy chyiyr (“The Path to the Empire of Science”).
A collection of “Japanese Tales”, in my translation.

My poems are included:

In the anthology “Sezim yrgaktary” (“Melodies of Feelings”);
In the international anthology published in the Turkish city of Ankara;
In the anthology of Kyrgyz prose, the story “Disappearance”.

In 2025, the translation of R. Alybaeva’s book “Raatbek” about a famous athlete of the 21st century was published.

As you can see, I worked hard in 2024 and 2025, and I think it’s up to the readers to judge what positive impact my works had on the world.

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

AA: I understand that every person is a unique personality. I have innate uniqueness, experience, and a certain talent, but this does not mean that I am incomparable, unique, or especially outstanding in my own way. I am the same as everyone else. My modest artistic aspirations in creativity are to make people better, purer and kinder.

AA: I became a member of the Guild in 2024. My story “Revenge of the Golden Eagle” participated in the prose category in the XIII Eurasia competition in 2024 and reached the final, and also took third place in Burabay, Kazakhstan on September 15-19, 2024. This victory inspired me and inspired me to new creative works, the result of which were the above-mentioned works of the year and the awards received from the Kyrgyz National Union of Writers in 2024.

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

AA: Previously, in Soviet times, the role of writers was great, their works passed through censorship, commissions, and received royalties for published works. In the Kyrgyz Republic, over the past 30 years, books have been published at their own expense authors, implement themselves. Only since 2024 the state has allocated certain amounts for sports, for the film industry, for publishing books. Only famous pop artists earn money on national holidays, tois, and the rest of the creative professionals are still in poverty.

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

AA: I wish respected members of the Guild many years of happy life, bright creative discoveries, enjoyment of their work, but also critical evaluation, ability to perceive criticism, find areas requiring improvement

I wish young creative individuals, bearers of God’s gift, a fountain of ideas, extraordinary solutions, striving for uniqueness, and most importantly: work, work and work.

OCA PEOPLE: BORIS GUBERMAN

BORIS GUBERMAN: “CREATIVITY IS THE HIGHEST
EXPRESSION OF ART, REGARDLESS OF THE FORM IT TAKES”

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

Boris Guberman: I graduated from the Faculty of Journalism at the Azerbaijan State University. I have been engaged in literary work for nearly 60 years. During this time, I have published more than 17 books of poetry and essays.

For my literary contributions and participation in poetry competitions, I have been awarded numerous international diplomas. I also served as a member of the jury for the international poetry competition “Yesenni Shturtsi” in Bulgaria.

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

BG: I began my career in journalism at the city newspaper Mayak in Ali Bayramli (Azerbaijan). Later, I enrolled at the Faculty of Journalism at the Azerbaijan State University.

I worked and was successfully published in various journalistic publications and newspapers, while at the same time actively pursuing literary work.

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

BG: In 2024, my non-fiction book My Native Land Forever Beloved, My… Pro-Fascist Homeland was published by ALTASPERA Publishing (Canada).

At present, in 2025, I am continuing work on my next book, while also sharing my new poems almost daily on Facebook.

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

BG: If I were to sum it up in a few words — it would be my productive drive. I don’t plan my creative work — I simply write and publish.

BG: As a member of the Eurasian Creative Guild, I regularly take part in various poetry competitions, as well as in other cultural and literary events.

At present, my book Concept: Socio-Economic Formations and Their Corresponding Markets is being prepared for publication by a publishing house, in a bilingual edition — in both English and Russian.
OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

BG: Creativity is the highest expression of art, regardless of the form it takes. What makes creativity so compelling is its ability to lift its conduit above the ordinary.
Creativity is a true light in the darkness — for through it, we carve new paths into life itself. And art is constantly bearing witness to this process.

It is creativity that systematically transforms us and tunes us towards new horizons.

Ultimately, creativity is simply your personal relationship with the art form you practise — because creativity and talent are, above all, the result of a creator’s daily work.

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

BG: As already mentioned, creativity is our constant, tireless work.

If you are engaged in literary creation, then it must be not a day without a line — whether you’re writing poetry or prose.

At the same time, everything must be measured wisely, and if you’ve already achieved something, it is essential to publish your work or take part in various creative competitions.

Only in this way can we affirm ourselves and earn our place under the sun.

OCA PEOPLE: BUBUIRA BEKTENOVA

BUBUIRA BEKTENOVA: “CREATIVE PEOPLE ARE KNOWN
AS CONDUCTORS TO THE WORLD THEY SPEAK OF HUMANISM”

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

Bubuira Bektenova: I’m Bektenova Bubuira, a writer from Kyrgyzstan, from my childhood I dreamed of becoming a writer, but fate gave me another profession. However, in my heart there is always a thought about art and creativity. My dream came true when I was 47 years old. In 2004, he published my first book of poems: “The feelings I missed”. For more than 25 years, I have been constantly engaged in creativity, I am writing a historical novel about the “Solto” tribe, which in history is called the “People-forming, state-forming tribe”. In the history of Kyrgyzstan, my ancestors were “Manap”. As in all countries of the world, the Kyrgyz people had their own responsible aristocracy. If in Europe these are princes and lords, and in Russia they are nobles, then in Kyrgyzstan they were considered as God’s chosen Manap tribe. Belonging to Manap carries social and personal obligations.

It was very honorable. But at the same time, it is extremely responsible. I am very proud that my ancestors were outstanding representatives of the national history. Tuloberdi hero (baatyr), Kanai biy, Zhankirach biy, Baytik baatyr, Bayseyit baatyr and also outstanding state figures of the Soviet period Torogul Zhanuzakov and Abdykerim Sydykov.

That’s why I wrote the historical novel: “Ai Tagha”, “Zhankirach Era”, “Baitik Baatyr”, “Baiseit Baatyr”, “The Ambassador’s Sword”, about Tuloberdi, who was the legendary hero of my father, “Kanai Bii”. Here, all the heroes are united by belonging to the aristocratic branch of the Kyrgyz people – the centuries-old Manap dynasty.

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

BB: I strove for independence all my life and never caused pain or harm to anyone. I raised two daughters alone their names are Nadira and Nargisa. Now I have three grandchildren: Amir, Aybike and Aslan. My dream became a reality – I am a writer and member of the Eurasian Guild, which is led by an outstanding person Marat Akhmedzhanov. I respect Kyrgyz writers and poets, including great writers Chingiz Aitmatov, Tugolbay Sydykbekov, Tologon Kasymbekov, Kachkynbay Osmonaliev, who all wrote historical novels. It turns out that I am the first lady of Kyrgyz literature who wrote a historical novel

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

BB: In my opinion, my achievements in the field of creativity are that for the first time in the history of Kyrgyz literature, I wrote a novel dedicated to outstanding representatives of national history such as Tuloberdi hero, Elchi, Zhankarach biy, Baytik hero, Bayseyit hero, and also wrote historical essays about outstanding statesmen of the Soviet period dedicated to Torokul Januzakov, Abdykerim Sydykov and Imanaaly Aidarbekov.

I want to wish the entire world a peaceful sky, joy and eternal love in people’s relationships. My creed is humanism like is the highest human value.
For eight years now, I have been a member of the Eurasian Creative Guild, which is headed by the respected Marat Akhmedzhanov. Thanks to this, I was awarded the first place in the international competition three times.

In 2023, I won the first place in the nomination “publicity” at this international competition and Marat Akhmedzhanov published my book “The Glorious Kerkashka” in Great Britain (London- 2024). This is my achievement thanks to the ECG.

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

BB: The unique thing is my membership in the Eurasian Creative Guild that gives me creative power. Here, regardless of age, nationality, friendship, all members of the guild support each other and love each other. Here, practically from all continents of the world I got acquainted with the work of my colleagues. And that is important, we all can come out and get the opportunity to go to the international level. At this time, more than 3000 creative people from all over the world are members of our guild, and this is wonderful. This is especially surprising and desirable. We, the members of the guild, unite with our thoughts, dreams, and creativity all over the world.

BB: I also took part in various festivals of the ECG: “Open Eurasia-2019” festival (Brussels), Belgium, “Voices of Friends: Poetry and Art Festival” (Shchuchinsk Burabay District) Kazakhstan in 2021 and 2022, “Eurasian Week of Culture” (Burgas) Bulgaria in August, 2023, ”World Coaching Championship (Tashkent, Uzbekistan 22-29 June 2024).

In the international competition “Open Eurasia”, I was awarded the first place in the nomination “publicity” and was awarded a grant in the name of Jonathan. On the basis of the grant, my book “The Glorious Kirkashka” was published in London (Great Britain).

Marat Akhmedzhanov came to Bishkek and opened the presentation of the book “Glorious Kerkashka” (November 24, 2023). Thanks to the ECG, my book “The Glorious Kerkashka” is on the “Amazon” website, and as Marat himself says, this book is next to the book of the outstanding Kyrgyz writer Ch. Aitmatov in the London`s library, which ranks 20th in the world. Thanks to the guild, my creativity can be known all over the world.

Festivals organized by ECG are unique their include – presentations of our authors, book exhibition, creative quest, concert, etc. The guild helps all members and is a cultural bridge that cannot be destroyed under any circumstances.

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

BB: Creative people living on the whole planet think about only one thing, that there would be peace in the whole planetary sphere. And they talk about it, sing, write poems, stories, novels, etc. Creative people are known as conductors to the world because they speak of humanism.
I think that if all the creative people of the planet unite, think together, sing together, and fight to save the planet from all kinds of destruction, loss, and evil, then we can give our future generations a peaceful life. I think that if all the creative people worked together to understand how “humans” can live as humans, it would be possible to live peacefully in the world.

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

BB: I wish all members of the guild a peaceful sky, wonderful moods and success in creativity, and that all members of the ECG meet more often and also have a long and happy life. I want to say thank you to our leader, thank you for organizing the guild. I also wish Marat Akhmedzhanov good health, success in work and creativity, and to lead the guild for 99 years.

I would like to say to the beginners of the guild, come and become a member of the guild, participate in all festivals and receive international awards. Thank you!

OCA PEOPLE: DANA ZHETEYEVA

DANA ZHETEYEVA: “CREATIVITY GROWS WHEN YOU STAY CURIOUS AND OPEN”

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

Dana Zheteyeva: I am an English teacher with MBAs in Marketing and Business Administration, and since 2010 I have been translating and publishing books. My life credo is Never give up. I wrote my own book, Life is Like a Box of Chocolates, in 2022. Over the years, I have collaborated with the Eurasian Creative Guild and other organizations, translating works of their authors and helping bring their voices to a wider audience. My motivation lies in supporting local authors globally, thereby promoting Kazakhstan on the international literary stage and building bridges between cultures.

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

DZ: My path as a translator began by chance, when my mother asked me to translate her old friend’s book. We later published it in three languages, and that experience inspired me to continue. I then translated his second book and published it in the UK, along with a collection of Kazakh Fairy Tales in English. I don’t have one specific role model; rather, I am inspired by people’s resilience – like a disabled artist creating beauty or someone who transforms personal pain into hope for others.

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

DZ: In 2024–2025, my greatest achievement has been turning a difficult period of life into a new beginning. I realized my childhood dream and began studying at a medical college, specializing in osteopathy, with the goal of helping people directly. At the same time, I continue to translate and edit books for authors, contributing to the preservation and sharing of stories. I believe this dual path – healing through medicine and inspiring through literature – is my way of making a positive impact on people’s well-being and the education of the younger generation.

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

DZ: What makes my work unique is the way I immerse myself in the author’s world. When I translate, I step into the author’s mind and try to see life through their eyes, capturing not only the words but also the emotions and intentions behind them. At the same time, I carefully adapt cultural specifics for international readers, helping them connect with the story while gaining a deeper understanding of the traditions and values it reflects. In this way, my work becomes a bridge between cultures, making voices heard across borders.

DZ: Through the Eurasian Creative Guild (London), I have taken part in several literary contests, earning 2nd and 3rd place in different years. I also joined international ECG events in countries such as Thailand, Belgium, and Uzbekistan, where I met talented people from around the world. These experiences expanded my horizons and inspired new creative ideas. Thanks to the Guild, I have collaborated with authors from Israel, Russia, Uzbekistan, and Kazakhstan, which enriched my translation practice and strengthened my belief in the power of literature to unite cultures and promote mutual understanding.

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

DZ: Creative professions have changed significantly in modern times. Today, there are more young authors than in the last century, and people are much more open in expressing their thoughts and emotions. I believe this honesty in art can support others as they go through difficult moments in life. Another major change is the role of social media, which allows authors to share their work instantly and reach readers of all ages, cultures, and beliefs. In this way, art has become even more powerful in shaping empathy, connection, and resilience across the world.

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

DZ: I would wish Guild members and all creative people just starting their journey to find inspiration in everyday life, in people, and in the world around them. Creativity grows when you stay curious and open. Keep writing, experimenting, and polishing your art, even when challenges arise. Most importantly, never give up – because persistence turns talent into mastery. Every voice matters and the world needs the unique stories, perspectives, and emotions that only you can share.

OCA PEOPLE: ELENA KOROLEVA (ELEN KORO)

ELENA KOROLEVA (ELEN KORO): “I TAKE GREAT PLEASURE IN RAISING THE YOUNGER GENERATION”

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

Elena Koroleva (ELEN KORO): Greetings to you, Elen Koro – a unique woman, the author of the novel-trilogy:
“Oscar” for Him! about whom you can say:
The first writer among the image makers –
The first image maker among the writers!

The need to write a fascinating novel appeared in me back in my student days, but then I lacked life experience. When I proved to myself that “I can do anything”, then I was not afraid to take a risk and leave the business career.

After becoming a practicing image maker, I seemed to have found myself, helping people to find their own style and look better. In this freedom of self-expression, the Love of the Word, which had been dormant for many years, also awakened. My motto is to live! To burn and not fade away, to live, not to exist! My motivation is love and only love!

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

EK: I chose my path by following my heart, and I drew courage and determination from the biographies of outstanding people. As I reflected on their lives, I was constantly reminded of the mysterious ways of God.

As for the world-renowned writers, each of them had a wealth of life experiences that were unrelated to literature. However, fate has a way of bringing things into perspective. Therefore, there is no need to be afraid of change. Today, I have no regrets about making a radical shift in my life, as my experiments have led me to pursue my passion for writing. As a writer, I never cease to admire the Russian classics and the wise thinkers of all times and nations. Otherwise, I am guided by my inner Temple.

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

EK: First of all, it’s the publication of the first two volumes of the Oscar trilogy. I am confident that this work was created by the Creator’s will!

My other achievements include sailing on the Baltic Sea and flying a paraglider at the age of 60. I have every reason to be proud of myself! I also have a positive impact on the world by improving the environment around me. This includes not only renovating my apartment and country house. In the adjacent garden, I grow and take care of flowers and fruit trees. And perhaps most importantly, I take great pleasure in raising the younger generation, giving my three little grandchildren all the warmth of my heart!
OCA: What is the main feature that makes you and your art/work unique?

EK: Unpredictability and a seemingly incongruous combination. A distinctive feature of the novel “Oscar for Him!” is a unique symbiosis of fiction and facts from the lives of outstanding people who have left their mark in the world of art, literature, cinema, fashion and interesting discoveries. At the same time, it turned out to be a very sublime story, and therefore very exciting – a love story of a man and a woman that takes your breath away!

It is no coincidence that the novel “Oscar for Him!” became the winner of the 10th International Literary Contest “Open Eurasian Literary Festival & Book Forum – 2021”.In addition, the jury of the competition recognized me, the author, as the founder of a new genre – “Adventurous intellectual-erotic novel”.

That’s why it’s better to read this book once than hear about it a hundred times!

EK: For several years in a row, my novel, which was still in one volume, made it to the final of the Open Eurasian International Literary Competition. By 2021, the novel had been revised, and as a result, it was awarded the prestigious title of laureate in the category of “Prose.”

In the same year, I participated in another competition organized by the Guild, “Voices of Friends,” in the category of “Art Photography,” where I also received the title of laureate. This photograph can now be seen at the beginning of the second volume of my book.

The Guild has had a significant impact on my creative work. As a member for many years, I was able to compare the skill level of other members.

Although I wanted to win my category every year, I didn’t feel offended if I didn’t, as the winners’ entries didn’t give me reason to doubt the competence of the jury.

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

EK: Thanks to the development of new technologies, computers, and fast communication, creative professions have become much more diverse and easier to master. However, this apparent ease often leads to a lack of depth and surface-level thinking.

In many cases, the apparent provocation is actually a result of a lack of skill.

As a result, in today’s world, where quick profits are the primary focus, the role of art in shaping the world has shifted from an inspiring positive to a negative one, becoming a powerful tool for influencing people’s minds.
Modern means of promotion, including advertising in the ubiquitous media, can inspire, promote, and make popular the most useless thing in the world, which we all seem to be unable to live without.

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

EK: First and foremost, I would advise them to read more biographies of remarkable individuals who have left a vivid mark in various spheres of human life. Because when you learn about the many twists and turns of Fate — which can lie in wait around any corner, club in hand — and the absolutely astonishing and unexpected ways people manage to overcome difficulties, you no longer feel lost or drained of self-belief.

Instead, your mind switches on and you start to think: how would this person have handled it? And if they managed, then so can I! Even if I do it differently — the main thing is, I can! Stories like these are simply fascinating in their own right, too.

And another thing — it’s absolutely vital to catch fire with your goal, to become utterly consumed by it.
At the same time, it’s important to be part of a community of like-minded people who are already a step ahead of you. And for that, the Eurasian Creative Guild is the perfect place!

OCA PEOPLE: YELENA MAKAROVA

YELENA MAKAROVA: “HONESTY, DECENCY, AND HUMANITY ARE NECESSARY FOR EACH PERSON
AS UNIQUE QUALITIES!”

tant things about yourself and your creative work. What is your creative and life credo and motivation for your creativity?

Yelena Makarova: I am an author of books for children. My poems and fairy tales are constantly published in children newspapers in Uzbekistan. A large selection of my lyrical poems was published in the Orient Star magazine. My works have been translated into Uzbek, Belarusian and English. Translations into other languages are currently being prepared. I am a philologist and I teach Russian. Russian is my native language, which I think, speak and write in. I am pleased that I can help you learn this difficult but beautiful language. And my students motivate me to create new poems, which I then use in various Russian language teaching techniques.

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

YM: We don’t always choose our own way. I believe that it is given to us from above. And they are given when a person is mature for creativity. This happened to me relatively recently – 7 years ago. Yes, I’ve been writing poetry since I was in school, but I didn’t even think it would be the beginning of my career. I have to say that my second Collection of poems for children won the 1st prize in the “Best Book” competition (Uzbekistan) in the “Best Creative Work” nomination, followed by some victories in International competitions.

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

YM: On 2023, I became the 2nd prize winner of the competition at the International Festival “Voices of Friends: Poetry and Art”, held on September 25-30, 2023 in Shchuchinsk, Burabay (Kazakhstan). I was invited to a tour to Russian cities in December 2023.: Yekaterinburg, Kazan, and Moscow. There were creative meetings with Guild members and readers. Also, as part of this project, a presentation of my book of poems for children, translated into Belarusian by Maria Muchinskaya, took place. The collection of poems was published in Minsk (Belarus).

In 2024, one of my fairy tales was published in the Eurasian Literary collection Thread (Volume 8).

On September 15-18, 2024, I participated in the III Open Eurasian Literary Festival and Book Forum 2024.” My works took 1st prize in the category of the Maria Shevel Children prose competition.

This victory gave me the opportunity to publish my fairy tales in English in the UK, the country of Harry Potter.

I am grateful to the ECG for the high evaluation of my work.
OCA: What is the main feature that makes you and your art/work unique?

YM: I am absolutely sure, it is kindness. As readers of my fairy tales, children are my core audience. But even adult people find answers to their questions about rules of life. We can only raise a good person, a creative personality with a good advice. I am an author of works for children. My poems and fairy tales are constantly published in newspapers for children of Uzbekistan. A large selection of lyrical poems was published in the magazine “Star of the East”. My works have been translated into Uzbek, Belarusian and English. Translations into other languages are currently being prepared. I am a philologist by training and I continue to teach Russian. Russian is my native language, which I think, speak and write in. I am pleased that I can help you learn our difficult but beautiful language. And my students motivate me to create new works, which I then use in various Russian language teaching techniques.

Honesty, decency, and humanity are necessary for each person as unique qualities!

YM: In 2023, I became the 2nd prize winner of the competition at the International Festival “Voices of Friends: Poetry and Art”, held on September 25-30, 2023 in Shchuchinsk, Burabay (Kazakhstan). I was invited to a tour to Russian cities in December 2023.: Yekaterinburg, Kazan, and Moscow. There were creative meetings with Guild members and readers. Also, as part of this project, a presentation of my book of poems for children, translated into Belarusian by Maria Muchinskaya, took place. The collection of poems was published in Minsk (Belarus).

In 2024, one of my fairy tales was published in the Eurasian Literary collection Thread (Volume 8).
On September 15-18, 2024, I participated in the III Open Eurasian Literary Festival and Book Forum 2024.” My works took 1st prize in the category of the Maria Shevel Children prose competition.

This victory gave me the opportunity to publish my fairy tales in English in the UK, the country of Harry Potter. I am grateful to the ECG for the high evaluation of my work!

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

YM: The world is not static. Modern realities force authors to use new technologies. Artificial intelligence has become very smart and able to create many things. This has become evident in any genre of art. But AI is a standard, or more correctly, an “average” version of creating an artistic work. The role of real art lies in its impact on the emotional state of a person who perceives art as an individual idea of an author.

Hopefully, humanity will have the opportunity to create and perceive unique works of art.

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

YM: I believe that every person is gifted in this or that way in creativity since their childhood. You need to believe in your success, try to find like-minded people and realize your creative ideas.

I would like to wish the Guild members new unique ideas and their successful implementation, as well as worldwide recognition of their contribution to art. Let creativity inspire you to create original works that will become an example of true art for future generations.

OCA PEOPLE: GENNADY GOROVOY

GENNADY GOROVOY: “I BELIEVE IN YOUR TALENTS!”

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

Gennady Gorovoy: Hello to my new and old friends. My name is Gennady. I grew up by the principle “Live and let live”. We all are different, but also the same- most people want a good life- without wars, etc. So, as a poet and speaker, my way is to talk and give people hope that everything will be okay, and that we must unite. Also, the law of transparency helps a lot. Be yourself- polite, nice to people, and we will change the world for good reasons.

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

GG: I grew up listening to the songs of Vladimir Visotsky and Alexander Rosenbaum. They are my role models. But I also love The Beatles, Elvis, Freddie and many others. When I grew up and started traveling the World and living in other countries, I met our Vice President Marat, Radislav Gandapas, Lisa Nichols, Gil Peretz, Tony Robbins, Maestro Tabriz Shakhidi and Yuri Managadze and many other great and talented people, some of whom I proudly call my friends.

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

GG: Being in Central Asia, talking to the nicest people, doing projects together, doing my old project with an amazing Marina Alyassova “Faces of Guild”- interviewing Guild members and promoting them. Also, with Guy Shtolz and Natasha Gerasimova, we did an Israeli Coaching championship, together with our Guild. Next year we’ll be in amazing London. Last year, we’d been in Uzbekistan, participating in the World Coaching Championship. We also flew to Khiva and Nukus. WOW!!! One of the greatest experiences in my life.

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

GG: Being the Man of the Big World, I can understand different cultures and to be a bridge between them. Sometimes little explanation about cultural differences can avoid huge misunderstanding (in a good case) or, God forbid, even war. I write about experiences in life, seminars, travel, people who are different or just lyrics or anti-war poetry. As a motivational speaker, I write about success and ways to achieve it.

GG: It’s easier to say about projects I haven’t participated in. While living in Moscow, we met with Marat and organized offline events. During pandemia Elena Bezrukova, me and other great people were organizing online events and lectures about business training. In London, I helped Marat organize meetings and events for people, as well as participating in them. In Bulgaria, I gave some lectures and helped organizing an event; in Asia, I was an Ambassador and met hundreds of the most amazing and intelligent people. I am not talking about flights, seminars, hugging each other near lakes, declaring poetry in Borovoe, going to museums in Tajikistan with the marvellous family of Shakhidi… It’s my amazing life. Soon, I will become rich and will have more opportunities to be with Guild much more.

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

GG: Huge difference. In the former USSR, famous poets, writers, artists or filmmakers were superstars, not less. Their quality of life was amazing, compared to regular people. But it was censorship. Now everyone can write and promote himself. There are websites, places to meet and read your poetry for friends, Guilds that give you an opportunity to mingle with great professionals, as well as regular people. I believe in freedom. Not everybody is Remark or Emil Zola, but everyone should have a place to see and to be seen and heard.

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

GG: Never give up. There are always nasty people who will criticize you. But there are many more intelligent people who believe in you and your talents. In Hebrew, the words “critic” and “buried” are from the same letters. It’s so easy to make a young person feel bad about himself, so just find the right people who know how to talk and explain. Nobody was born genius, but some got there somehow. Why not you? And each one can write me to support and believe in your talents. Don’t be shy. I BELIEVE IN YOUR TALENTS.

OCA PEOPLE: MARINA VERNALIS (SHKROBOVA)

MARINA VERNALIS (SHKROBOVA): “ART SETS THE PATTERNS TO WHICH WE STRIVE”

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

Marina Vernalis: Marina Shkrobova-Vernalis combines pedagogy and art, diplomacy and a deep love for poetic Word. My credo lives in these lines:
Faith, Hope, Love and Sofia-
And my new name was born!
It reveals the meaning of the boundless
Wisdom, faith, love and hope!

I will add to everyone heart without measure
A generous share of hope and faith!
In every verse, come and take –
Scattering of wisdom, tenderness of love!

You see, and I`ve got them too,
Connecting as a name-VERNALIS!
NAME for thought-living clothes.
It has trust, spirit and hope!

I knock on your souls again and again.
I believe and hope. I Love and I strive
To wisdom! And, hope, Sofia will help
With honor to carry this good name!

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

MV: With poetry, I was just born! At the age of two, I knew Chukovsky and Mikhalkov by heart, and at the age of four I arranged my first home concerts with costumes, hats and backstage! And boldly declared that I would be an actress! But in order to go on big stages now in different cities of the world, I needed to become a teacher, diplomat, poet and artist in order to find my Way, Voice and learn how to love people and understand them! And fortunately, I have a Teacher who demonstrates me the unity of word and deed and he is an example of philanthropy and service to the Light – this is the world famous academician, now living sage Shalva Aleksandrovich Amonashvili. He teaches me to find pure thoughts in life and in poetry, to live two lives at once: on earth and in heaven, and through all my deeds and creativity to “facet” the diamond of the soul, which God put in my cradle!

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

MV: Through the poetic word, through my concerts, I carry meanings that serve as a ladder of spiritual ascent for my viewers, help the transformation of the soul and the disclosure of the highest plan in everyone! This season presented performances in verse at the International Readings on Humane Pedagogy and at the Higher School of Amonashvili’s Students in Georgia, in the estate of the Amonashvili family, where participants from 15 or more countries of the world come. My concerts took place in Italy (Genoa and Camagna Monferrato) in March 2025 as part of the Poetry Festival “On Seven Hills!”

New cities of Russia invited me with concerts: Yekaterinburg and Ershov Islands, Pyatigorsk and Tyumen, Anapa and Kirov, Novosibirsk and Togliatti, Nickel, Sochi and Gelendzhik. For the first time I visited Bratsk, where I was greeted simply enchanting and on October 28, 2025, my new performance will take place on the stage of the Bratsk Drama Theater!
In 2025, my new poetic notebook of PURE THOUGHTS was released and readers are happy with it!

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

MV: My Poetry is my SOUL! This is a conversation between my soul and the Creator, and here it is important not to compose, but to hear the meanings and words.
I write how I breathe! EASILY!

And the verse sounds like exhale and inhale, as if everything is so simple for understanding and implementation! In poetry, I reflect, have a conversation with another soul, with the reader. And this is the handwriting and skill: from prose it is elegant and easy to switch to poetry and in verse to talk with the world about the most important things!

My Poetry is the melody of my soul, my high (divine!) Meanings, which I always long to reach! This is a search for heavenly answers to my earthly questions: What is God’s purpose for me? Why am I here on Earth? How to live this one life? And all the answers must be harmoniously put into a harmonious musical syllable of poetic philosophy! My poems are melodic, I sing them and many composers write songs on my poems.

MV: Of course, these are victories in international competitions: in Uzbekistan, in the «Open Eurasia – 2021» competition, as an illustrator; in Kazakhstan, in the competition “Voices of Friends – 2022” there are two victories at once in two nominations: poetry and painting. And finally, an amazing trip to Australia for the final of the “Open Eurasia – 2022” competition and a victory in the “art-book” nomination with my book “Poetry in Painting,” where my paintings and poems are combined. The book was published in London by Hertfordshire Press and after the victory in Melbourne was translated into English! These successes inspire me and my viewers throughout Russia and the world.

And I really value those poetic online meetings with poets-members of the Eurasion Creative Guild and members of the Expert Council on Poetry! These are precious minutes when I can share my poetry with talented friends and get a heartfelt response, especially when I hear the magnificent modern poets of Russia and Georgia, Belarus and Israel, Great Britain and Germany reading my poems! This is an incredible opportunity to feel the world through poetry!

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

MV: The living creative energy of a person cannot be replaced by anything! The ability of a person to creatively rethink this world in words, images, colors, movements is the exceptional ability of the human soul!
The role of art is the role of a magnifying glass, allowing you to see subtle (invisible) processes, to reach deep meanings.

Art sets the patterns to which we strive. Art gives the courage to look at oneself and the world, remains a discoverer, in a good sense a “provocateur” calling for a new one! The connection of the irreducible only to a brave and seeking person who carries Harmony in himself! Being a bearer of culture is a special responsibility in the modern world: not to betray the reference sense of Beauty and be able to reveal your uniqueness, having your own thoughts worthy of the world hearing them!

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

MV: Looking back, I thank myself for the fact that 40 years ago, when I came to school as a history teacher, I started arranging my poetry salons for my students and colleagues, and then I ventured into paintings! If I had not started this Path then, then there would not be now the current me, the Marina Vernalis Poetry Salon, my painting, my Voice, which has grown and grown stronger over these decades.

Therefore, I wish every creative person to act immediately and tirelessly! Even when you are not supported, even nobody will not believe in you… Believe in YOURSELF! Believe in the High Mission of the Cause that you have conceived and carry it (the Cause) with dignity!
FORTUNE LOVES THE BRAVE! Dare!

In each new day, in each new attempt, find the strength to express yourself to the world through your creativity, to stay feeling and real! The world will definitely respond!

OCA PEOPLE: MARSEL SALIMOV

MARSEL SALIMOV: “TO SERVE THE PEOPLE — THIS, I BELIEVE, IS THE TRUE PURPOSE OF MY CREATIVE WORK”

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

Marsel Salimov: I am by no means an important, remarkable, or golden person — I am simply the author of satirical books titled “Important Person”, “Remarkable Man”, and “Golden Man”.
Ever since I was eight, when I wrote my first satirical poem about a social evil like drunkenness, I understood that a satirical writer must be far better than his characters. Otherwise, how can he criticize others, fight successfully for truth, and seek justice in this rather unjust world?

Always keeping this in mind, I write satirical works not because life is bad, but because I want it to become better. Though I am a stern satirist, I am inspired only by good, never by evil. These are by no means grandiose words or sweet lies, but bitter truths — fortunately for me.

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

MS: I did not choose a special, soft, or comfortable path for an easy life — fate itself decreed that I would become a satirist.

Back in my youth, older brothers in the craft used to say to me, “You’re a satirist by God’s will” or “by nature.” Even my literary pseudonym, Mar. Salim, which I adopted during my school years, translates from Old Turkic as “healthy devastation.”

My name first appeared in print when I was twelve, and even then I knew I would inevitably become a satirical writer, a humourous poet, and a journalistic feuilletonist. My parents realised this too — especially my father, a veteran of the Great Patriotic War, a fighter for justice, and a rural correspondent unafraid to write feuilletons about the leaders of his collective farm and district.

I spent my entire career at the editorial office of the Bashkir satirical magazine Khënek (“The Pitchfork”), where my first feuilleton was published when I was just fourteen. I started as a literary contributor and section editor, and then served as editor-in-chief for thirty years.

To work in just one place is like living your life with one wife. A beloved job is like a beloved woman — you can never have too much of it!

OCA PEOPLE: MICHAEL ANANOV

MICHAEL ANANOV: “ARTISTS WORK TIRELESSLY TO DISCOVER A RECIPE FOR HARMINOUS COEXISTENCE”

ant things about yourself and your creative work. What is your creative, life credo and motivation for your creativity?

Michael Ananov: I am an essayist, playwright, poet, literary scholar, and translator of poetry. I belong to the Pushkin Society of Russian-speaking Writers “Arion,” the Writers’ Union of Georgia, the worldwide fantasy club “Fandango”, and the Writers’ Union of North America. In addition, I am the chair of the Eurasian Creative Guild’s (London) Expert Council on Poetry.
The ability to influence and motivate should be developed by all creators. That power, in my opinion, is found in the word. I try to communicate ideas and creative energy through language. When people see these, I know that my efforts are not in vain.

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

MA: I can state with confidence that I am naturally creative. Drawing, woodburning, working with plastic, mosaics, a toy railway, and many other creative endeavours have been a part of my life since I was a little child. Thus, my course was predetermined. When I was eleven years old, I started composing poetry. I envisioned myself as an actress and rock musician when I was a teenager. I started writing adventure novels in the hopes that they would eventually be transformed into movie scripts because of this. I eventually went back to poetry, but this time I took it very seriously.

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

MA: As I mentioned before, I have always been a creator by profession, so I have worked – and still work – to improve and make our planet more peaceful so that peoples can live in harmony with one another. I won first place in the “Voice of Friends” poetry competition in 2024–2025, first place in the “Golden Time Talent” melodramatic performance, and the title of “Stoic of Contemporary Literature” at the start of 2024 for my active creative and cultural endeavours. For my efforts to promote world peace, I have also been awarded laureate certificates on several occasions.

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

MA: This is only my politeness, so please don’t interpret it as immodesty. I have ideas for improving the conditions of life itself, as well as several methods for resolving the catastrophe that befalls the planet and poisons its inhabitants. However, it involves having a purpose, trying to understand Truth, and being prepared to confront Golgotha for it when it comes to creativity. Every creative secretly longs to transcend reality and catch a fleeting glimpse of what is beyond the unknown. Imagination is helpful if this is out of reach, and mine looks to be on the verge of the fantastic.

MA: I take part in a lot of our Guild’s projects. I was listed among the “Golden Ten” in 2021, took first place in the 2024 “Voice of Friends” poetry competition, and was awarded a diploma for entering the “Prose” contest under the heading “Generals of Peace for Peace.” In addition, I participated in the Guild’s 2021 almanac project, which honoured Walter Scott’s 250th birthday. I am the chair of the Poetry Expert Council of our Guild. On occasion, our Council hosts online themed conferences and creative evenings. I have hosted representatives of the Guild, including Marat Akhmedzhanov, on multiple occasions in Tbilisi.

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

MA: This subject, in my opinion, might take up a whole dissertation. There have been significant changes in a number of artistic disciplines, not only in the professions themselves. It would have been impossible without the emergence of numerous movements in the fields of literature, music, visual arts, theater, and film. The Latin phrase necessitas acuit ingenium! means “necessity sharpens the mind.” It is precisely this creative urge and quest for a solution that keeps us from becoming lost and devolving into conflict. Artists work tirelessly to discover a recipe for harmonious coexistence.

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

MA: Definitely, it is essential for everyone to feel assured in the decisions they make. Numerous individuals embark on their creative journeys due to their artistic family background, whether it be a father who is a celebrated musician or the influence of a particular actor. Each aspiring artist must reflect on this aspect within themselves to realize that their work transcends mere creation; it embodies the significance of their entire existence – a journey they must pursue with certainty, fully aware that they are progressing towards their cherished Goal.

OCA PEOPLE: MARIIAM TOBOKELOVA

COVER STORY : MARIIAM TOBOKELOVA “TRADITION IS NOT THE ASH WE PRESERVE, BUT THE FIRE WE PASS ON”

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

Mariiam Tobokelova: My creative name is Mariiam Bektemir kyzy. I was born in Kyrgyzstan, in the small village of Tort-Kol, but my musical talent was evident from childhood, and I was accepted into the Republican Music School named after M. Abdyraev. My life has been inseparably linked to the komuz – the unique national instrument of the Kyrgyz people. For me, it is not just an instrument, but the living voice of the steppe, the mountains, and ancient traditions that I strive to convey through my music. From an early age, I was inspired by traditional kuu-dastans, classical works, melodies, and the creativity of great komuz players such as Atai Ogonbaev, Ybyray Tumanov, and Karimaldo Orozov. A special place in my heart belongs to the legendary manaschi Sayakbay Karalaev – his performances always filled me with a sense of depth and the power of the ancient word translated into music. In 1998, I graduated from the Kyrgyz National Conservatory, and since then, my creative journey has never stopped. I compose kuu, dastans, and songs, perform at state concerts, and collaborate with the Kyrgyz television and radio company. I actively participate in competitions and festivals. As far back as 1988, I had the honour of performing in Turkey at a folk instruments competition, where I was awarded a prize and received a gold watch from the President of Turkey. It was not only a recognition of my work but also an opportunity to show the world the beauty of Kyrgyz culture. Today, I continue this path through music and speak of what is eternal.

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

MT: The most important thing in me and my art is to be a living bridge – a bridge between the great heritage of the past: the Manas epic, the works (kuu) of Atai Ogonbaev, Toktogul Satylganov, and Ybyray Tumanov – and the modern world. Playing the komuz is, for me, a dialogue with the audience – sincere and profound – where I share the deepest part of myself. I feel responsible not only for preserving the sound of the komuz but also for filling it with living, relevant emotions here and now. I want to make it a language through which my soul speaks and which can touch the heart of anyone in the world, even if they have never heard of Kyrgyzstan. My komuz is not a museum artifact but the voice of my people, refracted through the prism of my life and feelings. My life and creative credo can be expressed as: “Tradition is not the ash we preserve, but the fire we pass on.” I don’t blindly copy the works of my predecessors. Inspired by their legacy, I compose new kuu and melodies to create a new current. I want my music to heal people and reach their hearts, so that the traditional music of our ancestors continues to be passed down from generation to generation.

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

MT: The most important thing for me in 2024–2025 is the completion and presentation of a cycle of my works that reinterpret traditional compositions in a more contemporary way, as well as my active educational work. This is a special source of pride for me.
OCA: What is the main feature that makes you and your art/work unique?

MT: My uniqueness lies in the synthesis of professional musical education, the highest level of performance mastery, and a deep, living connection with the folk tradition. My creative essence is inseparably linked to the people. I receive invitations from all seven regions of Kyrgyzstan and even from Kyrgyz communities abroad to perform the ancient “Zhar-Zhar” wedding ritual and other major celebrations. We have a saying in our culture: “Even if other holidays are not celebrated, a wedding – the celebration of two young hearts – must be sacred.”

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

MT: I have long been a member of the Guild — not just a member, but an Ambassador. I deeply appreciate that through the Guild I can tell the world about my homeland Ala-Too, the strength of my ancestors, the pearl of Issyk-Kul Lake, the beauty of Sary-Chelek, and the soul of my people. I enjoy participating in ECG (London) events and festivals, and I want to involve even more talented friends so they too can share their art in London and around the world.

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

MT: Today, the creative world is undergoing real change. For musicians, the stage and studio are no longer limited to physical space — they can work online, and this has changed everything. Digital space has become the main platform for creativity. Through the internet, a musician from a small town can find listeners anywhere in the world. In our turbulent times, art supports us and reminds us that we can hear each other not only with our ears, but also with our hearts.

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

MT: Art must be sincere. A musical composition must come from the deepest part of the heart and carry kindness, strength, and truth.

OCA PEOPLE: MIKHAIL KUNITSKI

MIKHAIL KUNITSKI: KNOWLEDGE AND EXPERIENCE MAKE YOU FREE AND OPEN TO THE WORLD

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

Mikhail Kunitski: I write in Russian and Belarusian for children and adults but I will say… My making rhymes for children looks like for adults and for those adults who are fond of children poetry I write particular like for children. My professional creativity began with competitions but before that there had been still a stage of formation: finding the style, honing the rhyme, learning the rules and a lot of practice. I consider that an expression to be the main function in poetry. I strive for it all the time and try to express my feelings as vividly as possible through expressive means, sometimes even to the detriment of the rules. But there is always a dilemma: in an adult poetry you can disregard many things and because of this there is free aria for experimentation but rules in the children’s literature are especially important. You must follow the rules. Writing for children is a big responsibility and I am not always confident in my works but the road will be mastered by the one who walks it, and time is my main critic.
I am the winner of the International Youth Literary Competition named after the Schnittke Brothers in the nomination “For the Style and Culture of Writing” in 2017. At the competition “National Literary Prize Golden Pen of Rus” I received the title “Silver Pen of Rus” in 2017. In 2018, I took second place in the Open Eurasia competition. I am also the winner of the Poet of the Year Award 2019 and the winner of the “Open Eurasia competition in 2020”. This is about my achievements. I am a member of the Eurasian Creative Guild and the creative association of children’s authors TO DAR. Four of my books of children’s poems have been published, three of which are in Russian and one in English. Now my motivation is an art in all its manifestations, a human himself and his life. This world is not static, it moves, develops. Its seething energy does not disappear anywhere and does not arise spontaneously, but smoothly passes from one sphere to another, one work inspires another. One discovery gives impetus to another discovery. Now the credo is simple: “do what you must and come what may.”

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

MK: I have wanted to write poetry since my childhood. But I think that the choice was made gradually through self-understanding and development. There was a period of denial. There was a period when I wanted to give up everything and did not write anything anymore. But in the end, I took my will into a fist and continued doing it, because I had understood that no one would write the way I would. Yes, there are other writers, more venerable and writing better than me, but I am the only one and without me the universe would be empty by one grain of sand. And one grain of sand is too much for such a short moment as the existence of the universe, which is finite in time. And I should definitely be in it. Why we should disturb the order?
OCA: What is your main achievement(s) or positive impact on the world in 2024–2025?

MK: This is not related to literature. It is a completely different kind of activity. But by doing everything little by little you begin to understand the world. You are growing up not in terms of human development but on a spiritual level. There comes an understanding that the ability to overcome difficulties is one of the most important qualities.

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

MK: This question is more for critics, any creativity is unique and unrepeatable. Mine also has certain features. You see… openness, laconicism and expression. This is the formula of beauty, as I see it.

MK: This is the best platform for development and promotion. Wherever I take part in, in any country, I feel at home. This is evidence of a good organization and team cohesion.

The guild gathers many creative spheres, different nations, religions, and languages peacefully coexist in it. It’s like you’re throwing yourself into a sea of open art on a global scale. There are presentations, briefings, master classes, all kinds of competitions, creative tours of cities and countries, and exciting excursions. This can be listed endlessly. You simply have no choice but to grow above yourself and develop in the area that is close to you. A whole book can be written about each such type of activity. Each competition is a wealth of experience and knowledge. Maybe someone will say that they did not receive any reward from a competition that they wasted their time, but for me, participating in the guild’s projects is an everyday success. For example, I have a tradition of coming to a country or an unfamiliar city and exploring it on foot. You read a work of a writer, where he talks about some place, and you understand what it is about. You understand the taste, color, smell, mood. In addition, discovering something new for yourself, you are ready to create yourself. I can say that over the years spent in the Guild, it has been influenced my maturation as an author. This is not fear of the audience, communication with children, participation in expert councils … Knowledge and experience make you free and open to the world.

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

MK: Well, look… In the future, the overwhelming majority of professions will be performed by artificial intelligence and the art is no exception. Yes, it will always be able to surprise, it will write no worse than famous artists, it will copy and imitate the style of this or that genius, but this is still only an imitation, though a very skillful one. The living creativity is based not on the material, but on the spiritual. It is a dialogue with higher powers. That is why the living creativity is unique. And when the creativity becomes unique, then it is already an art. The form will change, but not the content. The art is valuable because it is rare. After all, humanity listen to classics, goes to the theater, reads books.

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

MK: The fullness of their life. Life is the most absolute form of creativity. When something is missing, it can be replaced by creativity. So that one complements the other. It is easier to stand on two legs than on one.

OCA PEOPLE: NARGISA KARASARTOVA

NARGISA KARASARTOVA: SO, I WOULD WISH ALL CREATIVE
PEOPLE FLEXIBILITY,CONSITENCY, AND PURPOSEFULLNESS

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

Nargisa Karasartova: My full name is Karasartova Nargisa Omurbekovna. I was born in Bishkek, Kyrgyzstan on August 29, in 1978. My literary debut took place in 2007, when my poems were published in the newspaper “At the end of the week”, in the same year I was lucky to get the masterclass on the poetry of the international Foundation of Ch.Aitmatov, which was called “Debut – 2007” and also, I published a book of poems with my sister Leyla Karasartova, which called “Diamonds in the snow”. In 2009, I became a member of the National Union of Writers of the Kyrgyz Republic. Since then, I have published 7 books: two poetry collections, “Light Above the Folio” and “I Will Be the Music of the Wind”; three collections of translations, “Platan”, “A Flock of Pink Flamingos” and “The Magic Bridge”; as well as two children’s books, “For Little Dreamers” and “Leah and Aya the Sewing Doll”. My life credo is to move forward and develop my creative imagination. External motivators for my creativity are love for my homeland, for children, for nature, and for life in general. But the most important motivator is my inner indestructible love for creativity.

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

NK: I was born in a family where books were of great importance, there was an extensive library in the house. I must say that my father is a linguist, polyglot, and book lover. All relatives and friends called him “walking encyclopedia” and my older sisters Leyla Karasartova and Lilia Karasartova (Arginova), now poetesses, constantly walked around the house and recited poems. I think this “home atmosphere” influenced me.

I consider Chingiz Aitmatov my example in literature and life. In 2008, shortly before his death, I interviewed him on the ELTR channel and I saw with my own eyes how great this person is. An incredible aura of intelligence, culture, enlightenment, and goodwill from him.

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

NK: Right on the eve of 2025, in Ontario, Canada, my collection of translations with Kyrgyz authors, “Magic Bridge,” was published. This book was successfully presented and distributed to city libraries.

Also, a big event for me was the presentation, or I can say, a poetry concert called “I will be the music of the wind,” which took place in the Chui Regional Drama and Satire Theatre named after Sh. Termechikov.

OCA: What is the main feature that makes you and your art/work unique?
NK: I do not write “under the stick” or duress. I do not run for “fashion trends” in literature, I do not to try to write a “super novel” just to get a fee. I write only interests me excites me and want to tell “my story”, write “my vision” of this or that event, and describe my feeling. I write with my heart and soul, and my mind joins in as if in pursuit of my primary impulse.

NK: I consider the biggest achievement is contest “Open Eurasia – 2020”. I became one of the “Golden Ten” in the nomination “Children’s literature”, took 2nd place in the category “Literary Criticism” and the 1st place in the category “Publicists”.

And on account of the grant that I won in the contest “Open Eurasia – 2020”, the “Hertfordshire press” publishing house (London) published the book “Leah and Aya the Sewing Doll”.

I also took part in various festivals of the ECG: “Voices of Friends: Poetry and Art Festival” (Shchuchinsk Burabay District, Kazakhstan in 2021 and 2022), “Eurasian Week of Culture” (Burgas, Bulgaria in August, 2023)”World Coaching Championship (Tashkent, Uzbekistan 22-29 June 2024).

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

NK: Artificial Intelligence has shown us that not only humans can create, but computer programs can do it too, to some extent it has discouraged and disarmed us, everything that humans can create in years, AI can do in a few minutes or seconds.

I think that in the near future AI will still not be able to fully replace humans, because as long as humans live on earth, they will create as long as their primary needs are satisfied.

However, I cannot give a forecast for a long period of time, the world is changing exponentially and can make a quantum leap even faster than we expect. The main thing is that people still remain “above”, and not “under”, technology, so that we are not completely absorbed by the technological machine.

In the meantime, the role of art, even though it changes, remains unchanged. True art makes us rise above problems, think, admire, be impressed, or touch people’s hearts.

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

NK: The creative path is so different, you can walk for a long time along a remote path in a dark forest, trying to light at least your own steps, and then you can first go out onto the Highway and get on a high-speed car that will take you to a big city, then you can find yourself on a boat and row against the current on a wide river, and then fly on a plane to your cherished dream.
And to adapt to different situations along the way you have to be flexible, but at the same time consistent and goal-oriented. So, I would wish all creative people flexibility, consistency, and purposefulness.

OCA PEOPLE: NATALLIA THOMPSON

NATALLIA THOMPSON: LIFE IS CREATIVITY, A CONTINOUS
INTERACTION WITH THE WORLD AND WITH PEOPLE

tant things about yourself and your creative work. What is your creative and life credo and motivation for your creativity?

Natallia Thompson: I’d like to clarify that it’s not quite accurate to say I represent Belarus and the United Kingdom. I currently live on the island of Guernsey, one of the Channel Islands, which is a separate jurisdiction.
Moving here felt like a kind of return to childhood, when I spent all my holidays at my grandmother’s village home in Belarus. I was very fortunate to have that magical world — with its old traditions, handwoven towels, the warm ledge on the stove, and a corner in the choir loft where my grandmother used to sing on Sundays — in a church that never closed, even during the toughest times for religion, thanks largely to the priest and my grandmother, who served as the church warden.

And now, many years later, here on the island, I’ve been able to catch the scent of birch trees after the rain — just like back home in Belarus.

My creative credo, I suppose, is about being here and now — creativity and life are inseparable; life is creativity, a continuous interaction with the world and with people.

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

NT: I must admit that I have yet to create a tangible and significant creative legacy. My current project is called Rhymes of Everyday Life. It’s a kind of mosaic made up of a little bit of everything: poems, translations, inspiring conversations, and travels.
The most important example in my life is my mother — loving unconditionally and without any context, unyieldingly strong and infinitely gentle.
In the hardest of times, her presence in my life saved me, inspired me, protected me, and helped me grow wings.

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

NT: It’s a lovely feeling to realise that I’ve inspired those close to me — some to perform music, others to write poems or paint, and some even to indulge in sweet little quirks that add colour and joy to everyday life.
I’ll keep on working my magic.

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

NT: Perhaps it’s easier to see from the outside. Those who have read my poems often appreciate their “lace-like lightness,” vivid imagery, and multi-dimensionality.
I also simply adore fairy tales and love creating a magical, joyful atmosphere — otherwise, life feels very sad.
For example, in one of my older poems, which I almost forgot because I hadn’t written it down, there are these lines: “Ah, inventing a fairy tale is not hard — if only one could learn to live within it! Noticing golden grains of happiness in a cracked nutshell and the thoughtful tinkling of raindrops on an indifferent lunar wheel…”
I love watching the thoughtful smiles bloom on the faces of my listeners.

NT: The very first event I attended at the invitation of the Guild — with truly life-changing consequences for me — was a creative evening with Gennady Gorovoy.
In him, I found a wonderful friend and source of inspiration; thanks to that, I even dared to take part in the anniversary festival in Kazakhstan.

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

NT: It’s natural that “everything flows, everything changes.” However, in my view, art — despite its sensitivity to the influences of events and moods — serves as a kind of guarantee of stability and a binding force across layers of time and space.
Here, I would like to share my translation of The Girl from the Tavern by Novella Matveeva — a text that inspired me more than fifty years after the original was released, and thousands of kilometres away from the place where this song was born.
Please, do not be afraid of my love-
It is not at all scary:
For loving heart it is enough
To see you happy and merry.

And when you’re out to see Her
Or maybe just for a walk,
For loving heart it was enough
To see your coat on a wall.

When you decided to leave and go
To look for a new life,
To see this lonely hook on a wall
Was enough for a loving heart.

Days fly, and the years change,
Rain and wind and fog –
There is a tragedy in my home:
Even the hook is gone.

Fog and wind and noise of the rain –
Days fly, and the years go.
For loving heart it was enough –
The familiar mark on the wall.

Painter’s hand on the scruffy wall –
Here came final loss…
For loving heart it is enough
To remember, how all it was.

So, do not be afraid of my love –
It is not at all scary:
For loving heart it is enough
To see you happy and merry.

Timpani joy and violin cry
Floating in warm air,
Like fading trace of undying love
That lives in my heart forever…

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

NT: Don’t be afraid to start, don’t hesitate to show yourself, and never doubt the value and importance of your creations — it is in the creative process that the very beauty that will save the world is born.

OCA PEOPLE: NURLAN TOXANOV

NURLAN TOXANOV: EVERY WRITER IS UNIQUE, SHAPED
BY THEIR OWN INNER WORLD

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

Nurlan Toxanov: I mainly write detective stories, sometimes with a mystical touch. For me, the detective is just a form through which I explore ideas and reflect on the problems of society. Each book mirrors the period in which it was written, capturing the spirit of the time. I strive to write truthfully and keep the narrative dynamic to hold the reader’s attention. My stories are always based on real-life experiences and collective characters, and sometimes an intriguing story or life event becomes the spark for a new book.

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

NT: Since childhood I loved to write – poems, prose, observations – and this passion has carried into adulthood. True creativity comes when inspiration arrives, sometimes unexpectedly, but always powerfully. A writer can never be the final judge of their own work: only the reader is. Yet, when you write with genuine joy, that energy is felt. Among literary figures, I greatly admire James Joyce, who revolutionized literature. His Ulysses became a source of inspiration for my novel Domestic Paradise, showing me how bold experimentation can transform art.

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

NT: In 2024, my detective novel “Amanta Sari, or the War of the Red and White Rose” reached the final of the Mecenat.kz literary contest. In 2025, I entered the longlist of the Qalamdas Prize in the “Literary Criticism” category. This year I also completed the mystical detective novel The American Woman from the Karabuye Clan, where the plot unfolds between America and Kazakhstan. Its heroine, an American with Kazakh roots, inherits the mysterious powers of her ancient clan, symbolizing the meeting of cultures and traditions through the prism of mystery.

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

NT: Detective fiction is still relatively rare in Kazakhstan, which gives my work a special resonance. My stories present our lives, our people, and the events that shape them, within a genre that is both entertaining and thought-provoking. I try to avoid clichés and banality, aiming to stay original and engaging. My personal experiences and emotions flow naturally into my books, creating authenticity and depth. Every writer is unique, shaped by their own inner world. What matters most is the ability to convey this inner truth in a way that touches the reader.

NT: I have taken part in many projects of the Eurasian Creative Guild, which has greatly enriched both me and my writing. In 2023, I won the Guild’s competition in the “Short Prose” category and received a grant to publish my book, for which I am sincerely grateful. Meeting fellow writers always brings inspiration and valuable insights. Creative exchange sharpens one’s own vision and sparks new ideas. The Guild gathers talented and passionate people, and through this community, I find constant motivation to develop and expand my creative horizons.

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

NT: Today creative professions are strongly influenced by new technologies, especially artificial intelligence. It can already act as designer, translator, or even writer. While it has not yet reached the heights of Shakespeare, this is only the beginning. Perhaps in the future, works created by human intelligence will become as rare and precious as natural products compared to artificial ones. This reality challenges us to rethink the value of art: the human voice, with its emotions and unique individuality, will always remain the most authentic and irreplaceable source of creativity.

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

NT: To the members of the Guild and to all creative people at the start of their journey, I wish inspiration and courage. May your ideas take shape and your dreams come alive. Creativity demands patience, discipline, and resilience – qualities without which no book can be born. Let us cultivate them in ourselves. If not us, then who will write our stories? Along with inspiration, I wish everyone strong health, happiness, and good fortune. Luck, too, plays a significant role in a writer’s life, opening doors at the right time.

OCA PEOPLE: NURYM TAIBEK

NURYM TAIBEK: LOVE FOR ALL, HATRED FOR NONE”
— MY MISSION AND CREATIVE PATH

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

Presenting monograph at Rossotrudnichestvo (2018)

Nurym Taibek: My creative mission has been to translate spiritually enlightening literature into Russian. My path is spreading the Messianic call: the Messiah came to the world a century ago to save humanity from spiritual decay, moral catastrophe, and devastating wars… This Messiah-Mahdi (“The Guided One”) was promised in every ancient religion existing today! Those who sincerely respond will lead the global community to become a much better society. The current world DIZZorder has completely exhausted itself and will fall within very few years. My credos: Love for all, hatred for none! Plant roses in cursed soil! We shall overcome!

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

NT: Granddad Yelubai Taibekov – unquestionable moral authority. People called him the righteous one. As prime minister, he walked to his office. The desperate people, not allowed in, approached him outside and got problems solved. My parents graduated from Moscow University. They instilled freedom and love of morality, thought, creativity, culture, and poetry. Mom’s great-granddad built a mosque. Her dad, Sidaghali Yelshibayev – Kazakh regional courts’ only leader for 30 years – in Atyrau, then Qyzylorda (before his promotion to the Ministry). My ultimate guide – the Creator through Holy Prophet Muhammad sa, following whose injunction, I accepted the Messiah as through his 4th Caliph – Mirza Tahir Ahmad rh – at London’s first mosque in 1996. My spiritual mentor is the Fifth Caliph Mirza Masroor Ahmad aba.

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

NT: A most delightful part of my work has been rendering spiritual poetry, whose originals were written in Arabic, Persian, or Urdu, which I can read and translate from with the help of dictionaries. Since 1996, I have been working from existing English translations, referring to the original texts whenever I felt the need.

Since 2024, I have been rendering this poetry in entirely poetic form. To convey meaning even more precisely, since 2025, I have been relying more directly on the original texts, with the help of dictionaries and other online reference services. Thus, I have become a poet-translator.

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

NT: I am 1) Islamic Renaissance’s only Russian poet-translator, 2) the only professional live Russian interpreter of the Caliph’s speeches and the Community’s broadcasts in the world. My mother worked at the Academy on transforming deserts into oases; her scientific findings were adopted by foreign countries whose scholars secretly extracted information from USSR libraries and began greening their own deserts. As a follower of the Messiah-Mahdi (peace be upon him), I seek to help liberate, humanise, and enrich the inner world of ex-Soviet people, to transform the Eurasian expanse from a spiritual desert into a flourishing oasis of faith and renewal.

NT: In 2018, I completed the translation of the greatest modern treatise – “Revelation, Rationality, Knowledge and Truth” – and presented it at the Book Forum. Same year, Cambridge International Press published my monograph “Love for All, Hatred for None – The Raison d’Être of Ahmadi Muslims”, based on my thesis, which I successfully defended at the Dissertation Council of Abai University in Almaty in Dec 2004, but which was censored in 2005 by Ministry of Education and Science of Kazakhstan – unduly influenced by then extremists-dominated Muftiate. This monograph’s presentations were held: at Cambridge University’s Central Asian Forum Conference 2018, Rossotrudnichestvo and other venues.

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

NT: Creative professions have changed dramatically. The role of genuine, enlightened art is ever more vital in society’s moral and spiritual evolution – the only guarantee of its progress. Creativity is self-realisation in serving people and spiritual enlightenment. My prediction in my OCA 2020 interview came true: the dangerous upheavals began in 2022… My forecast today is at first bitter, but ultimately hopeful: by the end of 2027, a global conflict involving nuclear weapons will have taken place and largely concluded. Thereafter, humanity will enter a thousand-year golden era, having learned profound lessons from these trials.

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

NT: Go for it!

OCA PEOPLE: SALTANAT KHAMZEYEVA

SALTANAT KHAMZEYEVA: MY ADVICE TO THOSE JUST BEGINNING THEIR CREATIVE JOURNEY – CREATE!

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

Saltanat Khamzeyeva: Khamzeeva Saltanat Malikovna – editor, writer, Custodian of the Eurasian Creative Organisation, and representative of the international Lions Club for cultural affairs and communications.
Professional activity:
Editor-in-Chief of the magazine Open Eurasia
Editor of books by both domestic and international authors, including:

A work on museum activity in Kazakhstan, authored by a professional art historian – head of museums of history and archaeology;
The first book in Kazakhstan on private education, Tested by Time;
Works of fiction – the detective novel The Bloody Circle by Korean writer V. Kim, short stories by young authors, the historical fantasy novel The Girl in Gold by American writer Lara Prodan (about a Saka princess), books on yoga, collections of poetry by contemporary authors and Turkish poets.

Author of her own books: Preserve My Hearth, The Adventures of a Dervish, mystical stories from the cycle Time, Steppe Tales, and In Search of the Lost City (published on Ridero.ru and other portals).

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

SK: Since my youth, I had dreamed of working with the written word and writing books and went on to gain a higher education degree as a linguist and philologist.

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

SK: Work with the youth wing of the Guild is one of the opportunities to influence the development of the finest and most humane qualities in young people.

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

SK: Goodwill and professionalism.

2.work as Editor-in-Chief of the Guild’s magazine (Russian-language edition),

3implementation of the Cinema Future project,

4.the Guild’s literary festivals.

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

SK: In the context of contemporary realities, art has become more in demand and more capable of challenging established forms, movements, and views, while allowing authors unlimited freedom of self-expression.

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

SK: My advice to those just beginning their creative journey: create! Express yourselves! Stagnation in creativity is harmful in every sense.

OCA PEOPLE: TATIANA EDEL

TATIANA EDEL: MY CREDO: TO SEEK TRUTH, GIVE HOPE AND KEEP FAITH ALIVE

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

Tatiana Edel: I am a Siberian woman with an open soul and a restless heart. The collapse of a long marriage and betrayal once left me with nothing but the need to write. One evening I picked up a pen, and words poured out faster than thought. That moment gave me my first story, which won a contest and became a book. Today I have thirteen books, three in English, and numerous screenplays. Writing has become my salvation and my passion — I spend 10–12 hours a day creating new worlds. My credo: to seek truth, give hope and keep faith alive.

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

TE: I found my way to writing twice, and the second time it became my true calling. In Moscow, while working as a manager, I drafted letters for public figures, and words came easily, like birds landing on branches. I even brought my first book to a publisher, but when I learned of the symbolic fee, I walked away and erased writing from my life. Twenty years later, after betrayal and loss, life itself forced me back to the page — this time forever. My role model is Jack London: his path and devotion inspire me. My first book was published under the pseudonym Eden, in honor of Martin Eden, before I embraced my true name Edel.

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

TE: My main achievement in 2024–2025 is not only the awards and recognition my books and scripts received, but the letters and words of gratitude from readers. Knowing that my stories inspire people, give them comfort, or help them believe in themselves — this is the greatest reward. I am proud that my works have crossed borders and reached audiences in different countries. For me, positive impact means bringing hope, light, and compassion into the world through creativity. If even one heart feels less alone because of my words, that is true success.

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

TE: What makes my work unique is the openness of my soul. I do not hide behind irony or distance — I write sincerely, with kindness and love for people, animals, and the fragile beauty of our world. My stories speak of trials and betrayals, but always carry hope, because I believe harmony is possible. I want my books and screenplays to be a quiet light in a noisy world, reminding us of compassion and humanity. For me, art is not escape but truth — and truth is what connects us.

TE: In June 2021 I took part in the Eurasian Creative Guild (London) Literary Forum, where I received a diploma for second place in the Children’s Literature category. It was a turning point for me: the recognition of an international jury gave me confidence that my voice as a writer matters. Since then I have continued to publish books and develop screenplays, many of which have won international awards. For me ECG is more than a platform — it is a community that unites cultures and inspires creativity. Its support convinced me I am moving in the right direction.

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

TE: I believe creative professions today are less about prestige and more about service. Artists, writers, and filmmakers are no longer distant figures — they are voices that bring comfort, reflection, and meaning. In a world shaken by crises, art has become a bridge between nations and a language of empathy. It gives us the chance to look at life through another person’s eyes, to heal wounds, and to offer hope for harmony and peace. Modern realities have made art not only a form of beauty but also a form of responsibility: to remind humanity that kindness and compassion still exist

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

TE: To all members of the Guild and those just beginning their creative journey, I wish courage and sincerity. Carry into the world not only stories or images, but ideas that nurture the soul — the timeless values of kindness, honesty, and humanity. Do not chase fashion or quick success: what lasts is what comes from the heart. Every page, every line, every brushstroke has the power to inspire, to comfort, and to awaken hope. Remember that your art is not only your voice but also a gift to others — a seed of the reasonable, the good, the eternal.

OCA PEOPLE: TATYANA CHABROVA

TATYANA CHABROVA: WARMTH AND KINDNESS, SUPPORTING MY TALENTED STUDENTS

tant things about yourself and your creative work. What is your creative, life credo and motivation for your creativity?

Tatyana Chabrova: I am a university lecturer and have been published since 1990. I participate in competitions, and my work has been included in textbooks and didactic games, for which I have received awards. In 2005, I was nominated for the Nobel Prize as part of a women’s project from Geneva.

I am involved in international projects; last year, I coordinated an international project on inclusive education. I have collaborated extensively with international organisations such as the UN, UNDP, UNICEF, UNESCO, the UK-based Save the Children Fund, and the embassies of the UK and Switzerland, among others.

I am the author of the children’s play “The Amazing Story.” Together with my students, I stage performances and organise children’s art exhibitions. I also conduct art therapy training sessions.

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

TC: I have had many wonderful teachers, foremost among them my mother, Emilia Alexandrovna Girsh, with whom I worked closely for many years. Also, the academician, Doctor of Sciences, and professor Tamara Semenovna Komarova, as well as academician, Doctor of Sciences, and professor Svetlana Karimovana Annamuratova.

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

TC: My students are wonderful specialists who have won awards for their creative visual artworks. I have also published several textbooks on theatre and visual arts.

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

TC: Warmth and kindness, supporting my talented students.

TC: At creative gatherings in Tashkent.

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

TC: Our country does a great deal to support creative professions. The Fund for the Development of Creativity and Visual Arts organises many exhibitions about Uzbekistan around the world. This summer, the President issued a decree to further develop this sector in our country.

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

TC: To continue on the path we have set for the next ten years, seeking and discovering, while supporting new talents.

THE ART OF BEING GENUINE: THE JOURNEY OF ZAMIRA BESHIMOVA

THE ART OF BEING GENUINE: THE JOURNEY OF ZAMIRA BESHIMOVA

In the world of art, there are figures whose creativity becomes a bridge between cultures and generations. Actress, writer, teacher, and public figure Zamira Beshimova is one of them. For over twenty-two years, she has worked in film and theatre, taught children acting at the Talents Project school, created magazines that bring people from different countries together, and written books for children. Today, Zamira is not only an artist but also an activist — host of the political talk show Agar and the podcast Rakurs, a participant in charitable initiatives, and a mother of four.

We met with her to talk about inspiration, values, and how art can become a way of life.
— Twenty-two years in the profession is almost an era. What does this journey mean to you?
— It is not just a matter of years but an inner road that lasts a lifetime. Every role and every project has taught me something: patience, courage, attentiveness to detail. An actor is always a bit of a philosopher — living dozens of lives in order to better understand their own.

— You run the children’s film school Talents Project. What is the most important lesson you try to pass on to your students?
— Sincerity. The camera senses falsehood instantly. I teach children not to fear mistakes and not to strive for some “perfect performance.” What matters is searching for truth — in yourself, in your roles, in life. A mistake is not a defeat, but the beginning of new experience.

— You are the editor-in-chief of two international magazines — The Addresses and Bazarstan. What makes them unique?
— The Addresses is a space for ideas and cultural exchange, where we tell the stories of people who are changing the world. Bazarstan, published in Chicago, is dedicated to entrepreneurs from Central Asia building businesses in the United States. For me, they are like two wings of the same flight: tradition and modernity, East and West.

— Your new children’s book Tishlar Saltanati has recently been published. What is it about?
— It is a fairy tale about the kingdom of teeth, where children learn, in an entertaining way, how to take care of their health. There is humour and imagination, but also important life lessons. I wanted little ones to smile and learn at the same time.

— Your works are often inspired by children. Does motherhood influence your creativity?
— Completely. My children are my co-authors. Their questions, fantasies, and laughter are an endless source of ideas. When they ask, “Mum, tell us another story,” I realise that what I write is needed not only by them, but by thousands of other children.

— You actively speak in defence of national values. What does national culture mean to you?
— It is our roots, nourishing the entire tree of life. I proudly wear Uzbek national dress and jewellery, because every ornament and every pattern holds our history. It is important to me to show the world that modernity and national traditions do not contradict each other — they complement one another. This is our identity and our wealth.

— You host the talk show Agar and the podcast Rakurs, where you tackle pressing social issues. Why is this important to you?
— Art and media should be not only a source of entertainment, but also a mirror of society. I am not afraid to speak about difficult topics — family, upbringing, culture, education. Only an honest conversation can help us grow and move forward.

— You are also active in charitable work. What drives you to do this?
— Helping others is not a feat, but a natural part of human life. I believe that if you have the chance to support someone, you should do it. The smile of a child who has been given hope is worth more than any award.

— What are your plans for the near future?
— I dream of turning my fairy tales into animated films, so that children all over the world can see them on screen. I want to develop international creative camps for children and, of course, continue acting. The actress within me is always alive.

Our conversation with Zamira Beshimova leaves a sense of lightness and inspiration. She knows how to turn experience into a story, and a story into a dream. Everything this woman does is rooted in love: for children, for art, for life.

The art of being genuine — that is her path.

OCA PEOPLE: ZINA KARAEVA

ZINA KARAEVA: MY CREATIVE CREDO IS TO WORK HARD AND MY LIFE CREDO IS TO HELP THE PEOPLE IF THEY NEED IT

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

Zina Karaeva: I have been an English teacher for 55 years. I conduct classes in British and American literature, and Translation studies. I loved literature from my childhoo and wrote small poems at the secondary school. My creative credo is to work hard and my life credo is to help the people if they need it.

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

ZK: As I graduated philological department I am interested in literature.I xstudied British literature as well as Kyrgyz . I learned a lot from the English and American literature. Comparing those classic writers like W.Shakespeare, G.G.Bayron, William Thackarrey, Charles Dickens and Jack london, Ann Bradstreet and others I came to the conclusion that Kyrgyz literature is full of interesting ideas, especially in their epics. Kyrgyz epical creations showed the best guidelines in my life.There are a lot of useful ideas that the whole world should know. The epic “Manas” and its parts and all the Kyrgyz small. epics influenced in my life. As the result of that I began to translate Kyrgyz small epics like “The warrior girl Saikal”,”Semetey” and others. I am fond of poetry and began to translate Kyrgyz poetry too. It was Guild that gave me great motivation to see the new world.

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

ZK: I conduct classes on world literature and on translation studies. I wrote a text book Comparative literature based on British, Americanand Kyrgyz writers. It is electronic form and I use it in my literature classes for the students. I am about to finish the text book “ The world of translation”. I hope the students of the philological department will gain interesting cases and it will be useful for all the students who are interested in translation studies. By means of literature young people will know useful ideas about Kyrgyz literature. In our Kyrgyz literature there are a lot of cases that young should know.

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

ZK: When I conduct world literature in my classes I learn myself a lot from different cultured creations. There are so many useful ideas in Russian, Chinese, Arabic, German, French and other nations creations. I pay a lot of attention to folk creations of the world. They tell special ideas about the people’ life and their history, culture and life. Working hard makes my activities interesting.

ZK: I am happy that I took part in the Eurasian Creative Guild contest.

In 2002 I translated Sultan Raev’s drama “Kurmanjan datka” and sent to the contest. There I won the first place in translation part. It motivated me to work creatively on translation very much. After being in London I began to translate epics to show the beauty of the Kyrgyz literature.

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

ZK: Yes. Of course. All the creations of the world literature touch world problems that are typical for every nation. If young people didn’t the past life, history of their nation they can’t value anything. They should read not only their literature, they should read world literature. They call for peace all the people of the world they show the calamity of the war in the world. I think God is one and the globe is one. We should keep it safe and sound.

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

ZK: Take part in the contest. Believe in your future. If you work hard you will achieve good results. I wish success for every member of the Guild.

OCA PEOPLE: WARREN WILLS

WARREN WILLS: A TRUE ARTIST NEEDS TO CREATE
THE CONDITIONS OF TOTAL FREEDOM

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

Warren Wills: Most important thing about the work I’m doing at the moment is that music is one of the few areas of life where we can truly build bridges, bringing people together, sharing our culture, our humanity, dignity, and never before has this been more important than the time now of increasing division and conflicts. I wear two to distinct hats -; one is commercial music and the other being community music. I find myself recently increasingly drawn to the social nature of music and devoting as much work as possible to make life richer and more joyful the inside community

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

WW: I didn’t choose my path, but in fact, at very young age, the age of four I was hypnotised, mesmerised by Chopin and thus compelled to enter the field of music and composition and Jazz and music theatre and the history of music, encouraging freedom of expression, improvisation and thus this has become an international travelling ticket for me.

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

WW: During the past 12 months which we’ve seen ever increasing division, and the alarming rise of hate throughout the world, I have been involved in this wonderful projects which address these issues head on. The most notable impact I would say were created by -; a concert that I did at Federation Square with a cast, a multiracial multiethnic multicultural cast of 100 people which was a resounding success -; then the further work that I’ve been doing with the Chinese and Korean community -; and the work I’m also doing with a visually impaired cohort and latterly to be working with the International Womens’ Federation of Culture and Industry. These projects demonstrates once again that music transcends borders, religion, language, and politics, and genuinely can be used to unite us.

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

WW: Without wishing to enter directly into a technical musicological brief or to do a deep dive analytical view at the DNA of my musical composition I would suggest what makes my music unique Is the coalition of all the vast experiences of my life. One part of this experience is the influence of composes my life has been heavily influenced by Chopin , Keith Jarrett, Stravinsky, minimalism, Messiaen, Bach, Oscar Peterson, French Impressionism PLUS my involvement with Judaic, flamenco, gospel, and other religious influences, plus my living in London, the Middle East, Australia and having opportunities to mix with so many ethnically diverse cultures and communities. Finally having worked extensively in Music Theatre on Weill, Kander and Ebb, Gershwin, Billie Holiday, Sammy Davis, Josephine Baker, Ella Fitzgerald and many other. The interaction and absorption and expression of these influences creates a unique palate from which to musically create

WW: It has been an honour over the past five years to be involved with the ECG. This has provided opportunities for me to come to Kazakhstan and experience the culture there on two different occasions- one being in Almaty and the other being in Astana. I was delighted to be able to work on a project of BÖRTE, the long-suffering wife, feisty, opinionated, revolutionary, and somewhat of a pinup girl for women’s rights and looking forward to progressive change with women. As well as music workshops in Burabay and the development of a number of other invaluable ideas. Looking further ahead I can see numerous points of hybrid collaboration between Australia, UK and Eurasia.

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

WW: We live in the most challenging times, and history may will show us in the future that post -Covid we are living through what is, in fact, the most challenging period of history due to seismic change. It is therefore incumbent on all of us in the creative arts, to be resilient and flexible and to be able to share with an open mind in order to teach to learn and encourage others to be patient and resilient also, in this current climate of ever-growing division and hate, which seem to be part of a larger global plan. This puts a great responsibility on the creative arts professions. It is a privilege to work in these professions and thus be able to foster a slightly more philosophical, detached, and positive overview of humanity. It is here in these we muscle tirelessly pursue The expression of choice of freedom of clear, thinking of critical analysis of culture, a shared culture of appreciation and music of dignity, and of humanity.

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

WW: I would wish to other members of the Guild and other creative people who have just started their careers that first that they are able to pursue their artistic love and passion, untethered by suppression, toward the achievement of excellence and of free artistic expression. Further, that they are not blinded or influenced by the pressures – politically, social media or other nefarious influences, which my only box them, blind them, in or compartmentalise their development, in order to achieve both artistic excellence and the freedom of expression. A true artist needs to create the conditions of total freedom , to travel through all the “sides”, and not be attached to any side except to be able to honour and serve humanity

OCA PEOPLE: EDGAR ANPILOGOV

EDGAR ANPILOGOV: REMEMBER: TRUE INSPIRATION LIES WITHIN YOU

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

Edgar Anpilogov: When you combine academic education with active, creative involvement in historical and cultural projects, meaningful civic engagement, and responsible work in a diplomatic mission, your path forward is shaped not only by the fact of your birth but also by the demand for your activity. This approach inspires many who recognise you as a leader.

Hence, my credo: by developing myself, I aim to influence the wider situation – moving forward despite circumstances and helping others who share the same goal to achieve equally dynamic progress. This, in turn, unites individual potential into a shared force.

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

EA: My father, Sergey Igorevich Anpilogov, embodies my true teachers. From him, I draw an unwavering example of nobility and dignity. He serves as both a mentor and a living model of knowledge and skill – a guiding light of kindness and strength.

Alongside him, I admire legendary figures such as Winston Churchill, Bernard Montgomery, and their distinguished successor Valerii Zaluzhnyi. These individuals collectively exemplify the military and political genius of statecraft.

The gift of leading others and the possession of power are not the same. Heroes essential to their nation exemplify the highest standards of civilisation. In the context of the ongoing, bloody war my people are fighting, I interpret this through the lens of a very real struggle – one that determines the future of humanity itself.

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

EA: Most recently, I made a significant and productive contribution through my research into the Ukrainian diaspora’s life and interactions within the UK. This work explores how its traditional values blend with the fast-paced changes of modern society, with the hope of providing long-term benefits.

I devised a practical strategy to build advanced civic communities that are adaptable, balanced, and effective – capable of addressing current needs and future challenges.

My role on the Executive Committee of the Praesidium of Public Associations of Ukraine further supports this effort, where I oversee areas including youth affairs, focused on shaping our future.

OCA: What is the main feature that makes you and your art/work unique?
EA: Among the many nuanced meanings that capture the essence of ‘diplomacy,” one can aptly consider its synonym – uniqueness.

Through collaborative partnerships and collegial coordination, I have firsthand experience with the subtle art of communication, balancing interests, and aligning goals across professional, social, and personal interactions.

Diplomacy entails not only the skill to listen but also the more complex ability to hear genuinely. It involves being understood and accepted – being able to articulate key details clearly and adaptively, deliver a cohesive analysis of causes and effects convincingly, highlight advantages, neutralize challenges, and differentiate existing realities from desired outcomes amid the semantic complexities of negotiation.

The ultimate goal is to reach an agreement and establish its conditions, often unconventional. This represents the core of what makes diplomacy fundamentally unique: the capacity to identify and cultivate unifying solutions, ensure their viability, and implement their strategic usefulness.

This embodies the legacy of a Ukrainian diplomat rooted in the classical tradition – one who, guided by contemporary demands, forges ahead of the present.

EA: Well-known international initiatives of this unique organisation open up an endless space for ideas and development.

The creative collaboration of representatives from different cultures produces a remarkable, limitless concentration of experience – amplified and elevated by the creative aspirations of each individual.

Yes, the Eurasian Creative Guild is a global phenomenon. Inevitably, I draw parallels with my diplomatic practice, where borders exist only on the map, but not in the realm of ideas and their growth.

Everyone perceives according to their own capacity.

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

EA: But is it not radical that today’s generation embodies not only the future, but also the present – and, firmly and promisingly, the past?

Flexibility, courage, speed, pragmatism, and innovation – are these not fundamental qualities? And what of deep traditions, or forward-looking relevance? Are these not meaningful and adaptive concepts? And productive usefulness – is it not the very foundation of progress, the defining characteristic of young leaders today?

Who would deny this? The very wording of the question contains the essence of the answer.

In the twenty-first century, our generation will adapt the world to human values.

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

EA: It’s widely acknowledged that fearing mistakes can hinder progress – and that this fear might itself be a mistake. Embrace this insight as a guiding light and a source of inspiration for yourself and your teammates.

Forge ahead confidently by:

Taking that brave first step.
Unleashing your imagination without limits.
Bringing your visions to life.
Continuously refining and perfecting your work.
Sharing your successes generously to inspire others.
Viewing challenges as valuable opportunities for growth.

Remember: True inspiration lies within you. Trust in your potential and let it light your path.

OCA PEOPLE: NURLAN MUNBAEV

NURLAN MUNBAEV: I WISH YOU THE COURAGE TO
BE YOURSELF, THE PATIENCE TO FIND
YOUR OWN VOICE…

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

Nurlan Munbaev: Expert on the Caspian and Aral Seas, international accreditation expert of the Institute of the Republican Association of Private Education of Kazakhstan, coordinator of UNESCO Clubs in Binom schools of Kazakhstan, coordinator of the American Mathematics Olympiad (University: UCLA-USA) in Astana, and brand ambassador of the business club “Altyn Orda” in Astana.

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

NM: Since my school days, I have been fascinated by mathematics from the perspective of its practical application in everyday life. I believe in mathematical theory that serves society – a living mathematics. My role model was the great John Nash, Nobel Laureate in Economics and Fields Medal recipient, who saw the world in a nontrivial way through the microscope of socio-economic life.

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

NM: One of my most significant achievements was the application of mathematical models that accurately predicted flooding in eight cities across Kazakhstan. This discovery was later utilized in 2013 in the United States during the El Niño-related floods in the Eastern states. I received a letter of appreciation from the 44th President of the United States, Barack Obama, for the contribution my model made in saving tens of millions of lives in the region. The foundation of this work dates back to 1993, when I developed an economic-ecological mathematical tool commissioned by the Academy of Sciences of Kazakhstan. Under the leadership of Academician Schmidt Musaevich Aytaliev, Chairman of the Western Branch of the Academy, this tool enabled forecasts of the tenge and flood risks in the Atyrau and Mangystau regions.

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

NM: To see the world in an unconventional way – beyond what most people perceive – is our true calling. We came into this world to make discoveries and drive innovation. Without this pursuit, humanity has no bright future.

OCA: Please tell us about the events or projects of the Eurasian Creative Guild (London) and projects you have already participated in and how does ECG influence your creativity and success in your work?
NM: As a Guardian of the Guild, it is my mission to scale the idea of the Eurasian Creative Guild in Kazakhstan – searching for geniuses, fostering collaboration and communication within a global cultural space. It is about discovering new stars and connecting East and West through a symbolic Greenwich, where the Eurasian Creative Guild in London serves as that Greenwich point.

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

NM: Creative professions have been transformed by digitalization, globalization, and ecological awareness. Art has transcended traditional forms, embracing virtual reality, interactive media, and multicultural contexts. It has become not only a means of self-expression but also a tool for social change, sustainable development, and intercultural dialogue. Today, the artist is not merely a creator, but a mediator between technology, society, and the values of the future.
OCA: What would you wish for the members of the Guild and other creative people who are just starting their careers?

NM: I wish you the courage to be yourself, the patience to find your own voice, and the belief in the power of art to change the world. May every step – even the uncertain ones – lead to growth, and may every mistake become a lesson. Surround yourself with inspiration, don’t be afraid to experiment, and stay sincere in your creativity. The world needs your perspective, your energy, and your stories. Create with heart – and the path will reveal itself.

OCA PEOPLE: OLEG NESTERKOV

OLEG NESTERKOV: TO REMAIN TRUE TO ONE’S
CREATIVE PATH

tant things about yourself and your creative work. What is your creative, life credo and motivation for your creativity?

Oleg Nesterkov: My public activities are connected with the promotion of Russian culture in the Republic of Belarus. I serve as an advisor on organisational and administrative matters to the Chairman of the Belarusian public association “Rus” in a voluntary capacity. In 2025, we have already held two major Belarusian-Russian cultural events dedicated to the 80th anniversary of the Great Victory: the music festival “Garmon Gathers Friends” and the Cossack Song Festival “Gaida.” This year, we plan to hold the Slavic ethnographic celebration “Bogach Radogost.” The programme includes an exhibition titled “Smolensk Flax: Provider and Teacher” from the Smolensk Regional Centre of Folk Art, as well as a concert of folk music featuring Belarusian and Russian ensembles.

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

ON: What motivated me to engage in public activities was the desire to promote unity among people of different nationalities who are devoted to Russian culture, which holds worldwide significance.

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

ON: Besides culture, I am also involved in promoting sport and a healthy lifestyle among children and young people. In 2024, in Minsk, the Belarusian Public Association “Rus,” together with the sports public organisation “Territory of Sparta Plus” (led by world SAMBO champion Angela Paim-Kraskovskaya), organised the tournament “SAMBO League for the ‘Ratobortsy’ Cup,” dedicated to the memory of the heroes of the Battle of Kulikovo, Princes Andrei of Polotsk and Dmitry of Bryansk. Over 600 young athletes from Russia and Belarus took part in the tournament. This year, the next tournament for the “Ratobortsy” Cup is scheduled to take place in November.

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

ON: A deep commitment to Russian culture and a desire to introduce it to as many people from different countries as possible.

ON: I am ready and delighted to take part in the creative projects of the Eurasian Creative Guild.
OCA: How do you think the creative professions have changed and how has the role of art in the development of the world changed in the face of modern realities?

ON: Unfortunately, in recent years, artificial obstacles have arisen in the spread of Russian culture in some European countries. I am confident that this will soon become a thing of the past.

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

ON: To remain true to one’s creative path.

OCA PEOPLE: SULTAN RAEV

SULTAN RAEV: I BELIEVE KYRGRZ LITERATURE
IS A SIGNIFICANT BUT STILL
UNDERREPRESENTED PART OF THE WORLD’S CULTURAL HERITAGE

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

Sultan Raev: I consider myself a creative person – a writer and playwright. For me, creativity is a vital and deeply meaningful calling to which I have dedicated, and continue to dedicate, my entire life. Since 31 March 2022, I have been elected Secretary General of TURKSOY, and now the development and promotion of Turkic culture has become not just my personal passion but also my official international mission – something I am proud to serve.

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

SR: Every writer has their own spiritual compass. I was born and raised in Kyrgyzstan, and for me that compass has always been the work of Chingiz Aitmatov. I try to follow in his footsteps through my own writing. He was my spiritual teacher and remains, in my eyes, a writer of truly global scale – an example for all other authors. For us, Aitmatov is a symbol. I perceive his works as a legacy and a guide on how to be a true writer. When I work on something new, I always return to his books. For me, he will forever remain teacher number one.

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

SR: The past year has been a time of creative growth for me. My books have been published abroad and are now read not only in Kyrgyzstan but internationally. I receive warm feedback, and it is truly rewarding – as a writer, I want to help people change their lives for the better, to find answers to important questions, and to hold on to hope.

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

SR: I believe Kyrgyz literature is a significant but still underrepresented part of the world’s cultural heritage. We must work to make it known in every corner of the globe. This path is difficult, but it is essential. Of course, a key role here is played by high-quality literary translation into world languages. But at the moment, only a few authors are able or ready to work at this level, and this is our challenge. I am convinced that we need to show a new face of Kyrgyz and Turkic literature to the world.

SR: We share a common mission – to open up the unique culture of our countries to the world and ensure their proper representation on the international stage. The Guild brings together creative people. I am a member myself and am always glad to invite colleagues to join our events and initiatives.

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

SR: The very nature of creativity – its themes, place, and role in people’s lives – is changing. Yet the mission of the artist remains the same: to preserve humanity in humankind. Literature plays a crucial role in this. It is the purest form of catharsis in human existence. Today, the world is undergoing processes that contradict human nature itself, eroding its foundations. Spiritual and value degradation is the most dangerous sign – when ideas lose their meaning, it signals decline. For me as a writer, this is an important issue. The sacred duty and mission of every writer is to preserve human values and qualities, to help people through their creative work, and to share their vision. My works are, above all, dedicated to people and humanity. Contributing to this mission is a spiritually essential part of my life.

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

SR: Remember that the most important thing in creativity is to bring light and protect the souls of your readers. You create not for fame but because it is essential to your being – you simply cannot live otherwise. Creativity is work, and it must be treated with the utmost responsibility.

“The Black Cloak” at the Shaw Theatre: a parable about humanity beyond allegory

“The Black Cloak” at the Shaw Theatre: a parable about humanity beyond allegory

On 13 November, London’s Shaw Theatre welcomed the Kazakh company The Arts Stage, presenting The Black Cloak, based on Georgy Khugaev’s play and directed by Askhat Mayemirov. The performance became one of the standout events of the autumn theatre season, reminding us that profound theatre does not need loud effects to feel contemporary.

The play transports the audience into an allegorical world of animals whose actions and desires mirror human frailties. Through metaphors of power, loyalty, and inner conflict, the production speaks about the human condition more directly than many realist narratives. Mayemirov shapes the drama with philosophical precision and restrained intensity: movement and rhythm take the place of dialogue, the actors communicate meaning through physicality, and every gesture becomes a thought.

The scenography is deliberately minimalistic — only a few symbolic elements occupy the bare stage. This purposeful austerity underscores the allegorical nature of the production and frees the viewer’s attention. The music, rooted in ethnic motifs, creates a sense of sacred space and deepens the theme of humanity’s connection to nature and its origins.

After the main performance, the audience was invited to experience “Soul of the Steppe” — a fusion of live music, dance, and poetry. This segment allowed the production to unfold anew, transforming from a theatrical event into a broader cultural statement about spiritual heritage and tradition.

The Black Cloak does not aim to captivate the audience with spectacle or speed. Its rhythm is meditative, its ideas layered, its silences charged with tension. It is a work for those willing to listen — not only with their ears, but with their inner attention.

The evening at the Shaw Theatre became an example of how contemporary theatre can merge philosophy, national motifs, and psychological depth. The Black Cloak speaks in metaphor, yet feels utterly real — precise, delicate, and quietly penetrating.

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Silk Road Media Joins CA Oil & Gas Forum 2025

SILK ROAD MEDIA — MEDIA PARTNER OF THE FORUM CENTRAL ASIA OIL & GAS FORUM 2025: A Business Platform for Strengthening Regional Cooperation

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One Night Only: London’s Unmissable Stage Event

Only One Night in London: a truly special event of the theatrical season, presented in a unique cast and stage version that will not be repeated.

The Arts Stage theatre presents the play “The Black Cloak”, based on the parable of the same name by renowned Ossetian playwright Georgy Khugaev. The production combines the mystical spirit of the Great Steppe with a contemporary minimalist format: almost no scenery, with the focus entirely on acting, movement, and voice.

“We don’t want to lecture; we want to speak through artistic imagery. To remind people of the values that are often forgotten in today’s hectic world,” says director Askhat Maemirov, one of the most striking figures on Kazakhstan’s contemporary theatre scene. Lovers of modern theatre will have only one chance to immerse themselves in the authentic atmosphere of this powerful production – don’t miss it!

The Black Cloak

13 November 2025

Shaw Theatre, 110 Euston Road, London NW1 2AJ

Tickets: https://surl.li/emxhyi

“THE BLACK CLOAK”: A CAPTIVATING PERFORMANCE ABOUT LOYALTY, BETRAYAL AND ETERNAL VALUES

“THE BLACK CLOAK”: A CAPTIVATING PERFORMANCE ABOUT LOYALTY, BETRAYAL AND ETERNAL VALUES

The Arts Stage Theatre invites you to the unique premiere of the play “The Black Cloak”, where legendary animals come to life on the British stage, revealing the secrets of human nature. Expect incredible acting transformations, a story filled with passion and pain — about devotion and honour — and a magical journey through past and present, where different eras and civilisations collide.

ONE NIGHT ONLY at the legendary London Shaw Bernardo Theatre. Be among the exclusive audience and discover a new dimension of contemporary theatre.

Date: 13 November 2025, 19:00

Venue: London, The Shaw Theatre.

FINDING HOME: THE INTERNATIONAL SCHOOL EXPERIENCE IN TASHKENT

When diplomatic families, international professionals, and global businesses relocate to Tashkent, they discover a city rich in history and opportunity. Among the considerations for these families is finding an educational environment that honours their international perspective while preparing children for an increasingly connected world.

The Tashkent International School (TIS) emerged from this need in 1994, when embassies from the United States, the United Kingdom, South Korea, Germany, and the United Nations recognized the importance of establishing an educational institution to serve their growing international community.

A NATURALLY INTERNATIONAL ENVIRONMENT

What makes an international school authentic? At TIS, the answer lies in the organic diversity of its community. Students representing 47 nationalities learn alongside one another, creating an environment where cultural exchange happens naturally, from classroom discussions to playground conversations conducted seamlessly in English.
The International Baccalaureate framework provides structure to this global learning experience. The IB curriculum supports critical thinking and developing the whole child. TIS students regularly outperform world averages and have been accepted to highly selective universities as well as universities that best fit their needs. The school’s approach emphasizes authentic language development through immersion, where English becomes not just an academic tool but a living language of community and friendship.

Campus facilities reflect the school’s commitment to comprehensive education—purpose-built science laboratories, arts studios flooded with natural light, and athletic fields that host both daily activities and regional tournaments.

LEARNING BEYOND BORDERS

The school’s co-curricular program reflects its students’ diverse interests and ambitions. From Model United Nations conferences where students represent nations they may have lived in, to robotics competitions that showcase innovative thinking, these activities develop skills that extend far beyond any single subject area.

The athletics program brings together students who may speak different languages at home but share a universal love of sport. Recent achievements in regional basketball and football tournaments demonstrate how collaboration transcends cultural boundaries.

A COMMUNITY INVESTMENT

As a non-profit institution, TIS operates on a simple principle: educational resources are invested back into the learning experience. This approach has enabled continuous campus improvements and attracted educators from around the world who are drawn to the school’s mission and international environment.

The college counselling program reflects this investment in student futures, providing personalized guidance that has helped graduates transition to universities across North America, Europe, Asia, and beyond.

LOOKING FORWARD

For families navigating international careers, schools like TIS represent more than educational institutions—they become bridges between cultures and stepping stones to global opportunities. The students who walk these halls today carry with them not just academic credentials, but an understanding of how to thrive in an interconnected world.

Families interested in learning more about the TIS community are welcome to visit and experience firsthand how international education unfolds in Tashkent.

THE END OF MASSIFICATION OF HIGHER EDUCATION IN CENTRAL ASIA AND BEYOND

The two largest Central Asian countries have embarked on a higher education spree. In Uzbekistan since 2020 almost 100 new universities have opened, swelling the number of BA candidates in the country by some 400,000. In Kazakhstan, hardly a week goes by without an announcement from the Ministry of Education ballyhooing the opening of another foreign campus on Kazakh soil. In taking this path, Kazakhstan and Uzbekistan are a bit late to the party, but they are joining a world-wide consensus, shared among students, universities, governments, society, and business, that more BA graduates are a good thing. Nonetheless, there are signs that this consensus is coming apart, and this could lead to serious complications both in Central Asia and beyond.

Image of multiethnic group of young cheerful students standing and waving outdoors. Looking at camera.

THE CONSENSUS. WHY GET A BA?

From a student perspective the incentives look obvious. With a BA under their belt they will likely get a well-paying job (all of which require such credentials). A degree acts as proof of social adequacy and, frankly, will also provide the student with 3 or 4 years to have fun, socializeand develop a sense of self. Moreover, the degree course will usually enable the student to learn to think in deep and complex ways

From a university’s perspective BA students pay the bills, allowing for expansion and more knowledge creation. The best BA students further the university’s knowledge creation functionand loyal and succesful alumni can provide significant resources.

Society and business also benefits – Successful economies need more knowledge workers.

They help to provide social stability – students studying keep young people off the streets during a volatile period of their lives. After graduation they work, have families and pay taxes and some graduates become social, academic, economic and political leaders. Finally, graduates have skills businesses need to expand and grow. They require supplemental training, but if universities didn’t produce graduates, businesses would have to do it themselves at a much higher cost.

WHAT IS UPSETTING THIS CONSENSUS?

The useful half life of the knowledge and skills students get from their BA has been getting shorter, however. If the reason to get a BA from the student’s perspective is about getting a better paid job, the investment of time and money may soon not be worth it. As for credentials, already in the technology/IT world, companies simply do not care whether students have a degree if they can do the work. More frightening, AI is increasingly able to do a satisfactory job filling posts in the knowledge economy. For many graduates there may soon be nothing relevant to do. Only those who enrolled to learn and think deeply about complex subjects who have worked exceptionally hard will be in demand. It is of course possible that AI will create new jobs (as earlier technological leaps did) and this will lead to a demand for a further expansion of the knowledge workforce. But this is not the expectation of those investing billions in AI development.
For students, social adequacy may remain relevant for some time, as there will be a lag between the loss of relevance of the BA and its waning social prestige. But is the ecosystem of the massified university necessary for this? Perhaps there are other ways to provide socialization without the expense of offering degree programs that most students neither need nor want.

Keeping people beneficially engaged, learning skills and not idle is valid but not everyone wants (or needs) a degree. Is there a better way to identify the group of people who can and will benefit without wasting resources on the 85% who never wanted this kind of education but had to pretend they did in order to get the better paid jobs? And how should they be trained? There are university projects in the world, including inVision U in Kazakhstan, trying to answer these questions, but they are few and far between.

Taken together, these factors will likely lead to a reduction of demand among students for BA places, first in countries where costs are paid out-of-pocket, and later where taxes subsidize education if governments perceive that these investments are not producing economically beneficial results.

The consensus will also come under pressure from within universities. Universities are conservative. While they may not love the implications of fewer students, the alternatives appear much worse, so until and unless students begin voting with their feet universities won’t change much. British and American institutions have been hedging against a graduate downturn by exporting excess capacity, but this will not work when students there, too, realize that a BA is no longer a reliable meal ticket. Since most universities can’t attract more serious students, they will likely respond to lower demand by offering shorter and cheaper programs but this will a) cut revenue and lead to fewer faculty and b) begin to cut into the social benefits for students (perhaps the only function universities might be able to fulfill better than anyone else). To survive, universities will need to reinvent themselves to reach different audiences with programs relevant to societies in which AI, overseen by a small and elite cadre of truly brilliant and well-educated humans, does most of the knowledge work.

From society’s perspective, the situation is even more complicated. If an expanding knowledge workforce is no longer needed, what will societies do with upwardly mobile citizens? The problem will be particularly acute where there is a surplus of young people (as in Central Asia). Erstwhile BA students do not want to work as plumbers or farmers but the knowledge economy may not be able to absorb them. Most likely some form of universal basic income will have to be provided to deal with social stability. Perhaps shorter-term programs that produce humans who need to fulfill knowledge-related tasks will grow, but the resources that encouraged the enormous expansion of BA populations will dry up.

But if society is going to invest in the creation a new educated elite, there will be a demand that a much higher percentage of the remaining BA students get a superb education. And business will want an even bigger say in what and how they learn, as they will hire people only when a human can outperform AI.

For Central Asian countries the new normal will be jarring. Significant resources have gone into a robust expansion of mediocre BA-level programs in the hope that new graduates will help lift these countries into the middle-tier of economies. Unfortunately, however, what will likely be needed going forward is not a large group of acceptable BA graduates, but a small number of exceptionally well-trained individuals who can do things AI will, for now, not be capable of. Can these countries shift from quantity to quality? What will happen to the bulge of young people who had hoped to take their place in the ranks of high earning knowledge workers?

by Andrew Wachtel, President, inVision U

TURKMENISTAN PURSUES COOPERATION WITH EUROPEAN EDUCATIONAL INSTITUTIONS

As part of the development of international cooperation in the field of higher education, Turkmenistan participated in the Education World Forum on May 18-21, 2025 in London. This is an annual gathering of ministers, deputy ministers and other high-level education officials from more than 100 countries.

According to the Turkmen Ministry of Education, a Turkmen delegation, led by Deputy Minister of Education Azat Atayev, took part in the forum’s plenary sessions and bilateral meetings aimed at expanding international educational cooperation and exchanging best practices amid the digital transformation of education.

The Turkmen delegation met with the Organization for Economic Co-operation and Development (OECD) representatives to discuss prospects for cooperation in education-quality assessment. The Turkmen side confirmed that PISA goals have been incorporated into the Concept for Improving Teaching Methodology for General-Education Programmes in Turkmenistan until 2028. The parties agreed to explore ways for Turkmenistan to study PISA methodology with OECD methodological support.
A working meeting was also held with representatives of Times Higher Education (THE), the international university-ranking agency. The discussion focused on developing the global academic profile of Turkmen universities. THE experts shared analytical materials on universities impact on economic and human-capital development and proposed an online workshop for Turkmen institutions on improving their positions in international rankings.

Turkmenistan has taken significant steps to bolster educational collaboration with Great Britain. In March 2025, the British Embassy in Turkmenistan celebrated the successful completion of the British Council’s Accelerating English Language Learning in Central Asia (AELLCA) project at the Dovletmammet Azadi Turkmen National Institute of World Languages. The project was funded by the UK Government and implemented by Nottingham Trent University.

At the closing ceremony, the British Ambassador, Stephen Conlon noted that educational cooperation between the United Kingdom and Turkmenistan has been steadily progressing, with significant achievements since last year. According to the British Embassy, the event showcased the remarkable strides made in English Language Teaching (ELT) at the Dovletmammet Azadi Turkmen National Institute of World Languages. The Ambassador presented teachers with well-deserved certificates from Nottingham Trent University, recognizing their dedication and hard work.

As part of the project, the British Council also arranged study visits to the UK for members of the Dovletmammet Azadi Turkmen National Institute of World Languages and the International University for Humanities and Development, to enhance their understanding of school-based continuing professional development practices.

An important part of educational cooperation between Great Britain and Turkmenistan is the Chevening Scholarship Program, which supports Turkmen students pursuing graduate studies in the UK. For the 2024/25 academic year, twelve Turkmen citizens were awarded Chevening scholarships.
Turkmenistan has also established cooperation with universities from other European countries. From June 1-12, a delegation of the Oguz Khan University of Engineering and Technology of Turkmenistan visited the Technical University of Graz, one of Austria’s leading higher education institutions in the fields of engineering and technology, natural sciences, precision and biomedical sciences, the electronic newspaper Golden Age reported.

The purpose of the visit was to evaluate joint research activities and discuss further plans for cooperation between the two universities. During the visit, teachers and students of the Oguz Khan University and the Institute of Electronics at the University of Graz conducted scientific research in areas related to measuring electric and magnetic fields at close range, measuring electromagnetic radiation emitted by electronic devices of various geometric shapes, as well as antenna design and measurements in this field. In May, a meeting with representatives of the University of Le Havre (France) — Vice President Jean-Nicolas Castorion and Director of International Relations P. Barthelemy — was held at the Magtymguly Turkmen State University in Ashgabat.

According to the Turkmen Ministry of Education, the parties discussed priority areas of cooperation, noting that in different years, along with other foreign languages, the Turkmen State University trained highly qualified specialists in French language and literature.

by Sergey Khvan

CULTURAL RENAISSANCE IN CENTRAL ASIA: TOLIBKHON SHAKHIDI AND THE TRANSFORMATION OF MUSIC EDUCATION

In recent years, Central Asia has experienced not merely a surge of interest in music, but a cultural renaissance in which music itself becomes a pivotal element in educational reform, social transformation, and soft power projection. At the heart of this process lies not only the revival of genres once confined to folklore, but also a new institutional framework designed to bring academic rigour to musical art and expand its international presence.

Traditional genres such as shashmaqam which is a six-mode classical system of Uzbekistan and Tajikistan, painstakingly revived after decades of neglect and the celebratory “toy” music, dutar and dombra, are once again gaining recognition thanks to the concerted efforts of both state and private cultural organisations. Among the most significant developments is the emergence of structures capable of systematically teaching, preserving, and promoting this music. One of the most prominent initiatives is the Aga Khan Music Initiative, launched in 2000 to preserve the living musical heritage, introduce masterclasses, document traditions, and foster the dissemination of traditional repertoires – all while maintaining a modern, professional approach with academic precision.

Investment in masterclasses, festivals, and educational programmes, from ustad-shagird (master-apprentice) schools to more technology-driven initiatives has created a platform for sustainable growth. Notable examples include the Aga Khan-funded ensembles of veteran performers, joint recordings with Smithsonian Folkways, and the ten-volume anthology of Central Asian music. Simultaneously, festivals such as Sharq Taronalari in Samarkand have leveraged the region’s potential, transforming historical memory into a driver of cultural tourism and international cooperation.

The development of musical education is progressing in parallel. Conservatories in Kazakhstan, Uzbekistan, and Tajikistan are implementing new courses that bridge folk traditions with academic technique, as well as forming international exchange programmes. Crucially, tangible results are emerging as students are mastering not only the dutar, dombra, or shashmaqam, but also skills in score analysis, ensemble performance, and orchestral practice.

Tolibkhon Shakhidi stands out as a particularly compelling example of successful integration of these models. Born in Dushanbe in 1946, he is a graduate of the Moscow Conservatory, where he studied under Aram Khachaturian, whose famous inscription-“Tolib, your time is precious”- became a guiding principle of his career. His music, which blends Eastern modal traditions with Western orchestral discipline, embodies the cultural synthesis at the heart of today’s renaissance.

Shakhidi’s participation in international festivals and his educational initiatives offer a vivid illustration of this trend. He performs on academic platforms, conducts lectures and leads masterclasses, maintaining generational continuity and transmitting the ustad-shagird heritage to future musicians. At the same time, his involvement in film (including the Georges Delerue Award for his soundtrack to Two-Legged Horse, 2008) enhances the region’s cultural diplomacy through media.

It is important to emphasise that this cultural renaissance is not an episodic surge of nostalgia, but rather a strategic, integrated development model that encompasses educational modernisation, international exchange, and the growth of cultural tourism. Music festivals attract foreign experts and tourists, creating conditions for new partnerships and blended funding mechanisms, both grant-based and commercial.

While precise economic indicators remain difficult to quantify, the renewed interest in music positions Central Asia as a proving ground where cultural competitive advantage directly intersects with educational appeal and the region’s brand image. The model practised by institutions like the Aga Khan Music Initiative and by artists such as Shakhidi demonstrates a strong cohesion of craft and tradition, academic rigour and innovation, local colour and global platforms. Such synergy ensures a lasting impact across the educational landscape, in international visibility, and, ultimately, in regional economies.

Today’s musical renaissance in Central Asia represents a systematic cultural and educational movement that brings together heritage and innovation. At the forefront of this process are the artists, educators, and institutions whose coordinated efforts are shaping a new trajectory of development which is culturally, academically, and strategically significant for the region. The example of Tolibkhon Shakhidi – striking but by no means isolated – shows how one individual and their platform can become a catalyst for transformative change, creating a resilient, scalable model of cultural development and educational capacity.

BRIDGING CULTURES, BUILDING FUTURES: THE BRITISH COUNCIL IN KAZAKHSTAN

BRIDGING CULTURES, BUILDING FUTURES: THE BRITISH COUNCIL
IN KAZAKHSTAN

For over three decades, the British Council has played a key role in strengthening the relationship between the United Kingdom and Kazakhstan. As the UK’s international organisation for cultural relations and educational opportunities, it connects people and institutions, promotes mutual understanding, and contributes to Kazakhstan’s aspirations. Its work across English language, arts, higher education, and exams is designed to deliver long-term impact at multiple levels.

Kazakhstan’s goal to be among the world’s top 30 economies by 2050 places human capital at the centre of its development. The British Council aligns with this ambition, working alongside government bodies, educational institutions, and the creative sector to enhance learning, innovation, and international collaboration.

ENGLISH FOR A GLOBAL FUTURE

English is a vital skill for international cooperation, business, and education. Recognising its strategic importance, Kazakhstan has placed a strong emphasis on English language learning across its education system. The British Council contributes to this goal through policy advice, training, and a wide range of initiatives that strengthen the quality of English teaching and learning across the country.

One key initiative is the collaboration with the Ministry of Education of Kazakhstan to enhance English teacher training. A specialist expert working group of Educators from across Kazakhstan has been researching and producing recommendations to bolster high-quality Continuing Professional Development (CPD) programmes, to help equip teachers with ongoing training and adapted systems. Ultimately this aims to improve teaching and learning at large scale.

TeachingEnglish is the British Council’s platform for English teachers and teacher educators. It offers free lesson plans, professional development courses, webinars, podcasts, and research insights. For teachers at all career stages, this huge resource helps teachers build skills and connect with peers worldwide. It is accessed by tens of thousands of English teachers in Kazakhstan every year.

The British Council also delivers internationally recognised English assessments. IELTS, one of the most trusted qualifications for academic and professional mobility, is offered in 12 cities, with plans for further expansion in 2025–26. Tens of thousands of exams are delivered annually, supported by a growing network of registration and delivery partners. Other exams include APTIS, which is used by institutions for benchmarking English levels, and a range of professional exams, such as ACCA qualifications.

Supporting growth and quality in Higher Education
With transnational education a national priority, the British Council has helped establish over 30 partnerships between Kazakhstani and UK universities since 2022. These collaborations are enabling the development of dual degrees, joint research projects, and new approaches to inclusive education.

A further key initiative is to work alongside the Ministry of Science and Higher Education to build a strong framework for Quality Assurance for UK – Kazakhstan international partnerships. A framework which is shared across Higher Education in both countries will facilitate the implementation of university partnership working in future, making systems, processes and standards clear for all.

The British Council also promotes opportunities for individual learners. Since 2022, sixteen Kazakhstani women have received prestigious Women in STEM scholarships, enabling them to complete Masters degrees in the UK in fields such as engineering, energy, and information technology. A further important strand of work is connecting and supporting UK Alumni, through the annual Study UK Alumni Awards and alumni events held through the year.

The Creative Economy: A platform for exchange
Culture and creativity are powerful drivers of connection and innovation. In Kazakhstan, the British Council works with artists, institutions, creative entrepreneurs, and decision-makers to enhance skills, build professional networks, and encourage international exchange.
Through festivals, exhibitions, exchange programmes and conferences, British and Kazakhstani creatives are brought together, enabling dialogue and shared skills and experiences.

The Creative Economy programme in 2025–26 also aims to strengthen the capacity of Kazakhstan’s cultural sector by offering training and networking opportunities for creative entrepreneurs. The creative industries are a growing driver of economic development, and the British Council supports initiatives that enable entrepreneurship in this sector. Through training, conferences and international exposure, Kazakhstani artists and cultural professionals are empowered to develop sustainable careers while contributing to the national creative economy.

A PARTNERSHIP FOR THE FUTURE

As Kazakhstan continues its journey of growth and transformation, the British Council remains a key partner, ensuring its work aligns with national priorities, contributing meaningfully to education, economic growth, and cultural enrichment.

By investing in people – from teachers, academics and education leaders to creative professionals and entrepreneurs, the organisation plays a role in building a future where knowledge, creativity, and collaboration are key drivers of success. Through education and culture, the ties between Kazakhstan and the UK continue to grow.

Kazakhstan’s potential is vast, and its aspirations are bold. The British Council’s commitment to this dynamic nation is a testament to the enduring power of international cooperation and cultural exchange in shaping a shared and prosperous future.

by Robert Taylor,
Country Director of the British Council Kazakhstan,
MSc. in Organizational Psychology, member of the British Psychological Society, the European Academy of Occupational Health Psychology, and the International Society for Coaching Psychology

IT’S NONE OF YOUR BUSINESS!

CHALLENGES OF BUSINESS EDUCATION
IN UZBEKISTAN: A SYSTEMIC ANALYSIS
AND MODERNIZATION STRATEGIES

There are many challenges in business education within Uzbekistan, including outdated curricula (only 15% updated annually), a shortage of instructors with practical business experience (25% compared to 60% in OECD countries), language barriers (92nd globally in English proficiency), and regional disparities (60% of universities concentrated in Tashkent). Drawing on data from the World Bank, UNESCO, and Uzbekistan’s State Statistics Committee, the study proposes solutions such as integrating dual education models, digitizing academic processes, and fostering university-business partnerships. Special attention is given to successful collaboration cases in Uzbekistan, including the Asian Development Bank’s $100 million educational modernization project and initiatives with IT-Park Uzbekistan.

Business education serves as a critical driver of economic growth as Uzbekistan transitions to a market-based economy. Despite an increase in the Human Development Index (HDI) to 0.727 (2022), the current system of professional training lags labor market demands. Out of 142 universities, only 30 offer management programs, while 70% of employers rate graduates as insufficiently skilled (Uzbekistan Chamber of Commerce and Industry, 2023). Addressing these gaps requires synthesizing global best practices with localized initiatives.

Key Challenges in Business Education:
Data-Driven Insights
Outdated Curricula and Lack of Practice-Oriented Training
85% of programs exclude modules on digital transformation or Big Data analysis (World Bank, 2023).
Example: At the Tashkent Financial Institute, 80% of courses remain theoretical.
Faculty Shortages
Only 12% of MBA instructors hold international certifications (CIMA, PMP).
Regional Disparities
In Samarkand, one university serves 450,000 residents, compared to 120,000 in Tashkent (State Statistics Committee, 2024).
Limited Business Integration
Just 18% of universities maintain long-term agreements with companies (UNDP, 2023).

University-Business Collaboration: Global Models and Local Adaptation
Global Case Studies
Germany: Volkswagen’s dual system ensures 80% employment of graduates at partner enterprises.
USA: MIT and Microsoft’s partnership has led to 30% of student projects being commercialized.

Uzbekistan: Initial Steps
ADB Project: Since 2023, $100 million has funded Entrepreneurship Centers at universities. The National University of Uzbekistan now offers internships at banks like KapitalBank.
IT-Park Uzbekistan: Annual joint courses in digital marketing train over 500 students.
Case Study: Inha University in Tashkent collaborates with Uzum on FinTech student projects.

Recommendations
Implement Dual Education Models
Pilot program at Andijan Mechanical Engineering Institute with UzAuto Motors: 20% of study time allocated to factory internships.
Digitize Education
EduHub.uz platform (EBRD-supported) aims to cover 50 universities by 2025.
Incentivize Business Partnership
Tax breaks for companies investing in universities (modeled after Kazakhstan’s success, which saw a 25% rise in partnerships within two years).

Modernizing business education in Uzbekistan demands systemic reforms: updating curricula, integrating business expertise into course design, and expanding regional infrastructure. Successful collaborations (e.g., ADB, IT Park) demonstrate the potential of the “university-enterprise” model, warranting broader implementation.

References
World Bank. Report “Doing Business 2023.”
State Committee of the Republic of Uzbekistan on Statistics. Educational Statistics, 2024.
UNDP. “Human Capital Development in Uzbekistan,” 2023.
Official ADB Documents on Education Modernization Projects.
Uzbekistan Chamber of Commerce and Industry. “Employers and Graduates: Bridging Competency Gaps,” 2023.

Note: All statistical data are updated as of 2023–2024.

by Timur D. Yadgarov, PhD in Economics, Chairman of Experts Board, National Assessment Center, Tashkent, Uzbekistan

Khasanmansur T. Yadgarov, PhD Student, Project manager, National Assessment Center, Tashkent, Uzbekistan

CAN PARTNERING REALLY UNLEASH CENTRAL ASIA’S TALENT?

Challenges and Opportunities in Establishing International Partnerships Among
Central Asia’s Educational Institutions

Central Asia, an area abundant in history and cultural variety, stands at a critical juncture in its educational progress. Central Asia, which includes countries like Kazakhstan, Uzbekistan, Kyrgyzstan, Tajikistan, and Turkmenistan, is seeing its education systems adapt to historical influences and contemporary needs. This article examines the present condition of education in Central Asia, the difficulties encountered by the region, and the prospects for development.

Education System in Central Asia

Education systems across Central Asia—shaped by Soviet pedagogy and post-independence reforms—operate on a standardized 12-year framework, featuring state-funded compulsory education for ages 6–18 (primary and secondary) that achieves near-universal youth literacy (98.2% regionally, UNESCO 2023). While all five nations guarantee this foundational access, Soviet-era teaching methods persist through rigid teacher-centred instruction, though Kazakhstan (since 2015) and Uzbekistan (since 2017) now integrate competency-based curricula. Higher education reveals stark regional disparities: Kazakhstan leads with 125+ institutions (35 public), investing 4.1% of GDP ($2.8bn/year) to achieve 45% tertiary enrolment among 18–24-year-olds, while Uzbekistan shows rapid growth—27% more universities since 2019—reaching 28% enrolment with 2.9% GDP investment. Conversely, Tajikistan and Turkmenistan struggle with severely limited infrastructure (25 institutions total), chronic underfunding (1.5% GDP), and enrolment below 18%, exacerbated by Turkmenistan’s isolationist curriculum and Tajikistan’s rural access gaps where only three universities exist outside Dushanbe. Kazakhstan’s global integration is evidenced by 75+ international partnerships (notably Nazarbayev University), contrasting sharply with limited foreign affiliations elsewhere. Systemic challenges include brain drain (42% of Tajik STEM graduates emigrate, ILO 2022) and urban-rural divides—78% of Kyrgyzstan’s universities cluster in Bishkek, creating a 5:1 admission disadvantage for rural students—while gender gaps persist in Tajikistan (female tertiary enrolment: 13% vs. male 22%).

Current Challenges in Central Asian Education:

Although advancements have occurred, the educational systems in Central Asian countries encounter numerous difficulties. A significant concern is the standard of education. Numerous institutions are short on contemporary facilities, revised curricula, and skilled educators, which can hinder the progress of education over time. In nations such as Uzbekistan, efforts are being made to update the education system, although the speed of transformation differs greatly throughout the region as well as other factors, such as access to educators.

Another major issue is the alignment of curricula with the job market. Numerous graduates feel unready for the challenges of the job market, resulting in elevated unemployment rates among youth. The gap between education and employment is a crucial matter that Central Asian nations must tackle to guarantee that students develop the skills required in the current competitive job market.

Moreover, socio-economic elements like poverty, political turmoil, and insufficient funding for education intensify the difficulties encountered by the region. In rural regions, the availability of quality education is especially restricted, with numerous children unable to go to school because of financial difficulties or insufficient transportation.

Establishing international partnerships among educational institutions in Central Asia presents both opportunities and challenges. While the region holds significant potential due to its strategic location, rich cultural heritage, and youthful population, several obstacles hinder smooth collaboration. Here are the key challenges:

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

EDUCATING ONE HALF OF THE NATION
THE ECONOMIC CASE FOR WOMEN’S ACCESS TO UNIVERSITIES

In the classical culture of the East, the image of an educated woman has always been held in high esteem. She could write poetry, engage in philosophical discussions, teach or heal – and be a true cornerstone for her family and society. Yet in recent years, certain countries in Central Asia have seen a worrying turn: under the growing influence of Islamisation, women’s education is increasingly viewed not as a necessity, but as a luxury.
It is precisely now that we must take the time to analyse how the rise of religious conservatism in Central Asia is affecting women’s access to education and the future of entire generations. This is not a critique of religion. On the contrary, in Islam the pursuit of knowledge is one of its fundamental values. However, interpretations that have become popular in conservative circles are increasingly distancing young women from university classrooms – and, along with that, from equal opportunities for the future.

The university is closed? Then the road to progress is closed for the entire country

“You’ll be staying at home anyway – why would you need a diploma?” – such phrases are increasingly heard in villages and small towns across the region. According to the World Bank (2022), the proportion of women among university students has been declining in several Central Asian countries in recent years. This trend is particularly noticeable in rural areas where conservative norms are strengthening. Girls are more often steered towards early marriage and domestic responsibilities, under the guise of restoring a patriarchal family model seen as essential to strengthening the state. Global statistics, however, tell a different story: when the share of women with higher education declines, it affects the entire economy, as the lack of qualified personnel – especially in medicine, education, science and entrepreneurship – slows down the development of entire sectors.

Women are not only part of the labour force, but also a source of innovation, academic thought, and nuanced understanding of social dynamics. And when a girl does not make it to university, the country loses not just a future specialist, but also the potential transformations her work could bring.

During the Soviet period, women in Central Asia had equal access to professions, studied at technical universities and often held leadership positions. Today, according to the International Labour Organization (ILO), the situation has changed: women are more frequently employed in low-paid and informal sectors, face restrictions in career choices, and earn less than men with equal qualifications. In countries where social conservatism is gaining ground, these disparities are becoming the norm, while state policy often fails to keep up with new challenges. And not only because of the absence of women themselves, but also because of the effects of raising boys in such environments.

Mother, book and future

But the consequences are not always immediately visible. They unfold over decades – across generations. UNICEF research shows that up to 90% of a child’s neural connections are formed in the first six years of life. And the main facilitator of this process is the mother.

If a woman is denied proper education, if her horizons remain narrow, if she does not engage in meaningful conversations with her child, the child grows up in an environment where knowledge is replaced by routine and emotional intelligence remains underdeveloped. The child learns to repeat, but not to ask questions. To obey, but not to dream. And this is no longer the problem of a single family – it is the problem of an entire nation’s future. Often, replacing a child’s cognitive development with a focus only on physical care (being fed, clothed and healthy) leads not only to a decline in intellectual abilities, but to a tendency to resolve conflict through force, simply because alternative intellectual resources are lacking. In other words, this results in increased levels of domestic violence and criminality.

Jobs exist – but wages do not

Limited access to education is only the first rung of the social ladder. The next is the labour market. Here too, women face barriers: a limited range of professions permitted by religion, low pay, and restricted opportunities for career advancement. Even with equal qualifications, as the ILO report shows, women in the region earn 25–30% less than men. The issue lies not in ability, but in the system.

While during the Soviet period women could be engineers, doctors, pilots and professors, today many receive social or familial prohibitions on working in roles that involve interacting with unfamiliar people, especially men, or face social condemnation if circumstances compel them to do so. At the same time, they often lack both the qualifications and the time for remote work, due to domestic responsibilities.
Religion is not the enemy. Ignorance is

Talking about Islamisation must be done with care. The issue is not faith itself – Islam, from its earliest days, has championed the pursuit of knowledge. Great women of the Islamic world – Aisha, Rabia al-Basri, Fatima al-Fihri, and during the Soviet period, Tursunoy Akhunova, Safo Umarova, Zulfiya and many others – left behind formidable legacies.

The problem arises when faith becomes a tool of suppression. When books, conversations and freedom of choice are banned in the name of “tradition.” When a woman is denied a voice simply because she might say something “unnecessary.”

But in those same Central Asian countries, other examples are emerging – religious leaders opening schools for girls, educators combining Islamic values with modern teaching methods, families who encourage their daughters to pursue higher education not despite their traditions, but because of them.

What can be done?

There are many possible solutions – and they do not require revolutions. We need support programmes – scholarships and women’s universities, mentorship projects, dialogue with parents. We need teaching staff willing to work in rural areas. We need public campaigns that show how women, while maintaining their identity, can achieve professional success.

It is essential that traditions are not set in opposition to modernity, but rather complement it. That a girl in a headscarf can hold a book just as confidently – or a microphone at a conference. That the question “Why do you want to study?” turns into “What do you want to learn?”

It is impossible to build a prosperous society while denying half its citizens the right to develop. Women’s education is not a threat to culture. It is its continuation, its renewal, and its future. The greatness of a nation begins not with wealth, but with the breadth of thought. And breadth comes only through learning, dialogue and freedom of choice.

by Taina Kaunis

FROM ERRORS TO INNOVATIONS: HOW KYRGYZSTAN IS RESHAPING EDUCATION

Since gaining independence, the countries of the post-Soviet space have focused significant attention on finding and building an optimal strategy for developing their education systems. Dastan Bekeshev, Member of the Jogorku Kenesh (Parliament) and Deputy Chairman of the Budget Committee of the Kyrgyz Republic, spoke with OCA Magazine about the main challenges and achievements on this path.

OCA Magazine: In your opinion, what unique characteristics does the education system of the Kyrgyz Republic possess, distinguishing it from other post-Soviet countries?

Dastan Bekeshev: After gaining independence, the CIS countries sought to reform their education systems to adapt to market-based economic relations. The Kyrgyz Republic was no exception. We faced the challenge of publishing our own textbooks, creating our own education model, and placing particular emphasis on studying our native language. However, it must be said that the reforms in education, largely financed by international donors, did not yield significant results. We developed our own school textbooks and established national education standards, but these textbooks were often copied from Russian editions and simply translated into Kyrgyz. They were published with numerous errors, leading to criticism from parents. In terms of understanding and perception, these textbooks proved unsuitable, as they were written in overly complex language and failed to impart practical skills.
Textbooks became a business opportunity for many entrepreneurs, while the government could not provide them to all students. At the same time, teachers were, and still are, paid a demotivating salary—one so low that it discourages them from upgrading their qualifications. Their heavy workload leaves them occupied from morning till night with paperwork and routine tasks.

These circumstances led to the poor results of Kyrgyz schoolchildren in the 2009 PISA assessment. Now we are undergoing this assessment again, and I hope the reforms undertaken recently will yield positive outcomes. The situation has started to change, with teacher salaries being discussed at the highest level, and the Cabinet of Ministers is looking for resources to increase them in 2026. The 2023 increase was overshadowed by high inflation. Furthermore, textbooks are being revised, and Singapore’s education system has been taken as a reference point. We are no longer simply translating or copying textbooks—we are adapting them to our reality. From this year, teachers will be provided with laptops to ease their workload, and artificial intelligence will start assisting with lesson planning. The Ministry of Education is also discussing a new document that significantly reduces the reporting burden on teachers. However, problems with infrastructure remain and there is a shortage of kindergartens and schools. We still lack a significant number of school facilities.

OCA: What achievements and challenges do you see as key for education development at this stage?

DB: One achievement is that there are increasingly more resources being allocated from the republican budget to education. Within its financial capacity, the Cabinet of Ministers has begun investing in the education sector. Currently, the goal has been set to move to a 12-year school education system, which in turn will require even more financial investment and efforts to improve teacher qualifications. This year marks the start of the transition to 12-year schooling and the updating of textbooks, but our schools are not yet ready. Classes are already overcrowded, and this transition will place even greater demands on existing infrastructure.

The development of artificial intelligence may help ease the load and orient school education towards a more individualised approach. The Minister of Education understands the current global trends and is already trying to integrate AI into the curriculum. As a parliamentarian, I also encourage the Minister to use AI in schools and to teach the essential life skills that are most needed.

OCA: What are the main trends you see in the transformation of the education system, and what might they lead to in 10 years’ time?

DB: With the rise of artificial intelligence, which is influencing every sphere of life, including education, it is difficult to make precise predictions for the next 10 years. However, one thing has become clear: we must provide knowledge not only based on market demand, but also on the broader goals of the country’s development. Kyrgyzstan needs to strengthen its human capital, which has been significantly depleted over the years. We must train specialists in mining, agriculture, medicine, and information technology—areas that are crucial for the country’s development.

OCA: How does Kyrgyzstan envision the development of international cooperation in education? What factors could facilitate or hinder this?

DB: Kyrgyzstan aims to swiftly absorb the experience of developed countries. Undoubtedly, we would like to collaborate with leading universities, education experts, governments, and companies willing to share their expertise.

MOLDOVA IS LEARNING

The path taken by the Republic of Moldova in developing its education system differs significantly from that of other post-Soviet countries. Here, reforms were neither radical nor rapid — yet it is precisely this gradual approach that has allowed Moldova to shape a model combining Soviet-era legacies, European benchmarks, and distinct national features. However, despite a number of notable developments and original solutions, the Moldovan experience remains largely underexplored and scarcely represented in the international discourse on education. It is rarely written about, seldom included in comparative studies, and almost never cited as an example. Yet a closer look at this system could offer valuable insights — not only for researchers, but also for education practitioners in other parts of the world.

The Republic of Moldova traces the beginning of its modern statehood to 27 August 1991 — the date of its declaration of independence from the Soviet Union. Every era has its own goals and challenges, and the education of new generations is a crucial part of achieving them. The newly formed state required a new educational system, though in many ways it inherited the structure of the previous one.

Today, education in Moldova is mainly state-funded. As elsewhere, it follows the stages of growing up: home-based care from birth to the age of 2–3, then nursery school is possible; from the age of 7 — general education, which is mandatory under the Constitution of the Republic. From years 1 to 4 is primary school with a 3-point grading system, years 5 to 9 — the gymnasium stage with a 10-point grading system, and after that the state attempts to align education with the choice of a future profession.

One can continue studies in the same school during the lyceum cycle (years 10 to 12), and afterwards — upon passing final exams — study at a university, or obtain practical training in a vocational school or college, which today are called Centru de Excelență (Centres of Excellence), for example, in energy and electronics, where study may last one to three years longer.

At the end of this educational path, lyceum pupils (and students at colleges and vocational schools after the third year) take the baccalaureate exam, which also serves as a qualifying grade for university entrance.
In total, students take five exams:

the national language and literature (today called the Romanian language),
the language of instruction (which may be Romanian, Russian, Ukrainian, Bulgarian, English or Gagauz),
a foreign language (usually English, French, German, Turkish or Italian),
mathematics (for science-focused profiles); history or geography (for humanities); specialised subjects for sports or arts profiles,
an elective subject related to the chosen university profile — biology, chemistry, physics, geography or history (for science students), or informatics, mathematics (for humanities students).

During Perestroika and in the years immediately following, nearly all graduates aspired to reach year 10 and enrol in a Moldovan university. Today, however, that tendency has been replaced by the desire to find employment as soon as possible — and then see what happens. Nowadays, wealthy parents and ambitious students prefer universities abroad: in Europe, Asia, or Russia. But many secondary-school graduates do not even seek to enter the lyceum — not so much for education, but to “extend childhood”.

As a result, the number of private universities, which mushroomed in the 1990s, has shrunk to just four by the first quarter of the 21st century. In 2024 alone, four private universities ceased to exist. Sadly, in this agricultural country, 2023 saw the closure of the Agrarian University, whose faculties were absorbed by the Technical University of Moldova.

In total, for the 2024/25 academic year, Moldova has 16 higher education institutions: 12 public universities — 8 of them located in the capital, Chișinău, and one each in Bălți, Cahul, Comrat and Taraclia — and 4 private universities, also based in Chișinău. This is five fewer than the previous year, since, as noted, one public university was merged into another. (Statistics do not account for universities in Transnistria.)

However, according to the latest data from the Statistics Bureau, the number of students in Moldova increased in the 2024/25 academic year — primarily due to foreign students. For example, a large group of Indian students is currently studying at the Medical Institute.
At the same time, the number of students at public universities increased by 5.4%, while in private universities it fell further — by 1.3%.

Full-time education prevails in public institutions, whereas in private ones, part-time study is more common. Overall, 63% of students study full-time, while almost 37% study part-time. Less than 1% of students this year are taking courses through distance learning — a format that is gaining popularity.

Among the most sought-after academic disciplines are business, administration and law — attracting 41% of students. The least popular areas are agriculture and forestry, aquaculture, veterinary studies, natural sciences, mathematics and statistics — with just over 1% of students enrolled.

Many of the problems faced by pupils are linked to the shift in focus within primary education: children are now expected to work more independently, to search for sources of information and draw conclusions — all before acquiring the basic knowledge such analysis requires. Or, conversely, they are asked to accept ideologically slanted narratives that may contradict the values of their families — creating mistrust toward the educational process at too early a stage in their cognitive development.

Until quite recently, the authority of the teacher — particularly in rural areas — was extremely high. But in recent decades, especially in urban settings, the internet has transformed education into a trend-driven activity. Still, as the proverb goes, “learning is always useful”.

Marina Podlesnaya, Writer, public figure, museographer at the A.S. Pushkin House Museum, historian, Master of Philology

THE PARADOX OF INNOVATION DEVELOPMENT IN POST-SOVIET REPUBLICS

In recent years, there has been increasing discussion about the development of an innovation-based economy, about how to increase the share of high-tech products in GDP, raise labour productivity, turn knowledge into money and elevate the economy to a new level. One might think, what could be simpler? After all, science and innovation are indeed the most important drivers of economic growth. However, if one takes a closer look at the countries of the former USSR, the situation turns out to be far from straightforward and linear.

Many post-Soviet republics actively declare their commitment to innovation, but in practice, the knowledge intensity of their economies remains extremely low. Paradoxically, even with chronic underfunding of science, economic growth in a number of countries continues — which at first glance seems puzzling. Why does this happen and how can this phenomenon be explained?

In the Soviet Union, science and technology were a national priority. By the late 1980s, the USSR employed about 1.5 million scientific staff — almost a quarter of all scientists in the world. Thanks to these investments, the Soviet Union was able to compete with the USA in the most advanced fields: nuclear energy, space exploration, physics, mathematics, biology and others. After the collapse of the USSR, it seemed that each republic would at least retain part of its scientific potential, develop it and use it as a basis for an innovation breakthrough. But things turned out differently.

Most countries in the region have sharply reduced their spending on science, and the share of R&D in their GDP does not exceed 0.2–0.3%. Even in Russia, despite its scale and economic ambitions, this figure does not reach 1.1%. Only certain sectors, such as the aerospace industry or nuclear energy, stand as exceptions. In Belarus, over the past three decades, the number of scientific personnel has decreased from 70,000 to less than 27,000. The average age of researchers has increased, and a significant proportion of doctors of science have passed the age of 70. The economy effectively continues to rely on the achievements and groundwork established back in Soviet times.

So how is it that under such conditions some countries still manage to show economic growth? The answer lies in the effect of “deferred investments” in science and human resources made during the Soviet era. These investments are still yielding results today — for example, Nobel Prizes awarded for discoveries whose roots trace back to the Soviet period: quantum dots, graphene, achievements in physics and chemistry. But it is important to remember that this resource is gradually being depleted. The potential of the old scientific school is declining, and new investments are often too modest to compensate for the losses.

The charts and diagrams presented in the article clearly show that, for example, in Belarus, GDP is demonstrating steady growth, while the share of high-tech sectors in its structure continues to decline. This breaks the familiar model: “the more science, the higher the economic growth.” Does this mean that science is no longer important? Absolutely not. In fact, it merely proves that at the current stage of economic development, other factors are starting to play a decisive role: the institutional environment, political stability, social policy, effective allocation of resources and personnel policy.

Belarus demonstrates an important feature: even with minimal funding, science is still able to support the economy thanks to the groundwork laid in the Soviet era. However, this trend is not endless. To move forward, countries need new investments, support for young researchers, modernisation of scientific infrastructure, and increased international cooperation. Without this, the “deferred effect” will stop working, and countries will face an acute shortage of technology, a brain drain, and a decline in competitiveness in the global market.

The experience of the post-Soviet republics shows that supporting science is not just a line in the state budget, but a strategic investment in the future. Every decision in this area affects growth rates, living standards and the country’s position in the global economy. And the sooner politicians and businesses understand this, the greater the chances of preserving and multiplying the legacy rather than squandering it to the end.

Alexander Kozlov,
Candidate of Economic Sciences, Associate Professor,
Deputy General Director of the State Scientific and Production Association “Scientific and Practical Centre of the National Academy of Sciences of Belarus for Materials Science” for Economics and Production, Minsk.

BRIDGING CONTINENTS A COMPARATIVE LOOK AT EDUCATION DEVELOPMENT IN EAST AFRICA AND CENTRAL ASIA

Education remains a cornerstone of national development, social equity, and economic growth. While East Africa and Central Asia are separated by geography and history, their education systems reveal striking parallels in challenges, reform efforts, and aspirations. As both regions strive toward achieving Sustainable Development Goal 4 – a quality education for all – they are navigating a complex mix of inherited legacies, limited resources, and shifting societal needs.

East Africa’s education system, shaped by British colonial rule, has evolved through decades of policy reform and expansion. Countries like Kenya, Uganda, and Tanzania have achieved near-universal primary enrolment, yet secondary and tertiary education remain out of reach for many. Similarly, in Central Asia, the remnants of the Soviet education mode – once considered robust and uniform – have undergone significant transformation since the 1990s. Nations such as Kazakhstan, Kyrgyzstan, and Uzbekistan have embarked on reform journeys to modernize outdated curricula, decentralize education governance, and boost access to higher education.

Despite different origins, both regions face common hurdles. Rural-urban disparities are pronounced, with infrastructure gaps, overcrowded classrooms, and undertrained teachers more prevalent in remote areas. Gender inequality also persists, especially among pastoralist communities in East Africa and in conservative parts of Central Asia. Moreover, language continues to pose a challenge – whether it’s harmonizing local languages with English in East Africa or balancing Russian and native tongues in Central Asia.

To address these issues, both regions are embracing innovation. East Africa has seen a surge in mobile learning platforms, particularly in Kenya and Rwanda, where students in remote areas access lessons via SMS or radio. Meanwhile, Central Asia is integrating technology through initiatives like Kazakhstan’s digital schools and Uzbekistan’s online education hubs. Public-private partnerships are flourishing, with non-governmental organizations and international donors playing a vital role in building schools, training teachers, and enhancing vocational education.

Another shared concern is the disconnect between formal education and the labour market. Youth unemployment remains high, even among graduates, in both regions. In response, there is a growing focus on Technical and Vocational Education and Training (TVET), aimed at equipping young people with practical skills and entrepreneurial mindsets. Efforts in Uganda and Tanzania to revamp vocational institutions mirror similar developments in Kazakhstan and Kyrgyzstan.

Global cooperation also features prominently. Central Asia benefits from European Union-supported education platforms, while East Africa collaborates under the East African Community’s educational frameworks. Both regions align their strategies with UNESCO guidelines and frequently exchange expertise with international partners.

Encouragingly, success stories are emerging. Rwanda’s nationwide shift to digital learning and Kenya’s new competency-based curriculum reflect bold steps toward future-ready education. Likewise, Uzbekistan’s liberalization of higher education and Kazakhstan’s Nazarbayev Intellectual Schools highlight promising reform models in Central Asia.

Ultimately, while East Africa and Central Asia differ in cultural and historical context, their shared challenges – and solutions – demonstrate the global nature of education reform. Their stories underscore the importance of inclusive policies, innovation, and cross-border collaboration in ensuring that education not only reaches more learners, but prepares them for a changing world.

by Gareth Stamp

METHODICA: BRIDGING CULTURES THROUGH THE UZBEK LANGUAGE

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.

by Tatyana Abbasova

EDUCATING UZBEKISTAN’S TOURISM WORKFORCE FOR TODAY AND TOMORROW

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.

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.

by Sophie Ibbotson

TRANSFORMING SAKEN SEIFULLIN KATRU: FROM A RESEARCH UNIVERSITY TO A WORLD-CLASS INSTITUTION IN AGRICULTURE

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.

PREPARING STUDENTS TO LEAD IN A DIGITAL FUTURE

PREPARING STUDENTS TO LEAD IN A DIGITAL FUTURE

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.

OCA#55 Welcome Word

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

OCA #54 From the Editor

WELCOME WORD

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

WITH A PEN AND A SCALPEL IN HAND

WITH A PEN AND A SCALPEL IN HAND

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.

https://www.discovery-bookshop.com/product/1755/

available to buy

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

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.

by Nick Rowan

SILKROADLAND: MIXING ADVENTURE AND KNOWLEDGE TO CREATE “EDUTAINMENT”

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.

by Taina Kaunis

CENTRAL ASIA PROVIDES A RARE HIGHLIGHT IN TODAY’S CHALLENGING REAL ESTATE INVESTMENT CLIMATE

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?

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.

by Maria Indina

INAUGURAL TIMES HIGHER EDUCATION FORUM HELD IN UZBEKISTAN

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

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.

by Bruce Gaston

CAN TURKMENISTAN SHRUG ITS ANTI-FOREIGN INVESTMENT IMAGE?

CAN TURKMENISTAN SHRUG ITS ANTI-FOREIGN INVESTMENT IMAGE?

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.

by by Sergey Khvan

CREATIVE INDUSTRIES PARK:THE FIRST STEP TOWARDS REFORMING KYRGYZSTAN’S CREATIVE ECONOMY

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.

by Maria Indina

SCOTLAND HOSTS EURASIAN CREATIVE WEEK FOR THE FIRST TIME

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.

FIRST WORLD COACHING CHAMPIONSHIP PROVIDES PLATFORM FOR PROFESSIONAL ENRICHMENT

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.

See you at the second championship!

Elena Bezrukova,
President of the championship

CELEBRATING CREATIVITY:ECG FESTIVALS 2024 HELD IN KAZAKHSTAN

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: THE CREATIVE PHOENIX OF CENTRAL ASIA

KAZAKHSTAN: THE CREATIVE PHOENIX
OF CENTRAL ASIA

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 ROUND TABLE KGIR-2024

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.

OCA MAGAZINE: 15 YEARS OF RECOGNITION AND IMPACT

OCA Magazine 15 Years of Impact & Recognition

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!

A JOURNEY OF RESILIENCE, MUSIC,AND GIVING BACK

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.

IN MEMORY OF MARIA SHEVEL

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.

BELIEVE IN YOURSELF AND IN WHAT YOU WANT

Katerina Kudryavtseva’s story for OCA People

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.

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.

FAMILY IS MY GREATEST ACHIEVEMENT AND MY GREATEST LOVE

STORY OF MARGO GAMBURGSKAYA FOR OCA PEOPLE

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.

BEAUTY PERSISTS, EVEN IN THE SIMPLEST OF FORMS

INTERVIEW WITH MARINA YANOVSKAYA

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.

IMITATION FOR ME IS SLAVERY

INTERVIEW WITH MICHAEL MATVEEV (K’ARTLI)

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.

YOU WILL NEVER KNOW IF IT WORKS FOR YOU UNLESS YOU TRY

INTERVIEW WITH MUMTOZ KAMILZODA

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.

ALWAYS LEARN SOMETHING NEW FOR YOURSELF IN CREATIVITY

INTERVIEW WITH ROZA RED

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.

MY IDOLS WERE MY PARENTS AND MY GRANDFATHER

Interview with Shaizada Baikenova

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.

THERE IS A COMPLETELY UNJUSTIFIED OPINION THAT APPLIED ART IS NOT ART

INTERVIEW WITH ZHAZIRA JANABAYEVA

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.

IN MEMORY OF BOLOTBEK SHAMSHIEV

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.

IN MEMORY OF CYRUS YAVNEH

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.

IN MEMORY OF AHMAD-KHOJA KHOREZMI

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.

IN MEMORY OF ALEXANDER ILLARIONOV

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.

IN MEMORY OF ARTEM DUDNIKOV

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.

by Gennady Gorovoy

OUR CULTURAL DIFFERENCES ARE ENRICHING US BOTH

INTERVIEW WITH ANNA HARRINGTON-MOROZOVA

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.

I HAVE REVIVED THE GENRE OF THE PAMPHLET IN JOURNALISM

INTERVIEW WITH ALEXANDER KATSEV

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.

MY PATH IS A MANIFESTATION OF THEENERGY THAT FILLS ME

INTERVIEW WITH KLARA KABYLGAZINA

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.

THEY HELP ADULTS RAISE CHILDREN ON UNIVERSAL HUMAN VALUES

INTERVIEW WITH ELENA MAKAROVA

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!

IN MEMORY OF HELEN LIMONOVA

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.

by Paulina Geibl-Kravts

IN MEMORY OF JONATHAN FRYER

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.

MY GOAL IS TO BECOME AN AUTHOR OF BOOKS READ BY MILLIONS

INTERVIEW WITH MARIA PRIZNYAKOVA

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.

IN MEMORY OF MURAT AUEZOV

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)

by Bakhtygul Makhanbetova