Page 3 – OCA MAGAZINE

INTERNATIONAL RELATIONS IN EURASIA DURING THE PANDEMIC

WHAT HAS WORKED? WHAT HAS NOT WORKED? WHAT NEEDS TO BE DONE?

The unexpected and rapid developments of 2020 as a result of the spread of the new virus have led to unpredictable and tragic consequences on a global scale. A lot has been said about this, and most likely the topic of the consequences for the world’s population remains an urgent topic for modern and future scientists. In this article, we will consider only some aspects of the International relations during a pandemic in Eurasia.

Health diplomacy
The introduction of a general quarantine froze international relations in the classical sense. Forgotten in the 60s, the race of medical diplomacy to eradicate dangerous forms of disease in Africa, Asia, Latin America and the Middle East has acquired new features. As in classical international relations, we have seen outcasts with inappropriate behavior. Countries projecting power, countries that are equal and countries competing in medical technology. Access to advanced technology products – vaccines and drugs for Covid-19 – are dividing the world and regions, building new lines of rivalry. We are witnessing the formation of vaccine war in real time.

Global challenges
International challenges don’t disappear by themselves and continue, similar to other resource wars. From oil price wars between Russia and Saudi Arabia to competition over the EU gas market, between Russia and the U.S. Competition has seen direct clashes, such as the aggravation of Sino-Indian relations on the disputed border territories of Fergana in Central Asia. We witnessed a lightning-fast war between Azerbaijan and Armenia. Countries competed for medical resources. The crisis has exacerbated humanitarian issues. The EU countries resorted to harsh measures such as border closures and administrative expulsion. The general deterioration of the economies in the countries of origin pushed new waves of refugees to migrate. In the EU these were spontaneous protests against lockdowns. In countries such as Kyrgyzstan and Belarus, acts of disobedience and protests have occurred as a result of falling living standards and reactions to growing injustice in society. We witnessed the share of small and medium-sized businesses in all countries was rapidly decreasing.
New accents in world politics and diplomacy
The quarantine and lockdowns have changed our world. With a decrease in consumption, transportation, and services, there was a simultaneous growth in medical services, pharmaceuticals, freight transport, communication services, software development and digital content. Despite the threatening trends in the global ecology, the pandemic has produced unexpected results. Such as reducing air emissions and reducing pollution of the world’s oceans. The striking self-purification of water in Venice, as well as the significant reduction in carbon emissions from the standstill of a multimillion army of private cars, improved air quality in cities and the overall emissions situation. Significant events with titanic consequences for the future world happened in 2020. These are the People’s Republic of China’s (PRC) refusal to process foreign waste, the PRC’s plan to reduce its hydrocarbon dependence. Plans to phase out hydrocarbon fuels have intensified, for example Uzbekistan’s plans to soon reach 8GW of solar generation.

Modern Don Quixotes
Among the large amount of information about Covid-19 of a predominantly alarming nature, it is also worth noting the examples of high professionalism and the height of the human spirit. Chief Sanitary Doctor of Greece, Sotiris Tsodras, a man who recognized the danger of a new threat earlier than anyone else, did everything possible to save his country and helped other countries by transferring experience. Jack Ma, a man of great heart and modesty, who has helped every country affected by the virus and wished to remain in the shadows. Mr.Yavlon Vakhabov, Ambassador of the Republic of Uzbekistan to the United States and Canada, despite the developing global crisis, made titanic efforts to promote investment, ecology and improve relations between nations. Charles Garrett, Ambassador of the United Kingdom of Great Britain to the Kyrgyz Republic. During the peak of the Covid-10 crisis in Kyrgyzstan, he did not stand aside and in his free time with his wife, Véronique, prepared and delivered meals for doctors working in the “red zones” of hospitals.

What didn’t work?
At the beginning of the crisis, international co-operation was practically curtailed. International institutions that were largely unprepared for the Covid-19 situation were paralyzed and worked with limited resources. Sluggishness and bureaucracy in the EU in responding to the acute crisis in Italy, the untimely response of the EEU to the return of labour migrants to Central Asian countries from Russia etc. These events clearly demonstrated the poor efficiency of multilateral organizations. Narrow national policy among most countries did not allow widespread generation of physical material and intellectual resources in a response proportional to the crisis. Instead, countries themselves responded to the crisis individually, made their own errors and blamed others. We can say that multilateralism has largely failed in 2020. We hope not forever.

So what worked?
Sending doctors from China, Germany, Poland, Russia, etc. to the most affected countries, on the contrary, has shown its effectiveness. Sharing medical products, medical protocols and tests.
Countries and continents learned to how to trade in the Covid-19 era, which gives bright hope for the continued development of civilization. Countries actively developed bilateral relations as a result: Hungary and Uzbekistan are prime examples of effective diplomacy in Eurasia.
Hungarian “openness to the East” diplomacy achieved significant results in 2020 in the Central Asia. A New role has been added to Modern Uzbek Foreign Policy. It was the Republic of Uzbekistan that first began to send humanitarian aid to neighboring countries affected by Covid-19.

What needs to be done for the future?
It is already clear that the current and new mechanisms of international relations and diplomacy will continue. The good news is that international relations have returned somewhat and the intensity of international contacts, albeit with the use of modern communication technologies and the limitation of physical contacts, are growing. Work in the digital dimension and new communication systems will continue and after returning to offline life. This practice, although involuntarily, has confirmed its efficacy.

By Bakyt Kakchekeev

ARCTIC: AN INTERCONNECTED CULTURE AND CLIMATE

One of the global problems of our modern world is climate change. The most noticeable process of climate change is observed in the Arctic. There are lots of rallies, actions and campaigns held in support of work on preserving the climate in the Arctic, and on preserving the local habitat and settlements. And against the background of such events, the exhibition “Arctic: Culture and Climate” provides something very different.

The exhibition “Arctic: Culture and Climate” was opened at the end of October 2020 at the British Museum in collaboration with the Peter the Great Museum of Anthropology and Ethnography (“Kunstkamera’’) and other museums. It is the first event where people can see the unique history of the Arctic people and their culture.

The main idea of the exhibition was to show the interconnection of Arctic culture and the climate. More than 50 pieces were brought over from the Russian museum. And among them are amazing things of different purposes: tools of labour; clothes adapted to the local climate and to activities; tableware; artworks that reflect the features of the region and much more.
According to the Russian Ambassador to the United Kingdom, Andrey Vladimirovich Kelin, it took a lot of effort to organise the exhibition: “We are well aware of how much effort was put into organising this exhibition, with preparations under way for the past 8 years, which is why it is a great pleasure to see this exhibition taking place today, despite all the coronavirus restrictions.” As the Ambassador notes, this exhibition is also an important platform for British-Russian cooperation and for the development of cultural communication between countries.

About the region
The Arctic is a region neighbouring the North Pole and includes parts of Eurasia and North America, the islands of the Arctic Ocean, as well as the neighboring parts of the Atlantic and Pacific Oceans. The area of the Arctic is approximately 27 million km².

The nature of the Arctic is balanced – unique and rich fauna and flora, fresh air, fresh water, natural resources. The Arctic is not only nature, but also an ethnocultural region where different people, cultures, languages are concentrated, and their cultural uniqueness have been retained for several centuries.

About the local people
Local people are accustomed to living in the polar climate, which is characterized by long winters, constant snow cover (despite the fact that precipitation in this region does not fall often), and ice. Through the centuries they began to use climatic features in everyday life, and it was demonstrated at the exhibition as well. Moreover, people are completely dependent on the local ecosystem: their everyday life is closely intertwined with the peculiarities of the Arctic. The main activities of local people are hunting, gathering, reindeer husbandry and fishing, so nature is the basis of their life. Therefore, environmental problems like climate change affect their lives more than the lives of people in other regions.

Climatic changes
According to the research, the temperature in the Arctic continues to rise at more than twice the global annual average and there is a noticeable melting of snow and ice, which reduces the total area of Arctic ice (this year the ice reached only 3.74 million km²).

Climatic changes in the region have already manifested themselves in the second half of the last century, but the changes were not as significant as now. As the threat of warming has hung over the inhabitants of the regions, they have taken measures to preserve the climate and nature. For these purposes, the Arctic Council was established in 1996. Today it includes 8 Arctic countries and deals with Arctic issues, in particular on issues of sustainable development and environmental protection in the Arctic.

What is the threat of climate change?
Due to the reduction in sea ice, animals have to change their usual way of existence. For example, during their annual migration, walruses cannot last for long voyages, so they often stop on ice floes for rest. Due to the melting ice, they have to change the places of their rookeries, and in recent years the rookeries are moving closer and closer to the narrow coasts, which causes some sad consequences, such as the mass death of walruses in Chukotka in 2007.

Also, climatic changes have a direct impact on water supply, traditional food for the local people. They have had to change their habitual way of life: the duration of the fishing season is shrinking, the conditions for hunting have also deteriorated. Animals living on ice sheets have moved to other places because of the melting ice, and hunters have to go further and run the risk of being drowned.

Climate change also impacts on infrastructure: there is deformation of buildings’ foundations, roads, and various technical structures. The situation is aggravated by poor-quality work done in past years, but the most terrible threat is a rise in the sea level, which can cause natural disasters, such as floods, tsunamis, and this will undoubtedly affect the life of regional settlements in the near future.

The importance of cultural events
Local people, who have lived in the same conditions for thousands of years, have united with the local climate. It is the features of the region that contributed to the development of these people’s lives and it is the climate that plays a big role in their culture. Therefore, the slightest climate change can lead to very unpleasant consequences in their lives: from the loss of cultural authenticity to disappearance altogether. That’s why it is very important to hold cultural events so that people understand how closely culture and climate are intertwined, and how important climate change is in general.

Text by Sabina Abdybachaeva

THE EURASIAN NATIONAL UNIVERSITY: THE FUTURE OF THE COUNTRY IS BORN HERE

YERLAN SYDYKOV
CHANCELLOR OF THE EURASIAN NATIONAL UNIVERSITY
CHAIRMAN OF THE COUNCIL OF RECTORS OF UNIVERSITIES OF KAZAKHSTAN

This year, The Eurasian National University (ENU), named after L.N. Gumilyov, will reach over a quarter of a century in age, during which time, its consistent successes across all areas of the educational space, has seen the institution comfortably take it’s place as one of the regions leading educational establishments.
“Nur-Sultan can become the sacred capital, the heart of Eurasia, and the most sacred centre of this heart is our Eurasian University in Nur-Sultan”, the First President of Kazakhstan defined the significance of the young university, assigning it a huge responsibility in training young specialists for the country.

The vision of Eurasianism, as articulated by Nursultan Nazarbayev, is closely connected with the theory of “passionarity” that was first proposed by the Eurasian scientist Lev Nikolayevich Gumilyov, after whom the university is named. The ENU became one of the first proponents of the idea of Eurasianism that has been successfully implemented at the interstate level.

For the ENU, 2021 has begun in earnest and there are a number of priorities requiring immediate action to nourish positive global development during a time where “humanity chooses between future opportunities and threats…”

In response, the President of the Republic of Kazakhstan, Kassym-Jomart Tokayev, has authorised the provision of all intellectual resources, processes, initiatives, conceptual scientific ideas, personnel specialists & technologies to successfully equip the next generation of graduates to tackle the most urgent issues facing society today.

Since its inception, the ENU has become internationally recognised, achieving 357th place among the top 400 QS World University Ranking of leading universities from among thousands of universities. ENU also ranks 51st in the QS ranking for “Developing Europe and Central Asia”.

In 2019, the university was included in the Times Higher Education (THE) global university ranking for the first time. In 2020, the university took a worthy place in the 800+ group of THE subject rating in the direction of physical sciences.

For more than ten years – ENU has been in the top three of the National Rating of the best multidisciplinary universities in Kazakhstan according to the Independent Agency for Quality Assurance in Education.

The ENU has been making efforts towards modernisation of scientific activities with the allocation of funds for the purchase of laboratory equipment, to not only expand the range of research activities, but also to bring scientific projects into commercialisation. It’s scientists from ENU that are currently leading the way in both fundamental and applied research areas such as nuclear and space technologies, bio & nanotechnologies, and new technologies for the hydrocarbon and the mining industries. Examples include the Engineering Laboratory, which develops projects on track membrane technologies and the Research Institute of Bioorganic Chemistry, which has developed more than thirty drugs for medicine and agriculture. The successful implementation of a system for preparing a water-fuel oil emulsion, capable of producing alternative fuel to supply all boiler houses of small cities with a population of up to 40 thousand people in 2019 is the result of the integration of the ENU scientists and businessmen.

Today, the university occupies a leading position in the Kazakhstan segment of international scientific journals. The average citation index of one article by ENU scientists over the past five years from 2013 to 2019 is higher than the national average. Scientists of the university, the winners of the “Top Springer Author “ award, hold absolute records in Kazakhstan for the number of articles in journals with an impact factor published of one author per year. Among them are the names of both well-known and talented young researchers. According to the international information and analytical platform Web of Science, in 2020, ENU was awarded the independent award “Leader in the Number of Publications” in the subject area for “Materials Science” over the last 3 years among the universities of the Republic of Kazakhstan by the Web of Science Core Collection.

The supercomputer, otherwise known as the artificial intelligence “PARAM”, was introduced into the scientific and production process thanks to the co-operation of Kazakhstan and India. In the Kazakh-Indian Training Centre of Information and Communication Technologies, where the supercomputer is located, many undergraduates and doctoral students of Kazakh universities worked on joint international research projects.

Today, the ENU has more than 20,000 students and employs about 3,000 teachers. The fact that its demand remains high is evidenced by the fact that in the past 9 years the number of students has increased from 12,000 (in 2011) to more than 20,000 (in 2019), that is, by 60%

Training is conducted at thirteen faculties across 68 departments and in 262 three-level educational programs, most of which fall under master’s and doctoral programs, which reflects the identity of a modern research university. The most important indicator of the quality of the university if often the level of employment of its graduates. Their demand in industrial enterprises, the quasi-public sector, and public services is 70-80%. Not every university can be proud of such an achievement.
The international relations of the ENU are very extensive. Today, the university closely cooperates with 370 recognised universities in 52 countries of the world. This fact attracts foreign students and teachers, the number of which increases from year to year. In 2019, the number of students studying abroad reached more than one and a half thousand people.

The university has many amenities providing for the comfort of its students. In addition to the educational resources, students find themselves surrounded by various cultural centres and youth leisure organisations for interests and hobbies. There are dozens of such clubs and societies in ENU from public speaking clubs, theatres, orchestras, debating societies, music studios, centres for youth policy, foreign language learning and many more. In each building, coworking centres are open during free time. There are seven student accommodation buildings in the ENU. During the acute period of the pandemic, the ENU took an unprecedented step: it was the first in the country to launch the construction of dormitories on the basis of public-private partnership by attracting investors. The 2,500-seat construction facility will be commissioned in 2022.

The 25th anniversary of the Eurasian National University named after L.N. Gumilyov happens in the context of another remarkable date – the 30th anniversary of Independence of the Republic of Kazakhstan. It is a wonderful reason to say: “The chronicles of the University are not interrupted: the years hold glorious abundance of the knowledge generation”.

The well-known public figure Olzhas Suleimenov clearly deduced his formula of knowledge: “The people will become eternal if they always adapt to modern conditions. It should be, first of all, a knowledgeable people. Knowing his past, knowing the present, and then foreseeing the future.”

The ENU, in the centre of Eurasia, is under the close attention of the state and its people. At the university, which is steadily increasing its influence on the international educational space, we look towards a more enlightened tomorrow for the Republic of Kazakhstan.

THE ROAD TO GROWTH

Prior to 2020, Uzbekistan was one of the fastest growing travel destinations in the world, with the surge in visitors arriving beyond even the highest expectations of those within the Central Asia tourism scene. It was an exciting time to be creating product and leading sales of Uzbekistan holidays for a company organising tours for the UK and European market. With travel as popular as it is, it’s not too often you find yourself around the foundations of a tourism boom, and the few years of astronomical rise in arrival figures was a joy to witness. Of course, we now find ourselves in a position looking at desperate recovery, rather than mere growth.

Considering the devastation throughout the tourism sector over the past year, it’s been difficult to fully concentrate on what can actually be done, particularly for a reasonably new destination on the global scene. With how quickly travel & tourism became a part of Uzbekistan’s infrastructure, the sudden absence of visitors has been harshly felt, with us now approaching the third peak-season for the country without tourist arrivals. However, as more and more vaccines arrive and become common place all over the world, optimism will grow that borders can reopen, and tourism can return to the landlocked countries of Central Asia.

The phenomenal visitor statistics pre-2020 for Uzbekistan are certainly a bright memory for us to follow and be an essential ally in the challenges of recovery. The enormous growth of arrivals had its foundations laid at the end of 2016, when Shavkat Mirziyoyev became President, and tourism was mentioned as an integral component of his plans for the country. The exact numbers, according to The State Committee for Tourism Development of the Republic of Uzbekistan, are still staggering when seen today. In 2017, visitor arrivals had risen to 2.69 million people annually, by 2018 this had become 5.35 million, an astonishing 99% increase in one year. A further 26% increase the following year led Uzbekistan to an impressive 6.75 million arrivals for 2019. Unfortunately, we’ll never know what could have been achieved in 2020, but it’s fascinating to know the forecast for 2025, pre-pandemic, was 11.81 million arrivals.

Focusing on recovery for autumn 2021 onwards, there are a number of aspects to be optimistic about for the rebuilding of the tourism scene – both domestic and international – in Uzbekistan. With 86 countries, as of 2020, being visa free entry, this enables those looking for their next destination to easily choose Uzbekistan. The continuation of previous top arrival figures from the other countries which make up Central Asia, plus Russia, Turkey and China will be vital for immediate increase in figures, with the attraction of the Silk Road remaining high amongst the UK market too.

The potential of winter sports within the country is an incredibly exciting prospect, especially with Amirsoy Mountain Resort, and one which grows from strength to strength, even during the past year while only those living in Uzbekistan could enjoy the perfect slopes. Expanding the peak seasons of spring and autumn with options for skiing will have a stirring effect on visitor numbers from the end of 2021 and beyond. As for the electronic music scene in Uzbekistan, its evolvement amongst the younger generation is creating a stimulating environment, and none more so than with the Stihia music festival, and its unique Aral Sea location. The US-based film director George Itzhak’s spirited documentary last year, Waiting for the Sea, has certainly assisted in further recognition outside of Uzbekistan, and all adds to the curiosity of those looking for a new destination.

Sustainability is, and was, a buzz word circling tourism, and one which Uzbekistan sets up for very well, especially amongst the traditional production of silk and ceramics which can still be seen today throughout the country. Rather than the mass-manufacturing factories of so many other countries, Uzbekistan can showcase its sustainable production through local workshops which continue to create products through traditional processes. Visits to these special places are already an integral part of tour itineraries, most notably at Yodgorlik Silk Factory, and the ceramic workshops of Gijduvon and Rishtan. Pilgrimage tourism is also another aspect which Uzbekistan will be focusing more on in the future, with a view to capture the eye of tourists from both Indonesia and Malaysia.

Excitedly, even during the closure of the country’s borders, we’ve seen an experienced travel company set up an office in Uzbekistan, highlighting the continued potential of tourism within the country. ICS have been a leading DMC in Asia for over 23 years, and their faith in Uzbekistan for the future lends great credibility to the country as a must visit destination. Carsten Schmidt, Group Director of Operations and Product at ICS says “When you look into options for expanding your portfolio, there is an overwhelming variety of amazing destinations. For a very long time I had my eyes on Central Asia. With its collection of ancient cities, there is hardly any other country in the world that reflects the charm of the old Silk Road as much as Uzbekistan”. Such words can only increase confidence in what to expect for Uzbekistan as borders reopen and we all move ahead in recreating the success in arrival figures, alongside the overall satisfaction of those visiting.

As we see the vaccination process gather pace around the world, I have high hopes for Uzbekistan to continue its rise in popularity, which was only stopped in its tracks by the pandemic we’re currently living through. Knowing how much Uzbekistan already has to offer through its monuments of imposing beauty, illuminating Silk Road history, adventurous road trips (or by rail), and fine traditions of dance, costume and art, its tourism scene is one that looks ready to grow once again.

Words and photography by Gary Meynell

Gary Meynell is a travel consultant specialising in Central Asia for the UK and European market. He is also the co-founder of The Central Collective, the curated guide to Central Asia.

HOW HAVE KAZAKHSTANIS FARED DURING THE PANDEMIC?

From March 2020 and throughout the whole year, the Business Information, Social and Marketing Research Center “BISAM – Central Asia” had been monitoring public sentiments and social situation by tracking changes caused by the COVID-19 pandemic. The information was collected within the framework of international surveys by Gallup International, whose representative in Kazakhstan is BISAM Central Asia, as well as a number of special measurements. The surveys were carried out on a nationally representative sample, as well as on urban and special samples ranging in size from 500 to 2000 respondents.

Today, contrary to the expectations of both general public and specialists, the pandemic continues and, apparently, is not going to leave humanity in 2021 either. The results of sociological monitoring make it possible to see qualitatively new behavioral traits of people and societies, which are important for the health care system, the socio-economic policies of countries, and for business strategies.

Fright and Bravado

In March 2020, when Kazakhstan declared the COVID-19 pandemic state of emergency and the sample of the survey did not include a single respondent who had been infected or whose relatives and friends had been infected, fear of coronavirus was experienced by 53% of the respondents. At the same time, however, a noticeably large proportion of respondents – 60%, believed that the threat of coronavirus was exaggerated.

By April, the situation had changed. The share of those who had a fear of being infected increased by 5%, and the share of “covidoskeptics”, those who were convinced that the threat of coronavirus was exaggerated, decreased to 47%. Here, however, Kazakhstan fell out of the world trend. Globally, bravado over the coronavirus had weakened significantly more. In the United States the proportion of those who had a fear of being infected increased by 25%, in Germany – by 22%. Most other countries recorded the dynamics close to these indicators. In this context Kazakhstanis turned out to be almost the most courageous people in the world in the face of the coronavirus.

By June, Kazakhstanis had relaxed. The share of those who feared of being infected dropped to 45% with an increase in “covidoskepticism” to the March level and even slightly higher. However, a few days after this measurement, the COVID-19 situation in the country began to escalate sharply.
In the next six months 6% of respondents had a confirmed coronavirus or suspected an infection. Accordingly, the share of “covidoskeptics” significantly decreased – to 44% of respondents in December 2020 compared to 60% in the first half of the year.
And yet, by the end of 2020, more than a third of respondents were convinced that COVID-19 was no different from a seasonal flu.

Losses

Measures to combat coronavirus had complicated the lives of Kazakhstanis much more than the virus itself. By June 2020, 76% of Kazakhstanis who participated in the Gallup / BISAM survey had experienced reduction of family income. Quarantine forced the overwhelming majority of respondents to learn how to save on almost all items of the family budget. Only 12% of those surveyed said that they did not have to “tighten their belts.” 32% saved on food, 43% – on medical services, 58% – on perfumes and cosmetics and 67% – on purchases of clothes and shoes.
In the first months of quarantine, 58% of the working respondents switched to a new mode of work (remote work, online services, take-out orders, etc.). About two thirds of the respondents reacted negatively to this transition.
An even more negative reaction was caused by the transition to distance learning, which affected almost all school, college and university students. On the eve of the academic year 2020-2021, 86% of parents of students, 74% of teachers of all types of educational institutions and 68% of students expressed their belief that distance learning has reduced the quality of education.

The emotional state of Kazakhstanis had noticeably deteriorated. Almost all respondents experienced anxiety and stress. More than 70% of the respondents had to change their plans for the future and limit their circle of contacts.

Assessment of State Measures

Despite material losses and emotional deterioration, the majority of the interviewed Kazakhstanis treated the measures of the state with understanding and approval throughout the entire period of quarantine restrictions. In March, 62% of respondents agreed with the statement that the government was coping well with the coronavirus, the number went up to 73% in April and 74% in June. However, there was some decline in the indicator at the end of the year, but it still retained a fairly high value of 66%.
Who is Guilty?

With regard to responsibility for the spread of COVID-19, Kazakhstanis have found a fairly rational approach. Against the background of an infectious disease, their self-awareness turned out to be quite healthy. About 80% of respondents agreed with the statement that people who refused to comply with the quarantine rules were responsible for the spread of coronavirus infection. However, there were also quite a few respondents who were ready to assign responsibility on “external forces”. More than a half of those surveyed believed that China was to some extent responsible for the pandemic, and a third of them thought it was the United States. About 60% believed that the World Health Organization had not performed properly in the fight against the pandemic.

Fifty four percent of survey participants supported the belief that the virus originated in the process of development and testing of biological weapons. Like any collisions, the pandemic caused a craving for conspiracy theories.

Toughened Up and Adapted?

So can we say that Kazakhstanis have mastered a new lifestyle that is adapted to the pandemic? Hardly. As the monitoring showed, the mood of Kazakhstanis was characterized by doubts, uncertainty and suspicion throughout the year. Ultimately, this was expressed in vigilance in relation to vaccination. Only 56% of respondents are ready to be vaccinated, even with a full guarantee of the safety and efficacy of vaccines. The average indicator for the sample of respondents in more than 40 countries is significantly higher – 67%. Kazakhstan lags behind not only the countries of South-East Asia with their indicators of 84-98%, but also behind most of the Western countries and most of the CIS countries. However, it is ahead of Russia, where, despite the massive scale of vaccination, the share of those who do not agree to be vaccinated (46%) exceeds the share of those respondents who are willing to be vaccinated (43%).

Throughout the year, Kazakhstanis were constantly disappointed in their expectations. In June 2020, 65% of those surveyed were confident that the situation would return to normal by the end of the year. This, as known, did not happen, and the forecasts became much more pessimistic.Thus, both the state and businesses will have to develop and adjust models designed for extraordinary and unstable.

Leonid Gurevich, President
Zhanna Abdrakhmanova,
Marketing and Communications Manager

BUSINESS INFORMATION, SOCIAL AND MARKETING
RESEARCH CENTER “BISAM – CENTRAL ASIA”
(Kazakhstan)

NAVRUZ CELEBRATION IN TAJIKISTAN

Navruz is one of the most ancient of holidays that has survived from the depths of centuries to present day. It is one of the biggest holidays of the Aryan people, including the Tajik people, and other peoples and cultures celebrate it under the same name. Each region in Tajikistan celebrates Navruz with its own distinct local customs and traditions.

Badakhshan
In Badakhshan, Navruz is celebrated as “Navruz of Sultan” in some places. In Shugnan and Roshtqala, it is called “Khidir ayom” (Great Holiday). In these places, people greet each other with the phrase “Shogun bahor muborak!” (“Happy spring”) and the answer is “Bar rui Shumo muborak”, which literally means “Happy to your face as well”.

In Shugnan, Roshtqala and Ishkashim, two brooms are used to clean the house, one called “Savorajorub” (this is attached to a long stick) and the other “Piyadajorub” (without the stick). With “Savorajorub” the dust from the ceiling and walls of the house is removed and it is thrown on the roof through the hole in the ceiling called rudz, and by this action, all the evil forces that have accumulated during the year are expelled from the house. With “Piyadajorub” the lower parts of the house (chalak and nekh) and the floor are cleaned. Also, in the early morning of the first day of “Khidir ayom” or Navruz, the man of the house would take a few willow buds, cut the branches with a knife in the shape of pea shells, and children with the phrase “Shogun bahor muborak” would bring them into the house and the owner of the house sprinkles flour on their right shoulder with the intention of purity and peace and puts the branches between the walls of the house.

Kiloguzguz, another local tradition, is a type of “trick or treat” done by children and teenagers. On the evening of the “Khonatakon” ceremony, which is entirely dedicated to cleaning and tidying up the house, children and young people go their neighbours’ or relatives’ house, climb the roof and through a long scarf, or several scarves tied together, from the hole in the ceiling (rudz) to the house and recite a special poem. A slice of bread is tied in one corner of the scarf, and the host takes the bread, and after the song is finished, he puts something on the scarf at the request of the person who came for kiloguzguz. According to the tradition of the mountainous Tajiks, everything that is requested from the owner of the house this evening must be done or given.
Special dishes are also made on this day. Given the cold climate, women prepare dishes that are supposed to be warm. Bat, kochi, noni ravghan, consisting of milk, bread, and butter, boj, osh, amoch are an incomplete list of dishes prepared by Badakhshan women on Navruz.

Kuhistoni Mastchoh
The people of Kuhistoni Mastchoh district celebrate Navruz as the biggest and most important national holiday, and the first festivities begin in Paldorak village and end in the picturesque village of Rog. Until the end of March in all villages of the district, Navruz is celebrated as an ancient Aryan tradition with honouring the heritage of Jamshed, the ancestral New Year and the revival of spring, the beginning of the planting season and the eternal connection between man and nature. The end of Navruz in Rog village is not without reason since Rog Navruz is celebrated on the same day as the Navruz of Bukhara, and the students of Bukhara madrassas who spend the winter in the village would also join the celebration. In this village, Navruz is also called “Sari soli Rog” or “Rog’s Start of the Year”.

Panjakent
Navruz is an important and blessed holiday for the people of Zerafshan, especially the people of Panjakent. The people of this valley eagerly await the ancient holiday of our ancestors, which was celebrated in ancient Sarazm and later in the ancient Panjakent (Panjkat, Bunjikat or Panjekat) and prepare to celebrate it with bright and enlightened spirit.
Navruz in Panjakent also begins with cleaning homes. The wisdom of this tradition is explained by the old women of Panjakent, who heard it from their ancestors: “With the advent of spring and the revival of nature, the human body is renewed. By cleaning one’s house and getting rid of broken and old utensils, blessings enter the house and remove sorrow”.

Juftbaroron
This ancient tradition is mainly practised by working elders and wealthy men. Juftbaroron is the beginning of the planting season. One of the old men takes a yoke of spores in the presence of all the villagers, and the other takes two or three cups of wheat in his shirt and throws them on the ground. Other elders turn to the qibla and pray that the new year will be full, and the harvest will be abundant.

Rashtonzamin
On the morning of Navruz, the people of Rasht open their doors and wait for their guests. During and after the holidays, visiting each other’s homes and visiting the elders of the clan and the village in general, public walks, cultural events and sports competitions, organization of festive markets, beginning of the spring planting and spring planting are the traditions of Navruz.
In each village, a pair of bulls plow the land, and one of the elders begins the sowing season by sprinkling wheat. It is imperative to receive blessings from the elderly during the day. Rasht people say: “The way you celebrate Navruz impacts how you spend the entire year”. According to a local legend, on the day of Navruz, angels descend to earth and bring joy and happiness to people. They only enter a house where there is security, stability, and mutual understanding.
On the day of Navruz, a white tablecloth is spread in the house of Rasht people. A variety of food, sweets, bakery products and, sumanak (a traditional sweet meal made of wheat) are placed on it. On the eve of the holiday, houses are cleaned. Old and broken things are thrown away, debts are paid off and peace is made the rivals on this day.

Text by Khujanazar Aslamshoev

WHAT KYRGYZSTAN’S POLITICAL CRISIS MEANS FOR FOREIGN POLICY

Since Kyrgyzstan is a part of Central Asia, events in this country affect both ongoing and planned projects and agreements throughout the region. The political crisis in the country, related to the third revolutionary change of power resulting from mass protests, led to a range of consequences, including those in its foreign policy.

Major international organisations were quite alarmed about the country’s political crisis in its early days. For instance, the UN and the OSCE called for the peaceful settlement of the situation. In a similar vein, the SCO and CSTO also expressed their concerns.

The events of October 2020 revealed that Kyrgyzstan, the “isle of democracy,” has yet to successfully build a robust institutional and constitutional mechanism of the transfer of power to enable guaranteed legitimacy, social justice, and the representation of the interests of the main political groups.
This article raises the question about the consequences of yet another political crisis in Kyrgyzstan, and the article also sheds light on what can be predicted about the country’s foreign policy in this context.

The rule of law as a recipe for overcoming the crisis

Internal contradictions, weak state institutions, and the inability of the authorities to pursue policies within the legal framework have cooled the western direction of Kyrgyzstan’s foreign policy.

Kyrgyzstan could have built exemplary relationships with the EU, a unique player advancing its normative issues. For many years, Brussels has supported Bishkek, and in 2016, Kyrgyzstan received trade preferences from the EU via the GSP+ system. However, currently, Bishkek risks losing these preferences amidst the lack of progress in the rule of law and human rights. Recently, the EU decided to postpone the €6 mln aid package to Kyrgyzstan until after the next year’s parliamentary elections, which implies that the new authorities lack legitimacy. This is confirmed by the Helsinki Commission’s statement, which stipulates that “for the country to move forward, the authorities have to seriously combat the widespread corruption, protect private businesses and foreign investment.”

Principles of the rule of law and transparent elections, promoted by the West, could provide a recipe for overcoming the crisis. However, the interim authorities intend to carry out constitutional reform amidst the weak institutions, such as the main legislative body, extending its mandate on its own, the acting president, and the acting prime minister.

Thus, one can observe, the interim authorities have turned a deaf ear to the calls of the local civil society, the Western partners, and international organisations to return to the law-based system.

“Freezing” strategy

Russia and China are also important partners for Kyrgyzstan. Since October, Moscow has suspended the provision of financial support to Kyrgyzstan until the stabilization of the political situation in the country and until the restoration of the functioning of the authorities. Additionally, the Eurasian Fund for Stabilization and Development (EFSD) has already suspended the transfer of $100 mln. – money intended to counter the impact of the COVID-19 on economic, financial, and social sectors. Paradoxically, the cross-cutting 2020 has marked significant, but perhaps, temporary cooling of the relationships between Russia and Kyrgyzstan. The last time, in 2019, Moscow unconditionally donated $30 mln. to Bishkek in support of the state budget.

As a result of such a “pause” from Moscow, the new administration in Kyrgyzstan still has to resolve the issue of the budget deficit, which according to the latest data, comprises 35.6 bln. soms (around $434 mln. at the exchange rate of 1 USD = 82 soms). The strange measures of the new government, aimed at replenishing the state budget, propose an economic amnesty, offering corrupt officials to voluntarily return unlawfully acquired funds to the state.

The role and significance of China for Kyrgyzstan can hardly be overestimated. Beijing is the major trading partner and the main investor. According to 2019 data, China accounts for the largest share in the volume of incoming foreign direct investment – that is, 34.3% of the total volume. By 2019, China has provided Kyrgyzstan with loans of around $1.69 billion for transportation-related projects.

However, the numerous attacks on Chinese enterprises, such as those in the Naryn region in 2019, have added a fly in the ointment to bilateral relations. In February of 2020, the protests of the local population once again disrupted the project of the building of the trade and logistics center, where the Chinese companies planned to invest up to $280 mln.

Following the social unrest and the change of power in the country, Chinese Ambassador to the Kyrgyz Republic Du Dewen, drew attention to the security of the Chinese companies and enterprises during the meeting with Sadyr Japarov. It seems that the audit of bilateral relations with China has already begun. For example, the Chinese authorities might use the management of the border regime with Kyrgyzstan as a bargaining chip. Particularly, in response to Kyrgyzstan’s request to increase the cargo traffic at the Torugart checkpoint, besides the other technical requirements, the Chinese side voiced the necessity to ensure the safety of the Chinese companies.

Interim findings

With Kyrgyzstan focused on internal struggles, concentrating on confrontation between the different political forces, as well as on the issues of holding parliamentary and presidential elections, the “isle of democracy” has been rapidly losing its position in the international arena. Funding is being frozen, agreements are being postponed, whereas the new projects are suspended. While it might be sufficient to hold elections and obtain the official mandate to legalize power, maintaining legitimacy (the recognition by population and international partners) requires constant work. Such work entails improving socio-economic indicators, a genuine, rather than declarative fight against corruption, guarantees for agreements, and transparency.

Each socio-political turbulence in Kyrgyzstan leads international organisations and actors to revise the credit of trust towards the country. Under the current conditions, the field for Bishkek’s foreign policy maneuver will be narrowing and further leading towards Moscow or Beijing. Objectively, none of the internal forces can challenge the status-quo in Kyrgyzstan, the economy of which is too dependent on Russia, where most of the migrants work, and on China, with its loans and infrastructure projects.

The political crisis in Kyrgyzstan will play an ambivalent role for the other neighboring countries. Its “negative” role involves the justification of the authoritarian measures to supposedly strengthen stability, while the “positive” one entails showing the other authoritarian leaders that the voices of the youth and the opposition’s requirements at least have to be heard. Meanwhile, one may also predict that international organisations will strengthen their attention to the issues of “color revolutions” and the mobilization of the protesting potential.

Nargiza Muratalieva
PhD in Political Science
CABAR.asia Editor

SECRETS AND MYSTERY OF BRASLAV LAKES

The largest lake group in Belarus, including more than 50 lakes spanning 130 square kilometres, is located around Braslav. The lakes are connected by numerous, but mostly shallow, rivers and streams with a length of more than 300 km.

The most famous of the Braslav lakes are the Drivyaty, Tsno, Nespish, Nedrovo, Potsekh, Voyso, Boloyso, Strusto, Snudy, Lake Osveyskoye, Volos Severny and Volos Yuzhny. The outskirts of Braslav are one of the few regions of Belarus where there were once inhabited lake islands.
Since ancient times, the water has represented a mysterious and magical environment for Belarusians, where mighty creatures other than humans lived. It is not surprising that the lakes of Braslav are shrouded in famous legends and myths.

The lake on the lake

Surrounded by pines, Strusto is a tent paradise. Here you’ll find campsites to suit every taste and wallet, from ascetic student campsites to fully equipped campsites, that can be booked in advance from the tourism department in the national park.

Strusto lake and Shovo island

Strusto’s main attraction is Chaichin Island, the largest in the Braslav district. The name comes from the word “seagull”, as all this land, since the destruction of the last village, is now occupied by birds. The island has a unique nature, for example, the Karelian birch grows here by a miracle which has absolutely nothing to do in Belarus. Deep bays hide the cleanest beaches, isthmus, peninsulas and even an inner lake. It is not easy to find, being carefully hidden by lush thickets. But the tireless seeker is rewarded by an amazing spectacle: the forest ends and a perfectly round mirror of water opens in front of the eyes.

One legend of the Braslav region is associated with the unusual origin of Lake Strusto. The deep clean reservoir provides good fishing opportunities. Legend has it that once in a marriage of famous girl, named Strusto, she loved a man with an unusual name, Shovo. Probably this legend has Bulgarian roots, evidenced by the fact that the Slavs started a war and Shovo went to defend his homeland from enemy forces. He promised to Strusto that he would return alive and unharmed, and his beloved was waiting for him. The whole war was coming to its end, but Shovo was still gone and nobody knew what had happened to him. The girl cried inconsolably and cried to form the whole lake. In the end she realised that her fiancé was no longer alive, went out to the lakeshore, looked at the sky for the last time, and rushed into the water. There, where her body rested, and a small island appeared.

St. Teresa Bay

This bay of the holy crystal-clear water, hosts an abundance of fish and crustaceans besides its shores – there is everything you need for recreation. One of the bays of Lake Nedrovo is named after St. Teresa, although almost no local residents can explain why. There is a legend, according to which a beautiful girl named Teresa once lived on the lakeshore. She was known not only for her fairy tale beauty with her blue eyes, snow-white skin, and golden hair, but also for her kind character: she helped everybody in trouble, was wise and treated the locals with spells and herbs. For all this, she was called a saint. One day Teresa went to the lake to wash her laundry. The sun was very strong and very warm. Teresa wanted to take a swim. She fainted in the middle of the lake and went to the bottom like a stone. The locals said then that God takes the bright people early. Since then, this bay has been named after St. Teresa.

The Deepest Lakes:
South Voloso & North Voloso

Pagan Vladimir Svyatoslavovich (Krasna Solnishko) and his henchmen wishing to strengthen their position in society and to centralise authority, baptised Russia by fire and a sword. The Belarusian principalities of that time fell under the influence of Kiev, abandoned their traditional beliefs and accepted Christianity. Nevertheless, pagan traditions live in Belarus to this day. For example, in Minsk – the largest city of the country – the last pagan temple was destroyed by the Bolsheviks only in the twenties. Since Belarus is a lake country, pagan hydroniums are common here. Such as the South Volos and the North Volos. After a stone – the altar of a pagan deity – was discovered on the shore of one of the lakes, the theory emerged that the name of the reservoir came from the pagan god Veles, the owner of the dead kingdom, the patron of animal husbandry, ritual poetry and wealth.

Braslav itself contains some 300 lakes. The word Brasl itself is translated from Latvian as “ford”, so the local waters have never been famous for their depth. One of the fords even had a road to the Polotsk lands, between the lakes Drivyaty and Novyaty. The lakes of Braslav are the best visited on foot in spring and summer when the whole area becomes a botanical garden. It is advisable to take a guide for a walk to get the most out of the history and legends as well as being able to point out the healing herbs and plants that can be found amongst these marvelous lands and waters.

Text by Olena Andreieva
Fiction writer, author of course books for Russian and English learners, professional ESL teacher, OR
(Operation Respect) coach, psychologist
and motivational coach.

THE ROLE OF THE CASPIAN SEA IN THE ECONOMY OF AZERBAIJAN

The Caspian basin has historically been at the centre of production and trade cultures of Central Asia, Iran, the Caucasus and the Volga region. It has formed an important link in the magnificent Silk Road culture that connects Eastern countries and Europe. Today, the basin is an important player in the world economy, with annual economic output of $2.5 trillion.

The Caspian Sea creates advantages for Azerbaijan to build and develop economic ties through the maritime economy between the Volga, Trans-Caucasus, North Caucasus, Central Asia and Iran. The favourable geographical position, rich biological resources, oil, natural gas, phosphorite, salt, iodine, and bromine reserves, as well as sanatorium and recreation opportunities of the coastal regions, provides a solid economic, strategic, social and environmental importance of Caspian Sea for Azerbaijan.
The role of the Caspian Sea in the economy of Azerbaijan is undoubtedly primarily related to its hydrocarbon deposits and development. Industrial oil production in Azerbaijan began in the 19th century. The oil pumped from a well drilled in the “Bibiheybat” field in Baku in 1848 laid the foundation for the industrial extraction of “black gold” in Azerbaijan. Azerbaijan ranked first in the world in oil production and refining, accounting for half of world oil production in 1899. During World War II, Azerbaijan accounted for 75 percent of oil production in the Soviet Union. In 1949, the oil fountain in the then rare Oil Rocks marked the beginning of a new phase of offshore oil production 100 kilometres from Baku and Azerbaijan was the first in the world to start offshore oil production.

Intensive organization and implementation of planned geological exploration work in the Caspian Sea since the early 1970s is one of the unparalleled historical gifts of the National Leader of the Azerbaijani people, Heydar Aliyev. Today, his farsighted plans with such projects has enabled Azerbaijan’s independence and prosperity.

The oil agreement, called “The Contract of the Century”, was signed with Western oil companies on September 20, 1994 in Baku. It opened a glorious page in the new history of Azerbaijan, providing basis of exploration, development and production sharing of the “Azeri”, “Chirag” and “Guneshli” fields in the Azerbaijani sector of the Caspian Sea. In total 32 agree-ments were signed with 41 oil companies from 19 countries. The total investment portfolio is about $60 billion dollars under these agreements.

The launch of the Baku-Tbilisi-Ceyhan export oil pipeline in 2006 and the Baku-Tbilisi-Erzurum gas pipeline in 2007 significantly strengthened the country’s role in the world energy markets. The discovery of large gas fields – the “Umid” and “Absheron” fields are some of the greatest achievements of the industry. The probable reserves of the “Absheron” field are about 350 billion cubic meters of gas, which adds to Azerbaijan’s proven gas reserves that have reached 2 trillion 550 billion cubic meters.

In September 2014, the foundation of the “Southern” Gas Corridor project was laid at the Sangachal terminal. Today, full-scale development of the Shah Deniz gas condensate field, expansion of the South Caucasus Pipeline (SCP), Trans-Anatolian Pipeline (TANAP) and Trans-Adriatic Pipeline (TAP) are in place to ensure the operation of the Southern Gas Corridor in connection with the transportation of Azerbaijani gas to the world market. Furthermore, significant work has been completed on three elements of the corridor, consisting of four major projects – development of the “Shah Deniz-2” gas field, the South Caucasus Pipeline and the TANAP pro-ject.
In 2017, an Amended Production Sharing Agreement (PSA) for the development of the “Azeri-Chirag-Guneshli” (ACG) block was signed in Baku which extends the “Contract of the Cen-tury “ until 2050.

The Caspian Sea is connected to the Black Sea by the Don and Volga rivers, which means Azerbaijan is a crucial connecting country between Asia and Europe. Therefore, an important part of the East-West transport network is the sea routes passing through the Caspian Sea. The Caspian Sea determines the international importance of the Baku-Alat port, allowing the development of maritime transport with Russia, Central Asian countries and Iran. This port is the most strategic part of Azerbaijan’s logistics infrastructure and is the key point of the logistics corridor, which provides for the transportation of raw materials and finished products from China and Central Asia to Western markets. Characterised by its depth, and never freezing nature, this port will be of great importance to the countries of the Black Sea, the Middle East, Europe and Southeast Asia in the future. A large shipyard has been built in Azerbaijan in recent years to capitalise on this: The Alat International Sea Trade Port in the Caspian Basin is now in operation. Similarly, the Baku -Tbilisi-Kars railway has been constructed.

For a long time, determining the legal status of the Caspian Sea has been a decisive factor for the wider use of its economic potential. The Convention on the Legal Status of the Caspi-an Sea, signed in Aktau in August, 2018, is the only such document agreed upon by all Caspian littoral states. According to the document, each country with a coastline in the Caspian Sea has a share in the upper sea up to 15 miles from the shore, and the right to fish 10 miles from the shore. The rest of the sea is kept in common use. One of the important points of the Convention is that Article 14 establishes the right of the littoral states to build main pipelines from the bottom of the Caspian Sea by mutual consent. It also creates a legal basis for the future realisation of the Trans-Caspian pipelines, which are important for the strategic interests of Azerbaijan.

Prof. Adalat Muradov
UNEC, rector

CELEBRATING 30 YEARS OF US & KAZAKHSTAN DIPLOMATIC RELATIONS

INTERVIEW: AMBASSADOR WILLIAM MOSER

William H. Moser was nominated by President Trump as the United States Ambassador to Kazakhstan in 2018 and sworn in in 2019. He has been a diplomat since 1984 and has experience of Kazakhstan from his previous posting in 1996 when he served in the then-Embassy in Almaty as a management officer and then as energy attaché. OCA caught up with Ambassador Moser shortly after the US inauguration of Joe Biden.
OCA Magazine: You have significant experience working with Eurasian countries. What were your first impressions of Kazakhstan and its culture when you first arrived?

William Moser: During my three years in Kazakhstan in the 1990s, my family and I fell in love with Kazakhstan, both its people and its culture.  In fact, I frequently joke that I really learned Russian from Almaty taxi drivers during those years! However, my first impressions of a new Kazakhstan in then-capital Almaty are very different from my impression upon arriving in 2019 as U.S. Ambassador in Astana, now Nur-Sultan. I think Kazakhstanis can be proud about how their country has developed since independence.

More importantly is what hasn’t changed:  my admiration for the strength and richness of Kazakhstani culture, their world-famous hospitality and their openness to visitors. I have always felt welcome in Kazakhstan.

We’re celebrating 30 years of diplomatic relations between the United States and Kazakhstan this year in a series of events we are calling “30 Years Together.”  We have much to commemorate:  our co-operation on nuclear non-proliferation, together cleaning up the hazardous waste left behind from the Soviet era in Semipalatinsk; American private investment, including tens of billions of dollars in the oil and gas industry, which has helped transform Kazakhstan’s economy; and, our security co-operation, exemplified by the recent successful repatriation operation bringing back Kazakhstani citizens from Iraq and Syria.   Many things have changed over the last 30 years, but our unwavering support for Kazakhstan’s sovereignty, independence and territorial integrity will continue to be the bedrock of our strong relationship and Enhanced Strategic Partnership.

OCA: What do you think that the culture of Kazakhstan has that sets it apart from the other countries of Central Asia?

WM: Central Asia is such a unique and beautiful region – and my hope is that more and more Americans discover this by coming to visit.  This is especially true for Kazakhstan, where even each region of the country has its own distinctive culture that I’ve enjoyed getting to know.  From the poetry of Abai, to the musical traditions of the dombra and throat singing, there is a rich tradition that is every Kazakhstani’s birthright. There are a number of legends associated with Kazakhstan’s incredible natural landscapes. Every place I’ve visited in Kazakhstan (and I am proud to say I travelled extensively before the pandemic) has a wonderful local folktale associated with it.

OCA: What are the main spheres of economic or trade co-operation between the United States and Kazakhstan, both today and in the future?

WM: Historically, U.S. investment in Kazakhstan has been primarily focused on the oil and gas sector, where U.S. companies have been doing business since the earliest days of Kazakhstani independence. Together, Chevron and ExxonMobil are heavily invested in all three of Kazakhstan’s largest oil and gas projects – Tengiz, Kashagan, and Karachaganak. We are extremely proud of the contributions these companies have made to Kazakhstan’s remarkable economic development over the past 30 years. Several Kazakhstanis have risen to senior management levels in these companies.

Looking to the future, and as Kazakhstan looks to diversify its economy, we see enormous opportunities for U.S. companies to contribute to that effort. Of particular interest right now is the agricultural sector, and we have been very excited about the news that Valmont plans to build a factory for irrigation equipment here, and that Tyson Foods is developing animal husbandry interests in the economy. But we also see opportunities in other sectors, such as mining, transportation/logistics, information technology, and tourism. One of our main roles in the Embassy is to work closely with the Kazakhstani government to help create the right conditions to attract more U.S. investment into Kazakhstan.

OCA: How do you see our two countries growing closer together, especially in these times of uncertainty?

WM: U.S.-Kazakhstan relations have benefited from thirty years of co-operation and people-to-people exchange. Our ties are stronger now than they’ve ever been.

There are many excellent examples of how our two countries continue to grow closer together. Just focusing on how the United States has been a friend and partner of Kazakhstan during the COVID-19 crisis, we have delivered more than $6 million in direct assistance to combat the virus. From purchases of needed Personal Protection Equipment, to providing laboratory equipment, our partnership has remained strong during this difficult period.

But all of this assistance only builds on the firm foundation established during our long-term co-operation.  The United States’ Centers for Disease Control and Prevention (CDC), for example, have been working with Kazakhstani scientists and medical professionals since 1996.  CDC has run a program to train epidemiologists in Kazakhstan since 2003 and thus far we have trained 107 Kazakhstanis, many of whom are now in leadership positions in the government’s response to the COVID-19 pandemic. Last year we expanded the program and four of the five COVID-19 vaccines in development in Kazakhstan are being researched in Kazakhstani labs built with assistance from the American people.

OCA: Would you agree that the bilateral relations between the U.S. and Kazakhstan are at their best ever currently? What do you think could still be improved?

WM: Yes, I would agree with that statement. But you’re also correct that in every relationship there can be improvements. It is only because we have such a strong bilateral relationship that we’re able to have frank discussions with each other on difficult topics.

Human trafficking is a good example.  The United States knows that we and our partners can never stand still in the fight against modern slavery.  For the last two years in a row, Kazakhstan was on the Tier 2 Watchlist of the Department of State list, which means that there are significant improvements which need to be made. We are committed to working with the Government of Kazakhstan to implement key recommendations and make these important changes to stay ahead in this fight, prosecute traffickers, and protect vulnerable groups.

OCA: The culture in Kazakhstan differs markedly from the U.S. What have you learned that might be of interest for our readers who may be from Western countries?

WM: I really encourage your readers to come to Kazakhstan to see for themselves the beautiful country and experience the culture first-hand. While there may be many differences between our two cultures, there are actually more similarities than many of your readers may think. For instance, we showcased in photographs some of the similarities between traditional Kazakh nomadic culture and Native American culture. National Geographic also showed the incredible similarities in culture and landscape between the United States and Kazakhstan in a beautiful exhibition. The United States and Kazakhstan share many traditions from having an open and large countryside – “big sky” country as we call it in the American West.

OCA: What’s the perspective/plans of the U.S for developing democracy in the countries of Eurasia?

WM: A key element of the United States’ Central Asia Strategy is to promote rule of law reform and respect for human rights in Central Asia. Meaningful citizen input, inclusive political systems through elections, transparent policy formulation, rule of law, and respect for human rights make countries more stable and prosperous.

The United States values its relationship with Kazakhstan and will continue to encourage a broadening of opportunities for political participation for Kazakhstan’s citizens, and the free exercise of fundamental freedoms for all the people of Kazakhstan.

OCA: How do you think the recent events in the US around the departure of Donald Trump as president might negatively influence the development of democracy in the Eurasian countries?

WM: In short, it won’t.  Despite the violent storming of the U.S. capitol building on January 6, Congress completed its constitutional duty that same day, and we had a peaceful transfer of power on January 20.  Democracy can be difficult, and it can certainly be messy, but our country has also demonstrated its resilience.

There are always some adjustments and changes in every new administration, however, we have had a strong relationship with Kazakhstan now for 30 years and that will continue.

OCA: How do you think the confrontation between the United States with China and Russia might affect Kazakhstan?

WM: The United States was the first country to recognize Kazakhstan’s independence, and the United States and Kazakhstan have enjoyed 30 years of co-operation and partnership. We continue to value this partnership and close relationship. Nothing will change that.  Our policy is to ensure that the nations of Central Asia have the freedom to choose from a variety of options and partners in pursuing their own national interests.

Regarding Russia and China, President Biden has been clear that we will seek co-operation when it is in the interests of the American people – it’s not just about “confrontation.” At the same time, we will not be shy about speaking up when we see other countries violating the rights of their own people, using chemical weapons, engaging in unfair trade practices, and other behaviors harmful to international security. I am proud of the open relationship we have with Kazakhstan, which allows us to discuss regional and global issues frankly. We also seek to improve the region’s connections to the global economy so Central Asian nations do not have to depend on any one country for trade and development.

LIFE IN OPPOSITION: THE OTHER SIDE OF RUSSIAN POLITICS

Vladimir Zhirinovsky is no stranger to controversy. The founder of the Liberal Democratic Party in Russia, he has been involved in politics and public life for most of his career. A fervent Soviet Union idealist, whose magnus opus, “The Last Break Southward” set out in no uncertain terms that he felt the only solution for the Russian nation was for Russia’s reach to extend to the shores of the Indian Ocean and the Bosphorus, Zhirinovsky is known for his view on how traitors of Russia should be dealt with. He has run for several presidential elections, infamously promising voters that if he were elected, free vodka would be distributed to all and that his presidency would in effect sum to a police state. Now 74, OCA magazine caught up with Zhirinovsky to see whether the pandemic had changed any of his views.

OCA Magazine: You were born in Almaty in what is now independent Kazakhstan. Do you feel any affinity to your birthplace?

Vladimir Zhirinovsky: Of course, this is my homeland. Unfortunately, now I can’t even go there on a private visit, because the Kazakh authorities do not allow me to do so. This attitude towards Russians was the reason I left Kazakhstan at the age of 16. I understood then that the priority in employment, culture, and in everyday life is for Kazakhs only. Russians are now treated as second class citizens.

OCA: Please tell us a bit about your background and how you became involved in politics?

VZ: Since childhood, I stood up for my opinion, defended my rights, and argued with teachers. All my life up to the age of 43 was trying to participate in one way or another in public life. But it was only possible in 1990 finally to switch to party work.

Back at school, I actually wrote a letter to Brezhnev with a proposal on how to improve the economy through agriculture. In the USSR, they sold potatoes of terrible quality for a very cheap price. I suggested, well, let’s raise prices by 30% – people won’t notice it – and the quality of the product will increase. Or bread, it was also sold for a penny and used to feed livestock. The quality was poor. But I was just reprimanded for this anti-Soviet fabrication.

OCA: In 1991 you founded the Liberal Democratic Party, which became the first officially sanctioned opposition party in the Soviet Union. What was behind the founding of this party and what were its aims?

VZ: Parties are the central element in public policy; they form the managerial skills, they develop ideas and programs, they represent the voice of the people. So, I always wanted to be a party member. I tried several times to join the Communist Party of the Soviet Union, but they didn’t accept me, because I was not ready to just keep silent and always vote “for”.

In 1977, I participated in an attempt to create an underground party but failed. The police arrested several participants in a safe house, and I only narrowly escaped. In 1988, out of curiosity, I attended the congress of Valeria Novodvorskaya’s Democratic Party. I was invited to speak and was even elected to the leadership. But I turned this offer down because I already understood then that these people were radicals. They wanted to fight not for power, but against the country, to destroy the Soviet Union.

I met many future like-minded people there who, a year later, persuaded me to lead a new party – the future LDPR. Our first meetings were held in December 1989, and then at the founding congress in March 1990. In May 1991, the LDPR nominated me as a candidate for the presidency of Russia, and the Supreme Council of the RSFSR supported me. As a result, I – a simple lawyer who had nothing to do with the country’s leadership – took 3rd place. 6.2 million people voted for me. It was a sensation. Two and a half years later, the LDPR won its first seats in the State Duma.

OCA: You came under criticism from Western commentators at the time as being a living embodiment of authoritarianism and militarism in modern Russia. Why do you think your politics led to this portrayal and how close to the truth is it? Do you ultimately believe in democracy or another form of government?

VZ: After our victory in the State Duma elections, Deputy Prime Minister Yegor Gaidar, in a conversation with US Vice President Al Gore, called us fascists, because we were against the dissolution of the USSR. Although in reality everything was the opposite. LDPR at that time was the main moderate, centrist party. We avoided any extremism. On the one hand, we accepted the transition to a multi-party democracy and admitted the need for economic reforms, but we proposed to do this gradually: 1% per year and only in the service sector, not in the heavy or extractive industries.

Even today I have a strong allergy to any encroachment on the territory of the country. Why on earth did we fall back to the borders of the times of Ivan the Terrible in 1991? Hundreds of thousands of Russians died for these lands. We haven’t conquered a single kilometre! All national outskirts either themselves asked for the protectorate of Russia, like Georgia or the modern Central Asian republics, which were threatened by southern neighbours, or became part of Russia under international agreements.

OCA: If you were to run for president again, on what basis would you run and how would you change things in modern Russia today? How would you look to strengthen the relationships with former Soviet Union countries?

VZ: One of the main transformations that I would carry out would be to cancel the division of Russia into regions along ethnic lines. In Russia, which is itself a republic, there are other republics that are indicated in the Constitution as independent states. How is this even possible? This is the legacy of the vicious Soviet system. The Bolsheviks needed to divide unitary Russia into national parts in order to prove to the world that it was not one country that adopted Communism, but many different ones united in a union. This laid a terrible mine under our statehood, and this mine exploded in 1991, when the USSR cracked under the artificial borders. 14 new states were formed! Not one of them ever existed within such boundaries.

Regarding the policy towards neighbours, it is necessary to initiate a referendum in all post-Soviet countries: are you ready to return to Russia with the rights of national autonomy? I assure you that the majority would support this proposal, and we would all live richer and better lives, because most of the industries in the CIS countries are focused only on each other.

OCA: The poisoning and subsequent arrest of Alexei Navalny has been well-publicized in the media recently. He too leads an opposition party in Russia. Given your experience of being in opposition, how do you assess the current situation relating to Navalny? Can a true opposition party exist in modern Russia and if so, how should it conduct its politics?

VZ: Navalny is an enemy of Russia. His slogans are beautiful: freedom, democracy, the fight against corruption, etc. But what is behind them? An open fight against Russia itself is in the interests of Western governments. It’s no secret that Navalny is initiating US and EU sanctions against Russia – he openly calls on the European Parliament and Congress to implement them. Imagine if a British politician demanded sanctions against Britain. How would citizens react to that? Almost everything that Navalny participates in is somehow connected with the governments of other countries.

He felt ill on the plane, Russian doctors saved him, the government, at the request of his wife, gave permission for an emergency trip to Germany for treatment, where he was fully supported by the state as a “guest of the chancellor.” Then he recovers and immediately accuses Russia of being poisoned with combat poison! There is a lethal dosage – thousandths of a millilitre. If he was poisoned on an airplane with such a substance, all the passengers would be killed. And Navalny supposedly survived. At the same time, Germany refuses to provide at least some evidence of poisoning.

OCA: How do you see the outcome of the US presidential election, removing Trump from office, as influencing US-Russia relationships in the near term?

VZ: This is some kind of legal absurdity. American-style legislation. Democrats are trying to dismiss a man who has long been retired. The Bolsheviks did about the same in our country at the beginning of the 20th century; they executed the tsar and persecuted everyone who doubted the new policy. Nevertheless, I do not think that under Biden, relations with Russia will somehow deteriorate. The Democrats have already achieved their goal, removing an unwanted president from power, gained a majority in the House of Representatives, and increased their fraction in the Senate. They no longer need the image of an external enemy. Now they are more likely to engage in internal politics, they will finish off internal political enemies. As for the outside, the conservation of America will continue, the withdrawal of troops from other countries, and a decrease in influence.

OCA: The current pandemic has led to numerous challenges for countries across the world? There has been scepticism surrounding the Russian COVID-19 vaccine (Sputnik V). What do you think is behind this and how do you think the vaccine will help bring Russia (and the world) out of the pandemic?

VZ: Our Sputnik V vaccine is by far the best in the world. All research reports were published in the respected international medical publication, The Lancet. The Russian vaccine has a low cost, high efficiency – 91%; it is easy to transport. In Russia, several million people have already got vaccinated, including me and most of the Liberal Democratic Party deputies.

For comparison, the American Pfizer should be stored at -70 degrees! It is much more expensive, and several dozen people died during the tests in different countries. The British “Astrazeneca” was ineffective – it gives only 70% protection and does not prevent infection with new strains, for example, South African. So, of course, we are saving ourselves from the pandemic. Restrictions are gradually being lifted in Russia – This gives us a good advantage in catching up on the losses of 2020.

OCA #38 EDITORS WORD

Dear Reader,

The global vaccination campaign is underway – it is the only realistic way out of the horrendous impact of the novel coronavirus that struck the world 18 months ago. Fortunately, we have more than a handful of seemingly effective and safe vaccines from the US, UK, Europe, China and Russia. It is not possible to overstate the miracle that these have come along so quickly and effectively. Although some have had years of preparations, we are lucky not only that they exist but also that in many cases they seem to be able to be tweaked to deal with the continued emergence of new variants.

There are broadly two categories of countries that exist in today’s world: Those who have controlled the spread of the virus and essentially put up physical barriers and where track and trace systems can be effective (China, Singapore, Australia and New Zealand for example) and those who have lost control of the virus (pretty much every country on earth except a few like Tanzania and Turkmenistan where the governments continue to claim they have been untouched by the virus – despite the former recently losing its President to “Covid-like symptoms”).

There are of course subcategories in this situation – some countries are becoming overwhelmed (such as Brazil), while others are seeing local transmission but are managing to keep things seemingly under control. The Central Asian countries, for now, seem to be in this sub-category, even if the real case rates and mortality are likely being under-reported or mis-reported (there have been many more cases of “pneumonia” than usual). Of course, these governments are used to implementing strict measures that have enabled them to curtail the spread of the pandemic and avoid the tragic human tolls seen among many of their neighbours. But the economies of Central Asia have been significantly impacted. Nearby Russia and China have focused on their own problems first, which leaves Central Asia in a precarious economic position that may give rise to further unexpected social or political instability in the months and years to come.

The world faces a new problem though – vaccine nationalism and inequality are putting up barriers to an effective program to vaccinate the world. Leaders are being slow to recognise that until the world is vaccinated, new variants will emerge to haunt them. The Economist put out a haunting map showing that Central Asia will only be vaccinated from later 2022 to early 2023. COVAX is helping, but distribution is challenging – for example, Kyrgyzstan has stated a lack of funds for the cold storage chain required for Pfizer thereby limiting vaccine options it can employ.

With the US and EU being extremely protective on vaccines for their populations first, Russia and China have an eye to vaccine diplomacy and influence in Central Asia. Russia is constantly projecting the superiority of its vaccine, Sputnik V versus those of the West. China’s one dose, fridge temperature vaccine (Cansino) will be tempting, but countries like Kazakhstan are seeking to have alternatives, agreeing to produce Sputnik V locally as well as developing their own vaccine. If the UK/EU spat currently playing out teaches us anything, it is that security of supply comes from diversity of supply. But with diversity comes the risk that diplomacy will not shroud the disappointment from some actors to see that their product is being at best shared with and at worst shunned for a competitor. Central Asia is clearly emerging as a key arena for the continued Great Game of influence channelled through the barrel of a needle.

Enjoy the issue!

“101 zážitkov z Kazachstanu”,a new book about Kazakhstan in Slovak

Hertfordshire Press, a leading British publishing house, in cooperation with the Embassy of the Republic of Kazakhstan in the Slovak Republic and the national company Kazakh Tourism, published one of the first books about Kazakhstan in the Slovak language called “101 zážitkov z Kazachstanu” (101 experiences from Kazakhstan). “101 zážitkov z Kazachstanu” is a vivid photo album and a kind of tourist guide that reveals in detail the origin and traditions of the country from ancient times to the present day, presenting people, architecture, interesting cities, amazing nature, mountains, and lakes full of beauty and numerous attractions.

For thousands of years, Kazakhstan has been a meeting place for civilizations, located in the very centre of the Great Silk Road. Today it is a country with a rapidly growing economy, a stable political system, and unique culture in the Eurasian region.

“The book was published at the height of the COVID-19 coronavirus pandemic when it had been strange even to think that humanity would ever be able to return to normal life again, an integral part of which is traveling, discovering unknown places, meeting new people, and gaining new experiences. Nevertheless, as more and more news pour in from different parts of the world about progress in the development of vaccines against coronavirus this gives us hope that, in fact, a possibility of returning to normality is not that far off. This colourful book
is a symbol of this hope for a fast return to a normal future. The publication of this book, one of the first about our country in the beautiful Slovak language, provides inspiration, and with it would like to say to our friends from the bottom of our hearts: ‘Welcome to a huge and unique country in the heart of Eurasia!’”

Roman Vassilenko
Ambassador of Kazakhstan to Slovakia

The book 101 zážitkov z Kazachstanu clearly proves that Kazakhstan is one of the richest countries in Central Asia in terms of natural beauty, which everyone should see with their own eyes. Famous places attract guests with emerald green pine forests and kilometres of stunning canyons, and the mountains are not only fascinating with their massiveness but also allow one to experience many adventures at any time of the year.

Having opened the book, the reader is instantly carried away to the land of the Great Steppe and with each “experience” one will find out more about the hospitable atmosphere of the largest country in Central Asia, learn about its architecture, monuments, nature, people, and cuisine. Of course, reading the book is only the first step towards experiencing a genuine experience, and the book’s publishers hope that it will encourage readers to visit Kazakhstan in person. The book “101 zážitkov z Kazachstanu” is part of the successful Discovery Digest book series, which already includes such books as “100 facts about Kyrgyzstan” “Cuisine of Central Asia”, “100 facts about Kazakhstan”. A unique new book, prepared by the Embassy of Kazakhstan in Slovakia, world-renowned experts and some of the best photographers, has been published in 1,000 copies and is distributed by the Embassy of Kazakhstan in Bratislava.

The Surprising Breadth of Armenian Diaspora Throughout the World

As I entered the hotel room in Windsor and turned on the TV, I was pleasantly surprised to see our handsome compatriot, Arthur Abraham, on the TV screen. Arthur Abraham (Avetik Abrahamyan) is an Armenian-German professional boxer, born in 1980 in Yerevan. The next day I visited Tate Modern, and when I saw “Garden in Sochi” by Arshile Gorky on the wall, I felt as if I was just greeted in Armenian. Gorky (Vostanik Adoian) moved to the US in 1920 and became one of the 20th century’s most outstanding American painters, and a seminal figure in Abstract Expressionism.

There aren’t that many Armenians in Britain. Still… a person like Calouste Sarkis Gulbenkian can reveal more about his nation than millions of other talented people. Gulbenkian (1869-1955) was a renowned Armenian businessman and philanthropist of British nationality. He played a major role in enabling access for Western companies to the petroleum reserves of the Middle East and is credited as the first person to exploit Iraqi oil.

Another example of a British person of Armenian descent is Andrew Clement Serkis, born in 1964, who is a prominent English actor and film director. His father, Clement Serkis (originally “Sarkisian”), was an Iraqi-born Armenian. Serkis has received many awards, including the BAFTA Award for Outstanding British Contribution to Cinema in 2020.

Sarkisian is a lucky surname for a film career! It was proved by Cherilyn Sarkisian, a Hollywood star and an American-Armenian singer, actress and television personality. She visited Yerevan in the 90s, when the country was in a dire economic situation, and her visit was cheering for us. Another superstar, Kim Kardashian, followed in her footsteps and, together with her husband and sister, visited Armenia in 2015 to commemorate the victims of the 1915 Armenian Genocide.

The USA has a vast Armenian Diaspora. William Saroyan, winner of the Pulitzer Prize and other prestigious awards, is a vivid example of an American-Armenian, born in 1908 in Fresno to immigrant parents. Saroyan wrote extensively about Armenian immigrant life in California. American-Armenians reside mainly in California, although there are large Armenian communities all over the country. Los Angeles is home to the largest and richest Armenian community in the world. There are Armenian neighborhoods around the city, an Armenian TV channel, newspapers and magazines, dozens of Armenian churches, and a couple of MPs officially representing their interests in the government.

Another outstanding American-Armenian is the legend of the world of business, «The Richest Man in California» Kirk Krikorian (1917-2015), who founded the Lincy Foundation in 1989 in response to the devastating Spitak earthquake.

As for Europe, there’s been an Armenian presence almost since the beginning of European civilization. The tragic opera «Poliuto» (based on Pierre Corneille’s play «Polyeucte») by Donizetti was performed in the world’s best opera houses for several centuries, and is dedicated to the life of an early Christian martyr, Armenian prince Saint Polyeuctus in circa 259 A.D.

There was a myriad of Armenian emperors and generals in Byzantium. One of the better known is Basil the Great (867–886), an emperor of Armenian origin, who established the Macedonian dynasty. As for Greece, Armenians have been “insiders” there since prehistoric times.

One of the major centers of Armenian culture in the world is Saint Lazarus Island, a small island in the Venetian Lagoon, which was founded by Armenian Catholic monk Mkhitar in 1717. The island was a favorite destination for Lord Byron, who frequently visited the island since 1816, and became acquainted with Armenian culture, studying the Armenian language there.

France became home for numerous refugees from Western Armenia after the 1915 Armenian Genocide. Those events are reflected in a thrilling film , “Mayrig”, directed by the talented Henri Verneui (Achod Malakian). The Armenian community in France is very active and well-organized, maintaining a genuine connection with Armenia. They include the prominent musician Charles Aznavour, talented artist Jean Carzou (Garnik Zulumyan), and Michel Legran (his mother was of Armenian descend): those people have become legends of world culture. Recently, we learned about new “Achievements of Armenians”: Anouch Toranian (Socialist Party) was elected the head of the 15th arrondissement of Paris, and Jeanne Barseghian (Green Party) was elected mayor of Strasbourg: both are ambitious and talented women with an impeccable reputation.

As for the Middle East, Armenians are considered almost indigenous there and traditionally enjoy great respect in Arab society. What about the Armenians in Turkey? The Armenian community in Turkey has survived, and they consider themselves as an indigenous people of the country, remaining devoted to their roots. A brilliant representative of the community is Garo Paylan, a Turkish politician of Armenian descent. He is a Member of the Grand National Assembly of Turkey for the Peoples’ Democratic Party representing Diyarbakir. He became one of the first Armenian members of Turkey’s parliament in decades.

Armenians in Russia form part of a unique epoch in the history of Armenian nation. The incorporation of Eastern Armenia into the Russian Empire in 1828, after a long Persian rule, gave a powerful impetus to the development of the nation, and underpinned the formation of an independent Republic of Armenia. By the decree of Catherine the Second, Armenians from the Crimea were resettled to the Don steppes in the southern borders of the Russian Empire, still undeveloped at that time. Since then, Armenians of Rostov and Krasnodar Krais and the North Caucasus have been considered an indigenous ethnic group. They’ve preserved their language, traditions, and links with their historical homeland Armenia. Ivan Aivazovsky – the legend of Russian Fine Arts, Agrippina Vaganova – the legend of Russian ballet, and Alexander Mantashyan – the legend of Russian oil business among other Armenian oil tycoons.

Time will not permit a mention of all famous and renowned Armenians of the Soviet Union. But a few are worthy of recognition:

Anastas Mikoyan was the second person in the USSR government with his indisputable contribution to the resolution of the Caribbean crisis in 1962. Gevork Vartanian was a Soviet intelligence officer. He and his wife Goar Vartanian were among those in charge of thwarting the notorious Long Jump Operation, concocted by Adolf Hitler and led by Otto Skorzeny, which attempted to assassinate Stalin, Churchill, and Roosevelt at the Tehran conference in 1943. Ivan Bagramyan was a prominent military figure, a Marshal of the Soviet Union. Armenian academician Abram Alikhanov (1904 -1970) was one of the creators of the first Soviet atomic bomb, and his brother Artem Alikhanian, also nuclear physicist, academician (1908-1978), was the founder of Yerevan Physics Institute. Aram Khachaturyan was a renowned Armenian composer and Viktor Ambartsumian was one of the 20th century’s top astronomers.

Apart from the stars listed above, there is an actual star in the sky with an Armenian name. Itis Asteroid 3027 that was named «Shavarsh» after Shavarsh Karapetyan – a multiple medallist of diving championships and a genuine Prometheus of the late 20th century, who saved dozens of lives from certain death three times in his lifetime. Today he resides in Moscow.

—

Text by Yelena Aslanyan, translated by Astghik Melik-Karamyan

THE DIVINITY OF COGNAC

In Moldova the term Divin (distilled wine) is used to denote a local cognac made by the classical French production process (a method of double distillation of wine in Charentais pot-stills) with obligatory ageing in oak barrels. Since the term cognac is copyrighted by the French, no other nation has a legal right to call its product by this name, so the word divin has become a Moldovan synonym for cognac. The word divin has double meaning: in Romanian and French languages it means divine. Yes, the pun is intended, but how did this product end up so far from its ancestral home?

Wine Origin

Moldova sits in the South-East of Europe, its shape on the map ironically resembles a bunch of grapes, and, suitably, it has over 100 thousand hectares of vineyards with more than 50 grape varieties growing there.

The viticulture and the winemaking on the lush banks of the Dniester exist from immemorial times. It is not possible to know who was the first to bring the vine onto this fertile soil, but the historical mentions of grapes being frown in this region can be found in many sources. Legendary Odysseus, setting off on his journey, had taken good wines with him. In the same poem by Homer an eleven-year-old vine is mentioned. But where had Odysseus headed? In one of his voyages he reached the banks of the river Tiras (which the ancient Greeks called the Dniester).

It was probably then when the vine and the wine first made it onto the territory of present -day Moldova, approximately in the 8^th to 6^th centuries B.C. At that time, the left-bank of Transdniestria was partly under Greek colonization, and was coupled with an intense settling of handicraftsmen. However, the Greeks had not come into an empty place. Before the settlement in the Black Sea coast area they had already known the local territory – in the second millennium B.C. they mentioned them in their myths.

By the time Odysseus arrived at the Black Sea coast area, the Scythians had already established their empire. Ancient Greeks used to dilute wine with 2/3 parts of water, but having become acquainted with the Scythians, they were surprised that the latter drank undiluted wine. After that some Greeks began to adopt the Scythian custom at home.

After the formation of the Moldavian Principality in 1359, new European varieties of grapes were introduced, autochthonous varieties, and high quality wines were created in landlord and monastery estates. Wine became part of the Holy Communion and a religious symbol.

At the beginning of the 19^th century, Russian aristocrats made a fashion out of cultivating vineyards, where they grew the best foreign and indigenous varieties of grapes with the help of experienced specialists from France and Germany. Several wine microzones with remarkable potential were developed: Camenca, Purcari, Lapusna, Bulboaca, and Romanesti. Moldovan wine turned out to be prestigious at the Tsar’s residence, as well as in Europe, which at that time was short of wine because of the aftermaths of the phylloxera epidemic.

One of the best known winemakers of the left bank of the river Dniester was the Russian Field-Marshal-General of the second half of the 18^th – early 19^th centuries, Prince Peter Wittgenstein, Count Zey von Berleburg. Having settled in Camenca (Transdniestria), he created an industrial vineyard there – the best European vines were brought from France and from the banks of the Rhine and planted on the terraces on the slopes of the surrounding hills. The success of Prince Wittgenstein, who was the first in the region to successfully develop viticulture and winemaking on a scientific basis, found followers among the large farmers and landowners of Moldova.

Wine Spirit

At the end of the 19^th century several industrial enterprises specializing in the production of wine-distilled spirits were established. These were six major distilleries in Calarasi, Lapusna, Chisinau and Tiraspol, and a few small houses. During the WWI and the Civil War only three distilleries remained. Factories were plundered, deserted and burned to the ground. The restoration of the main plants of the industry took decades.

In 1937 in the magazine “Red Basarabia” there was an article, “Winemaking in Moldavia in the third five-year-plan”, which read: “In 1934 in Moldavia an independent wine trust is founded… A large part of Moldvintrest products are taken out far beyond Moldavia… A large conveyor is put into operation at the Tiraspol winery & distillery…”

But the updated and reconstructed factories were not given the opportunity to put their plans into practice. WWII erupted and after the War Moldovan manufacturers focused their efforts on increasing production of varietal wine-distilled spirits in order to improve the quality of their young and fine divins.

By 1970s four distilleries in Tiraspol, Chisinau, Balti, and Calarasi were producing approximately 10 million liters of divins in total, thus giving Moldova the status of one of the leaders in industry among the Soviet republics.

Since 1996 Moldovan brandy has officially been named divin – it is not just a product name, but also a national brand, a Protected Geographical Indication. Nowadays there are over a dozen manufacturers of divins, made by a classical production process from wine-distilled spirits aged from 3 to 60 years.

What attracts amateurs and connoisseurs of noble drinks the most? Divins feature a golden to amber color, a complex and refined flavor with floral and fruity vibes, and a velvety and rounded palate. What makes these beverages so special is that each blend contains spirits made both from French varieties of grapes and local Moldovan grapes. Divins are inimitable masterpieces with a subtle national trait so valued by consumers in the countries of the CIS, EU, Africa, America, and Asia.

Text by Oleg M. Baev, D.Sc., professor, is the Director General of the Tiraspol Winery & Distillery KVINT. He started his career at this factory in 1967 as an ordinary worker in the wine-blending cellar. Oleg Baev is the author of divins “Tiras”, “Victoria”, “Tiraspol”, “Suvorov”, “Prince Wittgenstein” and more than a dozen other strong alcoholic beverages. He wrote several books on oenology and viticulture.

Attention! All Aboard

250km/h, speed of Uzbekistan’s finest train, the Afrosiyob

The early morning sun shone definitively through the dust-covered, weathered window pane, as our train trundled through a landscape of hillside foliage. We were on a journey from Uzbekistan’s capital, Tashkent towards the great Silk Road city of Kokand, now the perfect introduction to the Fergana Valley region.

Spending time on the rails in Uzbekistan uncovers simple, pleasurable rides through unoccupied desert, vast plains and perky greenery (once you’ve arrived deep in the eastern parts anyway). An opportunity outside of bazaars, cafes and parks to experience the thoughtfulness, generosity and humour within the country. A relaxed approach to reaching your destination, mixed with the unique hustle, liveliness and charm which Uzbekistan so often offers.

To travel by train in this landlocked region is to follow the route passed by caravan camels of bygone days. Evoking a sense of nostalgia from adventurous travellers and entrepreneurs riding to the rhythm of the land in search of trade and triumph. It’s easy for your imagination to drift to such scenes, especially when on a journey between two ancient cities, such as Khiva and Bukhara, where the vast terrain still dictates so much. Even with modern day travel, this delightful trip across the Kyzylkum Desert takes almost 7 hours, plenty of time to daydream over the spirit of the Silk Road.

Whilst most corners of Uzbekistan are accessed by the more traditional style trains, technology is advancing with the triumphant Afrosiyob, a Spanish-built beauty invigorating train travel through the country at speeds of 250 kilometres per hour. A journey on-board will whisk you between Tashkent and Samarkand in an impressive 2 hours, bringing capital city and cultural charmer closer than ever before.

Being reminiscent of travel and trade is embedded within the region, and such that journeys of 2 or 7 hours may not be enough for your adventurous soul once your feet are firmly on this historical ground. The answer is a sleeper train experience, whether that’s across the entire country with Tashkent to Khiva, or even a border-crossing venture between the capital cities of Uzbekistan and Kazakhstan (a wondrous 16 hours overnight journey).

Rolling forward, they’ll be more sun-drenched journeys through Uzbekistan; unforgettable window views, long chats in the dining car, private cabins with stretched out naps, and new cities awaiting our enthusiastic arrival. If you’re in the mood for more transport tales, then do read our Tashkent Metro article.

Text by The Central Collective (https://www.cencollective.com/)

Abai and Unknown Spiritual and Cultural Values of Kazakhstan

Kazakh literature has been presented to British audiences for almost two centuries, but only recently is it really starting to get noticed. Great literature, old and new is coming to the surface of the literary world and with it bringing renewed interest and engagement. One such famous writer is Abai, and many researchers have dedicated their life’s work to his broader recognition.

British people started to learn about the existence of the Kazakh state thanks to the efforts of the first Kazakh scientist, historian, ethnographer, folklore, geographer, and artist, Chokan Valikhanov in 1865. As one of the authors who presented such information, Valikhanov opened the door to the wider world and his works can today be found in the British library.

The valuable contribution into the introduction of the Kazakh Culture to the British people was the house of Abai that opened in 1995 in London, thanks to the efforts of talented Kazakh writer, Rollan Seisenbayev. This year is the 131st studying period (1889-2020) of Abai and the Kazakhs are naturally very proud of Abai Kunanbaiuly.

I consider, Abai to be unique with his specific peculiarities as a coach and tutor of all humans and the ideas of the group of “Abaeologists” help us accept him more confidently as he deserves to be distinguished among world celebrities. While surveying the long discovery thoughts on Abai’s works, I have found revolutionary attempts to portrait him as a phenomenon, but five such researchers stand out.

First, Mukhtar Auezov, a well-known writer, whose novel “The Path of Abai” has been translated into 114 languages. Although he had discovered the philosophy of Abai’s “Holistic man”, he was not able to share his ideas properly because of the politics during those years. As we know from history, the earlier efforts of Mukhtar Auezov, who did try to open our eyes to the nature of Abai’s world, the poet’s East was richer than his West. The Eurasian Creative Guild (the UK) have made a significant contribution into the development and popularization of Mukhtar Auezov’s works to the European platform, especially during the cultural week of the ECG dedicated to the 120^th anniversary of this great Kazakh writer in October 2017 in London. The ECG literature festival event in Brussels in 2019 was also full of content with cultural programs dedicated to the 175th anniversary of Abai Kunanbayev.

Second, one of the strongest researchers, Professor Mekemtas Myrzakhmet is disappointed with the fact that researchers misunderstood Abai’s ideas for a long time during soviet period. The absence of a system work between Abai research institutions in the country today makes him sad. He has contributed a lot to the opening up of Abai. Professor Myrzakhmet points to the rude mistakes in the old Kazakh history books under the influence of the colonizers and he believes more in the written history of the Turkic people. He explains the meanings of Abai’s poems, as the main goal of Abai to have an “intellectual nation”. While reading Abai, we should pay attention to the deep meaning of every line in his poems and sayings. This is in contract to the large number of “parrots” who just recite Abai without efforts to understand. According to his consideration, the ministries of education and science, culture and sport should collaborate to prepare textbooks on Abai’s “holistic man” and introduce Shakerim’s ideas to encourage students to value them as our national heritage and accept them as spiritual food. Professor Myrzakhmet says that obsession and addiction to power and wealth make the people spoilt, forgetting their cultural upbringing and traditions.

Third, another serious researcher, philosopher, Professor Garifolla Esim insists on analyzing Abai’s ideas through Islamic Philosophy. There clearly pointed directions of Sufism by Yassaui presented in Abai’s “Book of words” are an essential legacy of a nation and it should be valued as an eternal will.

Fourth, a hardworking researcher, Asan Omarov defines Abai as a reformer of Sufism and he presents Abai’s literary period with the correct order. This year, a new edition of Abai’s works by Asan Omarov is seeking a publisher. He proved the correctness of the efforts of the historic Alkei Margulan, connected with 34 poems of “New law” and the collection of Abai added with 20 more newly discovered poems from Omsk archives.

Fifth, the years of independence in Kazakhstan have allowed anyone to obtain sources from Abai and create their own understanding in his philosophy. Well-known economist, Professor Orazaly Sabden, has presented an exclusive program with the right instruments on how to use the “Holistic man” in his book, “The mechanisms of Abai’s edifications realization in the XXI century”. Professor Sabden suggests that the East Kazakhstan oblast should be given the name of a poet, none other than Abai Kunanbayev.

Text by Bakhtygul Makhanbetova

Author’s Note

I have tried to mention some important ideas from the Kazakh literary world to give a general picture. Popular British poet, translator, and composer John Farndon, is currently working on translating the opera “Abai” into English and we hope to enjoy a performance in London in 2021. John Farndon has collaborated with Central Asian authors fruitfully for a long time and his creative tandem with Rollan Seisenbayev presented beautiful results in 2019. I would like to thank other British authors, very talented people such as David William Parry, Caroline Walton, Steven Bland, Nick Rowan, Laura Hamilton, and many others. Big respect and many thanks to the vice–president of the ECG, Marat Akhmedjanov, who has made significant efforts to build the bridge between East and West. I would like to recommend you Herold Belger’s book “Goethe and Abai” edited by David William Parry, to get the full information of the relations of Titans’ spiritual connection through the time like Goethe (1780), Lermontov (1840), and Abai (1892) based on the poem, “ Wanderer’s Night Song”.

Georgia: Looking Towards the West

Georgia is a land of contradictions, of plenty and of poverty, looking to propel itself into the future by delving into the past. Lingering spectres of the Soviet-era continue to clash against the pressures of modernity as this unique place attempts to shape its identity in the 21^st century. As the birthplace of Stalin, an abiding cult of personality centred on the nation’s erstwhile son endures. When officials attempted to remove a statue of Uncle Joe from outside the Stalin Museum in his hometown of Gori in 2010, they met with stiff resistance. When I first travelled to this hospitable, mountainous country in 2014, it was meant to be a one off trip. This flying visit turned into an obsession, though, and over the next six years I’d return nine more times.

The Georgian creation myth encapsulates the nation’s great obsessions: when God was divvying up the world between different peoples, the Georgians were sleeping off a particularly nasty hangover. When they finally awoke, everything was allotted except for a piece of Earth called ‘Paradise,’ which God had set aside for himself. The Georgians beseeched God for a home, saying they were only unconscious because they’d held a supra – the feast literally translated as ‘tablecloth’ – in his honour. Thus, they were given a slice of paradise which others have coveted ever since, forcing them into factional alliances with would be conquerors in order to survive.

Georgia became the second Christian kingdom on Earth after being converted by St. Nino. Born in the year 280AD, according to most accounts, Nino hailed from Cappadocia and was a relative of St. George, the patron saint of Georgia. Legend tells how the Virgin Mary appeared to her, handing her a cross made from a grapevine and telling her to go to what the Ancient Greeks called Iberia and spread the good word. Travelling through Armenia, Nino was the sole survivor of a party of 35 virgins beheaded at the hands of King Tiridates III before he converted to Christianity, and the unfortunate nuns were canonised en masse.

Nino crossed into Georgia in around the year 320, purportedly curing Queen Nana of a severe illness and gaining disciples. The queen converted and was baptised by Nino, which so infuriated her husband he threatened to divorce her if she did not renounce her faith. Shortly thereafter, the king was struck blind whilst on a hunting trip, and lost and alone in desperation he beseeched his wife’s God for help. As soon as he mouthed his prayer, a light appeared which guided him back to the palace. Georgia was duly declared a Christian kingdom in the year 327. Nino remains by far the most popular name for Georgian women.

Today, looking over the moss green Mtkvari River in Tbilisi, the new three-thousand square metre Tsminda Sameba (Holy Trinity) Cathedral sits perched upon Elia Hill. A symbol of religious revival, young and old alike engage in kissing the walls and murmuring their approval. With Christianity once more a central facet in the make-up of the national psyche, worshippers flock to sermons throughout the city. At the sixth century Sioni Cathedral, babushkas in long black dresses and knee-length black socks perform the sign of the cross with fervour.

In 2002, Orthodox Christianity was granted special status above all other religions and the church took on a consultative role in government. With 83.4% of Georgians identifying as Eastern Orthodox, in many ways religion has replaced communism as schools increasingly become places of indoctrination. Certainly, inter-religious violence is on the increase. In 2018, the Public Defender’s Office reported receiving nineteen cases of violence based on religious intolerance; this was compared to five the previous year.

Georgia is also the land of wine, the likely birthplace of the holy beverage historically buried to ferment in the clay-rich soil. The nation with the largest diversity of wine in the world, the tradition of the tamada – the toastmaster at feasts – dates back to time immemorial. With evidence of wine consumption dating back to 6,000BC, medieval monasteries were veritable temples to viticulture. A key part of the heritage of Sakartvelo – as the natives call the country – Georgians never took to vodka as the other republics of the former Soviet Union did, preferring their own traditional brew which comes in a multitude of varieties.

From the Gori Region, there is Kartli, from Central Georgia, Tavkeveri rosé fermented with the skin, a sweet and mellow experience. From Kakheti, there is the amber Rkatsiteli, and from Khevsureti, Khevsery wines. According to the proprietor of the Okro Winery in Sighnaghi, there are 537 varieties of grape in Georgia, and for many, it has become their dream. As Manana Zanderashvili, the friendly and accommodating silver-haired doyenne behind her family’s guest house in Sighnaghi told me: ‘Now, we have five vines, but I want to make a great garden, to make a vineyard. I want to see my wine in bottles.’

Since independence, Georgia has seen troubled times: an economic meltdown, revolution and wars both with Russia and separatist enclaves backed by their former overlord, in part caused by rampant nationalism. Despite this, Georgia remains by far the most ethnically diverse nation in the Caucasus. Sometimes referred to as the ‘Mountain of Languages,’ there are a vast multitude of tongues extant in the country, one of which has eight genders, another seventy-six consonants. As Noe Zhordania, the leader of independent Georgia from 1918 to 1921 before it disappeared behind the ‘iron curtain’ asked: ‘What do we have to offer to the cultural treasure of the European nations? A 2,000 year-old national culture, democratic system and natural wealth. Soviet Russia offered us a military alliance, which we rejected. We have taken different paths; they are heading for the East, and we for the West.’ At the time, his entreaties fell on deaf ears, but now, with tourist numbers racking up 31% of the GDP, interest from the West in this fascinating nation is finally on the increase.

Text by Stephen M. Bland

An Isolated Turkey: The Approaching Shadow of Pan-Turkism?

The Turkic peoples of Asia are scattered across the continent, but, being 140 million people strong, hold a potentially powerful latent strength. Turkey, as the most formidable of Turkic nations, has a potentially commanding role in any pan-Turkic co-operation. Such Pan-Turkism is not a new idea; indeed, it has its origins in the final decades of the Ottoman Empire. But Pan-Turkism has risen once again in the past thirty years, and now, with Turkey increasingly isolated, Central Asia and the promise of Pan-Turkic friendship may lead to increased Turkish activity in Central Asia in the near future.

Turkey’s affinity with the nations of Central Asia began well before the twentieth century. Their shared ancestors are the Turkic tribes of the Central Asian steppe, who first burst onto the world stage centuries ago. The medieval Seljuk Empire would briefly rule both the modern Turkey and Central Asia during the eleventh century. But perhaps the most important precedent is the Pan-Turkism movement in the final decades of the Ottoman Empire.

Ottoman sultans earlier in the nineteenth century had tried to promote Pan-Ottomanism, using the Ottoman identity as the rallying cry of unity for its diverse population. When the Ottoman Empire continued to decline, a new ruling cadre, the Committee of Union and Progress (CUP), took over during a coup in 1908. The CUP was a strong proponent of Turkish nationalism and Pan-Turkism. In part this was due to the Ottoman Empire being pushed back from Europe, Africa, and the Middle East, and now looking to the final frontier for possible expansion, Central Asia, to establish a great “Turanian” empire.

Yet the Ottoman Empire was a pale shadow of its former self by 1908, and Russia was firmly in control of Central Asia. Pan-Turkism was a potentially powerful ideology, but it failed to gain any serious political success due to Russia’s control and the collapse of the Ottoman Empire in the aftermath of World War I. The new president of Turkey, Mustafa Kemal Atatürk, realized that it was an impracticable idea, and during the long period of Soviet rule in Central Asia it was effectively abandoned.

But when the Central Asian states regained their independence in 1991, Pan-Turkic cooperation and friendship became a possibility again. Undoubtedly, Russian influence in the Central Asian republics remains powerful, and Turkey has readily accepted that situation. Turkey is a significant trading partner and investor with the Central Asian republics, but its economic involvement is far outshadowed by China’s vast Belt and Road Initiative.

Nonetheless, Turkey has silently become one of the most influential states in the region. In addition to its economic trade and aid, Turkey has established cultural and education institutions in Azerbaijan, Kazakhstan, Uzbekistan, Kyrgyzstan, and Turkmenistan. Turkey has promoted the Middle Corridor Initiative, a system of roads running from Kazakhstan through Azerbaijan and Georgia to Turkey, as a modern day Silk Road that China could use to transport its goods to Europe. Overall, there are growing connections between Turkey and the Central Asian republics. The Turkic Council, consisting of Turkey, Azerbaijan, Kazakhstan, Kyrgyzstan, and Uzbekistan, is emblematic of this, as its goal is to foster cooperation between the Turkic states. Central Asia has even offered political assistance to Turkey, such as when the then Kazakh President Nursultan Nazarbayev helped resolve the Turkey-Russia jet crisis in 2015-2016.

But while Turkey has been growing closer to Central Asia since 1991, now is an especially critical time for Turkey to look to the Central Asian republics, sharing many parallels with the CUP looking to Central Asia back in 1908. For most of the twentieth century, Turkey drew closer to Europe, becoming a member of NATO and applying to become a member of the European Union. For almost the last decade, the Turkish President, Recep Tayyip Erdoğan, and his ruling AK Party have pulled away from Europe and Western alliances, instead embarking on ambitious foreign ventures in former Ottoman lands. Turkey has been heavily involved in the Syrian Civil War for the past few years, having Turkish ground troops cross Syria’s borders and fight. Starting in 2019, Turkey became heavily invested in Libya, negotiating a generous (and illegal) maritime agreement with the current Libyan government in Tripoli that nominally grants Turkey broad maritime rights while ignoring Greece’s much stronger claims to the area. Most recently, Erdoğan has been warmongering with Greece. Needless to say, all of these actions, among others, have severely isolated Turkey in the West.

This is why Central Asia is so important for Turkey at this critical juncture. Isolated from its historical allies (and most of the world), Turkey could turn to its Turkic relatives in Central Asia as potential political allies during this period of international isolation. Much like its Ottoman ancestors, who turned to Central Asia when lands closer to home were effectively blocked, Turkey could potentially break the stalemate and its run of damaging foreign adventures in the Eastern Mediterranean through cultural and political engagement in Central Asia.

The original Pan-Turkism died in 1918, but Turkey’s attempts to gain a greater foothold in Central Asia in 2020 have a much better chance of success. The republics are independent, not ruled by Russia. Turkey has actually had close relations with these countries for the past thirty years, rather than simply striking upon the idea. Finally, and perhaps most importantly, whatever modern form Pan-Turkism has taken, it is unlikely to be one premised on actual political union, like the original. Because of its non-political unification approach, this modern Pan-Turkism is perhaps more likely to gain sympathy and support among Turkic peoples in Central Asia.

The potential strength of modern Pan-Turkism has been underestimated, but it has been steadily growing for the past three decades. Now that Turkey is hemmed in politically to the West, it is likely that in the near future Turkish influence will continue to expand in Central Asia and the region will become of increasing significance to the Turkish government.

Text by Michael Goodyear

Michael Goodyear has a J.D. from the University of Michigan Law School and an A.B. in History and Near Eastern Languages and Civilizations from the University of Chicago. He has been published in a variety of academic and general-interest publications on history and law, including Le Monde Diplomatique, The Medieval Magazine, and the Harvard Journal of Sports and Entertainment Law.

[1] Carter Vaughn Findley, The Turks in World History 21-55 (Oxford University Press, 2004).

[2] Id. at 69-70.

[3] Şükrü Hanioğlu, A Brief History of the Late Ottoman Empire 76 (Princeton University Press, 2010).

[4] Id. at 147.

[5] Id. at 147, 179.

[6] Id. at 179.

[7] See Jacob M. Landau, Pan-Turkism: From Irredentism to Cooperation 55-56 (Indiana University Press, 1995).

[8] Id. at 74-75.

[9] Seçkin Köstem, “The Power of the Quiet? Turkey’s Central Asia Strategy,” Italian Institute for International Political Studies (Oct. 3, 2019), https://www.ispionline.it/en/pubblicazione/power-quiet-turkeys-central-asia-strategy-24069.

[10] Alexander Kruglov, “Ankara to Central Asia: ‘We’re All Turks,’” Asia Times (Nov. 21, 2019), https://asiatimes.com/2019/11/central-asia-ankara-seeks-turkic-primacy.

[11] Andrew Chatzky & James McBride, “China’s Massive Belt and Road Initiative,” Council on Foreign Relations (Jan. 28, 2020), https://www.cfr.org/backgrounder/chinas-massive-belt-and-road-initiative. Hanioğlu, A Brief History of the Late Ottoman Empire 76 (Princeton University Press, 2010).

[12] Id. at 147.

[13] Id. at 147, 179.

[14] Id. at 179.

[15] See Jacob M. Landau, Pan-Turkism: From Irredentism to Cooperation 55-56 (Indiana University Press, 1995).

[16] Id. at 74-75.

[17] Seçkin Köstem, “The

[18] See generally Seçkin Köstem, “When Can Idea Entreprenuers Influence Foreign Policy? Explaining the Rise of the ‘Turkic World’ in Turkish Foreign Policy,” 13(3) Foreign Policy Analysis 722-740 (2017).

[19] Bayram Balci & Thomas Liles, “Turkey’s Comeback to Central Asia,” Insight Turkey 11-26, 18 (Fall 2018).

[20] “Turkey’s Multilateral Transportation Policy,” Republic of Turkey: Ministry of Foreign Affairs, http://www.mfa.gov.tr/turkey_s-multilateral-transportation-policy.en.mfa (last visited June 28, 2020).

[21] “About Turkic Council,” Turkic Council, https://www.turkkon.org/en/turk-konseyi-hakkinda#:~:text=Its%20four%20founding%20member%20states,Kyrgyz%20Republic%20in%20September%202018 (last visited June 28, 2020).

[22] Murat Yetkin, “Story of Secret Diplomacy That Ended Russia-Turkey Jet Crisis,” Hürriyet Daily News (Aug. 9, 2016), https://www.hurriyetdailynews.com/opinion/murat-yetkin/story-of-secret-diplomacy-that-ended-russia-turkey-jet-crisis-102629.

[23] See Selim Kuneralp, “Turkey-EU Relations: Past, Present – and Future?,” Heinrich Böll Stiftung (May 2, 2017), https://eu.boell.org/en/2017/05/02/turkey-eu-relations-past-present-and-future.

[24] Marc Pierini, “Can Turkey’s Prickly Relationship with the EU Be Repaired?,” Carnegie Europe (Nov. 7, 2019), https://carnegieeurope.eu/2019/11/07/can-turkey-s-prickly-relationship-with-eu-be-repaired-pub-80296.

[25] Zia Weise, “Turkey’s Invasion of Syria Explained,” Politico (Oct. 15, 2019 6:42 PM), https://www.politico.eu/article/8-questions-about-turkeys-incursion-into-syria-answered.

[26] “Turkey Wades into Libya’s Troubled Waters,” International Crisis Group (Apr. 30, 2020), https://www.crisisgroup.org/europe-central-asia/western-europemediterranean/turkey/257-turkey-wades-libyas-troubled-waters.

[27] “Turkish-Greek Relations Tense Amid Fears of Military Showdown,” Arab News (June 13, 2020), https://www.arabnews.com/node/1689421/middle-east.

Forging Ahead Despite the Headwinds

Interview: Erlan Idrissov

Ambassador of Kazakhstan to the United Kingdom

AlthoughKazakhstan’s Ambassador to the United Kingdom, H.E. Erlan Idrissov, came from a creative and academic background (his father was a renowned Kazakh journalist, writer, and academic), he chose a very different career path. His father instilled in him the belief in the power of words, spoken, written or expressed otherwise. And words, or rather the art of mastering them, are an essential element of diplomacy. This belief guided Idrissov to where he is today. Educated at the Moscow State Institute of International Relations, which at the time was the cradle of Soviet diplomacy, so started his path of diplomacy. OCA Magazine finds out more about how this particular ambassador is forging ahead despite the global headwinds.

OCA Magazine: Based on your experience, what have been the most successful projects that have strengthened the relationship between the UK and Kazakhstan?

Erlan Idrissov: The two states have been developing their partnership ever since Kazakhstan gained its independence in 1991. The UK was among the first states to recognise Kazakhstan as an independent country and has been our partner ever since. Throughout the years, our main focus has been on commercial and investment co-operation. Today, the UK is one of Kazakhstan’s ten largest trading partners and one of the six largest foreign investors. Over the past 14 years, the inflow of direct investment from the UK to Kazakhstan has exceeded £10 billion.

The Joint Statement on the Strategic Partnership, adopted by the leaders of the two states in 2013, has helped solidify the Kazakh-British relationship even further, including our current work on a new strategic partnership agreement. The state of our partnership is being reviewed annually on a senior political level through the sessions of the Kazakhstan-UK Strategic Dialogue.

The Kazakh-British Intergovernmental Economic Commission is yet another important mechanism that helped institutionalise our bilateral economic dialogue and cooperation. Six meetings of the Commission have been held so far, with the next one scheduled for the end of this year.

There is also the bilateral Business Council co-chaired by Akhmetzhan Yessimov, Chairman of the Board of Samruk-Kazyna National Welfare Fund, and Baroness Emma Nicholson, UK Prime Minister’s Trade Envoy for Kazakhstan. It is an additional effective tool of forging trade and economic cooperation between our two countries.

A great example of our joint success is the Astana International Financial Centre (AIFC) – an unprecedented hub of English common law and best international business practices built in the heart of Eurasia with the help of our friends from the City of London. It has become an important platform for attracting investment, with a full range of relevant world-class financial instruments and services. Investors operate in favourable conditions and with the support of effective institutions, including an independent regulatory mechanism, the AIFC Court and the International Arbitration Centre – all chaired by esteemed British lawyers.

Our cultural cooperation has also been bearing ripe fruit throughout these years. The most recent project was the translation and printing of the two anthologies of contemporary Kazakh literature (poetry and prose). The project was implemented by Kazakhstan’s National Bureau of Translations and Cambridge University Press, which is both the oldest printing and publishing house and the oldest university press in the world.

OCA: What are the main areas of co-operation and relationships that you see between the United Kingdom and Kazakhstan?

EI: As I mentioned earlier, economic and investment cooperation has always been our core focus, but our exchange is not limited to that. We intend to enhance our long-term strategic partnership, spanning the whole spectrum of our relations, including but not limited to trade, investment, digitalisation, education, science and art.

In light of the UK’s vision of a new Global Britain, the goal of developing stronger economic ties with new promising destinations outside Europe is an important priority. Kazakhstan has the potential to become that kind of a partner, with its stable economic and political system, strategic positioning between Europe and Asia, and eagerness to embrace British investment and expertise. We do look forward to seeing our relationship grow from strength to strength in the post-Brexit era.

OCA: How do you think the world will change after the COVID-19 pandemic? What will that mean for your role as an ambassador?

EI: The pandemic has already changed our lives dramatically. Hundreds of thousands of people have sadly died, millions have lost their jobs, homes, or businesses, economies are aching, reserves are drained, and social inequalities have become striking. We have gotten used to the new normal of social distancing, face coverings and working remotely.

It is a completely different world we are living in compared to what it was just seven months ago. COVID-19 has forced decision makers around the globe to re-evaluate everything. In the face of this unprecedented threat, the natural instinct of any government would be to focus on protecting its own economy, healthcare system, supply chains etc. However, the global challenge calls, first and foremost, for a global response. Today, international co-operation and co-ordination, mutual understanding and support are more important than ever. In this new world, diplomats globally need to think of innovative ways to build new bridges and enforce the existing ones, and that is what we are all currently doing.

OCA: The most famous figures in Kazakh culture – Abai Kunanbaiuly and Abu Nasr al-Farabi – celebrate their anniversary this year. What has been planned in terms of events and recognition for them in the UK?

EI: We have already hosted several exciting events to mark the 175th anniversary of Abai Kunanbaiuly and the 1,150th anniversary of Abu Nasr al-Farabi, the great philosopher and scholar of the East. For example, in July the Oxford Centre for Islamic Studies was kind enough to co-host with us an international online symposium on al-Farabi and his legacy. The event gathered scholars from the UK, the US, Germany and Kazakhstan who presented their research on the legacy of al-Farabi.

In a similar vein, Cambridge University Press (CUP) and the Kazakh Embassy have recently co-hosted an online conference, where poets, writers and experts from the UK, Kazakhstan and the US joined a fascinating discussion on Abai’s wisdom. CUP is also working with Kazakhstan’s National Bureau of Translations to translate and publish Abai’s poems and Words of Edification. The project is unique in that for the first time in history, Abai’s writings are being translated directly from Kazakh into English and adapted by Sean O’Brien and John Burnside, both celebrated British poets, to create a very authentic translation. The project is now in full swing, and we are expecting the publication and the official launch later this year.

Abai’s legacy also includes several dozens of songs, which sound dear to every Kazakh heart. So, we decided to introduce the music of the Great Steppe to the English-speaking audience by publishing a separate book of Abai’s songs in English. The verses will be adapted to the music and accompanied by musical scores and QR codes linked to recordings of Kazakh-language performances.

Finally, to commemorate Abai’s anniversary, we also launched The Power of Abai’s Poetry World Challenge, featuring prominent British figures reciting Abai’s poetry, while an online concert later this year will include performances of Abai’s songs by Kazakh and British singers.

Rapid Executive Development Strategy Required to Fuel Azerbaijan’s Transition Away from Oil & Gas

According to The Statistical Committee of the Republic of Azerbaijan, the non-oil sector in Azerbaijan accounted for 36.84 % of GDP in 2019. The traditional reliance on oil and gas has triggered the government to invest heavily in non-oil sectors, including transportation & logistics, tourism and agriculture. In the meantime, priorities and tasks were set out by the government in the Strategic Road Map developed by the Center for Analysis of Economic Reforms and Communication of Azerbaijan Republic with the support of McKinsey & Company in 2016.

First change – Oil boom

The first structural change in the labour market was observed after the ratification of the “Contract of the Century” in 1994. In the shadow of entering into a market economy, the world’s major oil companies invested in Azerbaijan in a relatively short time. Oil & Gas (O&G) companies’ high working standards resulted in top down improvement in service quality of contractors, joint-ventures and other entities considering that O&G sector was the core player of Azerbaijan’s economy at the time. A high standard business culture in the upstream contributed to local businesses’ culture positively, and accordingly affected leadership development in every sector. This first cycle of change that Azerbaijan experienced is largely explained by external factors.

Second change – External factors with internal motivation

Azerbaijan’s economy “scored” the maximum points that can be reached with “easy money” based on natural resources. The post-oil era economic conditions made Azerbaijan start the change process once more through external factors, however, this time combined them with internal motivation. This time change occurred bottom up – now change is wanted by individuals and entities which is much more complicated and painful. This cycle of change needs a methodological approach in every dimension of governance and is associated with effectiveness, sustainability, productivity and competitiveness. In this stage, it is observed that organizations start to limit foreign labour to minimum numbers and start to develop national leaders – this was taking place in 2013. Especially the O&G sector approved nationalization strategies and developed leaders who now work both in local and international labour markets. However, it failed to show the same results in other sectors, which is a “red flag” for sustainable labour market development.

Transformation of the governmental leadership

The devaluation of the national currency against US dollar caused by the recent oil price collapse and more recently the COVID-19 pandemic period has once again showed that Azerbaijan is only in the preliminary stage of diversification of its economy. This has forced Azerbaijan to experience a “rejuvenation” in the government sector, which has resulted in more sustainability, diversity, transparency, adequacy, and participation in the decision-making process. On 4^th June 2019, the Cabinet of Ministers of Azerbaijan approved a procedure for evaluating the effectiveness of the activities of legal entities where the controlling stock belongs to the state. The Yukselish competition (“Career growth”) was established by the order of President Ilham Aliyev, and signed on 26 July 2019, with the aim of identifying and supporting promising highly intellectual executives with managerial qualities and ensuring the creation of a reserve pool of personnel resources in the country. Very recently, on 20 August 2020, the President of Azerbaijan Republic appointed the Head of Board of recently founded Azerbaijan Investment Holding to manage the state-owned companies more effectively under one umbrella – this is another indicator for adequate mindset and leadership competencies needed in the country.

How the executive market in the private sector was affected

It is crucial for all type of organizations to assemble the right combination of talent, especially to strategic and leadership positions, since vision comes from top down. On the contrary, a significantly important portion of Azerbaijan’s businesses consists of family businesses or businesses constructed on politically exposed persons that resulted in poor leadership competencies. These businesses struggle with empowerment of managers on key strategic roles usually without any relevant competencies. According to the Harvard Business Review, 90% of family businesses fail by the third generation. To escape from this, businesses need to raise productivity, which means accordingly having the right set of competencies in leadership positions.

As an executive search company operating in Azerbaijan we see many educational examples over time. A recent client requested a chief executive from Turkey to win over competitors. This allowed them to bring the accumulated industry knowledge, localize it rapidly and implement it in the market with ready strategies without “trial and error”. In 2017, a local digital company also could not find a General Director in Azerbaijan with 20+ years’ experience, leadership skills and industry knowledge in the digital sector, therefore they changed their mind to search non-local executives. The same trend is being observed in many production areas. The most recent client needed an interim manager from a European country because of the 200 years’ tradition of the target country whereas Azerbaijan doesn’t have enough experienced leaders. All the mentioned examples indicate to the lack of either experience, industry knowledge in scale or leadership skills.

Conclusion

This article is not constructed on the opinion that, Azerbaijan does not have world-class executives. The author also would not deny that, Azerbaijani executives especially in telecommunication sector, O&G industry, or financial professionals who worked in international audit companies, are very competent in both local and international markets. The idea of this article is to point out that Azerbaijan is experiencing change, however, the executive labour market is not developing according to the speed of this change to meet the demand. The government of Azerbaijan is aware of this gap coming from Azerbaijan’s rapid transformation to real competition, but the main agenda of the government is to diversify the economy. Private sector tends to request local headhunting services or bringing executives from abroad which comes from their nature to react with agility.

The main point of this article is to stress the fact that, government of Azerbaijan should take serious actions to focus on local leadership development strategies, which will take the country to the “next level”.

Text by Dayanat Ahmadov, Boyden Azerbaijan, Partner PhD Candidate

Meeting of two twins cities: Stevenage and Shymkent Online book presentation “City Blooming for 2200 Years”

This year marks 30 years since the establishment of twinning relations between the cities of Shymkent and Stevenage. As part of the strengthening of educational and cultural relationships, as well as the development of bilateral cooperation between cities, at the initiative of the publishing house “Hertfordshire Press” the book “City Blooming for 2200 Years” was published this year. The book is about the history and formation of the third megapolis of Kazakhstan – the city of Shymkent. This book, in chronological order, tells the story of the formation and development of a modern metropolis from the heart of true patriots, historians and ethnographers who are in love with their homeland.That’s why this year Hertfordshire Press in cooperation with the city of Shymkent released the first English edition of the book “City Blooming for 2200 Years”, which was presented on the Zoom platform this Monday.

The presentation was attended by: the Mayor of Stevenage – Jim Brown, Deputy Akim of Shymkent – Maksut Pernebaevich Isakhov, Head of the Tourism Department of Shymkent – Olzhas Maratovich Shintayev, Head of the Marketing Department of the Tourism Department of Shymkent – Zhanar Sharipovna Makhazhanova, Chairman of the International Information Committee of the Ministry of Foreign Affairs of the Republic of Kazakhstan – Askar Sauytbekuly Abdrakhmanov, First Secretary of the Embassy of the Republic of Kazakhstan in the United Kingdom of Great Britain and Northern Ireland -Rustam Amankeldyuly Tazhenov and director of the publishing house “Hertfordshire Press” in Great Britain – Marat Ismailovich Akhmedzhanov.

At the meeting, warm words were said from both the Stevenage City Hall and the Shymkent City Hall, and the book was presented by Marat Ismailovich, Maksut Pernebayevich and Olzhas Maratovich. The Shymkent City Council highly appreciates the close relationship with Stevenage and has always remembered the 30th anniversary since the company was founded back in 1990. Shymkent City Hall always fondly recalls the

visit to Stevenage in 2015, during which the city celebrated its 25th anniversary. Taking into account the huge potential of both cities, the two sides of the mayor’s office consider it essential to continue work on the formation of cooperation in the field of education and culture in order to enhance the sustainable development of the twin cities.

Recorded book presentation

Student from Rugby illustrates a graphic novel based on an Azerbajanian award-winning writer’s story devoted to children with Autism

A young artist working in partnership with the publishing-house, Hertfordshire Press (UK), has published the “Elish and the Wicker Tale” comic book, intended to support children with autism.
ISBN: 978-1-913356-19-4

What unites people from all over the world in spite of the nationality, religion and the language? The fact that we all were children and we
all have some memories from childhood, that will be in our hearts
forever. Maybe that is the reason why we say “Children are flowers
sown by god in the garden of life”, because children always take and
will take important places in our lives. And it doesn’t matter whether
the child is a little bit different. The comic book “Elish and the Wicker Tale” was created by a student from the London Film Academy, Timur Akhmedjanov. It is based on the original book of Azerbaijanian writer and child psychiatrist, Kamran Salayev. The main feature of the comic, as well as the book, is that it is dedicated to children with autism and highlights their social problems.

“For many suffering ASD, the biggest problems are often not being understood – and not understanding yourself. That’s why ‘Elish’ is such an amazing project. This series of comics, based on the children’s book, ‘Elish and the Wicker Tales’ by Kamran Salayev, uses the simplicity and visual impact of cartoons to break through the barriers that often confront autistic children when faced with a sea of words” – the 12th Earl of Portland, actor, Tim Bentinck. The project’s main aim is to attract the community’s attention to children with autism. The publishing of the comic became possible due to a crowdfunding campaign on Indiegogo. More than 220 people from 25 countries supported the project, among these people are musicians, writers, public figures, diplomats from Kazakhstan, Belarus, Russia, Turkmenistan, Uzbekistan, Kyrgyzstan and other kind hearted people.

The comic book is now available for pre-orders on the online bookshop. A part of the proceeds from book sales will go to support organizations, which help children with autism. “And so we bring you to the story of Elish, a boy who spends all his spare time making wickerwork baskets. He is an artisan in the true original sense of the word, yet not always appreciated by the wider society. It is always important for your life to serve a higher purpose as you grow up. And I hope that more people continue to adopt the ways of Elish as the world continues to change and these skills are needed more than ever”- jazz musician Matt Savage. To gain more readers and supporters, during upcoming months there will be roadshow in different countries and online-presentations of the comic and the original book as well. One of the presentations will be on November 29th 2020. As well as this, the Hertfordshire Press publishing house is now working on the translation of the comic to Russian, Kyrgyz, Kazakh and Azerbaijanian languages to introduce more people to the work and to important social problems.

pre-order on Discovery Bookshop
Timur Akhmedjanov is a student of London Film Academy, originally from Uzbekistan. Currently he lives with his family in Rugby, Warwickshire. Growing up in a creative and well-travelled family has inspired him to become a member of the Eurasian Creative Guild (London), as well as a volunteer for the Open Eurasia Literature Festival and Book Forum. Timur graduated from Rugby School Thailand as a Visual Arts Fellow. The biggest influence on his creative life is owed to his grandmother, Maria Akhmedjanova (Shevel), who was a prominent architect in Uzbekistan. Timur also translated other books, including the children’s tale “Menik” by the Yakut writer Ogdo, “A Hundred Years on the Steppe” by the Kazakh writer Bayangali Alimzhanov and “Mouse Leia” by the Russian writer Arina Chunaeva.

Hertfordshire Press (UK) – Since 2002 it is specializing in the publication of modern popular science literature by Eurasian authors, and also in the reprint of important works of the past, which, despite their continuing relevance, are currently not available in English. Eurasian Creative Guild – is a non-profit initiative that, since 2015, has been promoting and uniting creative people of all spheres and forms of art. The Guild has brought together thousands of cultural figures from all over the world and was created as a community of writers, musicians, dancers, illustrators, designers, sculptors, poets, as well as of anyone who considers himself a creative person.

AWARD-WINNING ASHGABAT

The fact that numerous erected buildings in Ashgabat city have become award-winning architectural competitions held at the international level, serves as clear evidence of the huge progress achieved in the development of the Turkmen capital.

From far away you can see a monument in honour of the famous “Yanardag” horse and next to it is a foal depicted on the national emblem of the country, famous for its beauty, speed and our national pride, which means the continuation of the heritage located at the intersection of Kopetdag Avenue and N.Andalyp street.

The height of the “Arkadag“ monument, together with a stone pedestal in the form of a rock on Bagtyyarlyk street in Ashgabat city, is 21 metres, and the height of the statue is 6.20 metres. The monument “Arkadag” symbolizes that Turkmenistan is moving at great speed, as the birthplace of peace and happiness.

The monument represents hope for today and the future, through development with the speed of a fast horse and the love of the people for the hero Arkadag. This is a wonderful building, reviving the spiritual aspirations of the people in the art of sculpture and architecture.

The “Bagt Koshgi”, was designed to unite loving hearts and create new families. It is located in the southwestern part of the Turkmen capital, blending into the architectural ensemble of this part of the city, where comfortable residential buildings, the Constitution Monument, the Congress Palace, and a complex of administrative buildings have risen in recent years. From the hill on which the original building was built, a beautiful panorama opens up on the renewed Turkmen capital and the picturesque foothills of Kopetdag. Architectural image of the Palace is also beautiful. The building consists of eleven floors, and three steps, a total area of 38,000 square metres, each side of which is built in the form of an octagonal star. The cube, visible from the height of its large pillar, forms the upper step, and the 32-metre globe contains the symbol of the globe, where a map of Turkmenistan is drawn. Here, it denotes the unity of trust and the strength of family relationships. The palace is surrounded by fountains and in the evenings they are lit with colorful lights. In the multidisciplinary centre there are six halls intended for the solemn registration of weddings, each of the halls has its own name. In addition, there are 3 wedding halls for 500 and 1000 people. On the ninth floor there is the largest wedding hall – the “Golden” hall.

The most solemn landmark of the capital is the “Garashsyzlyk” (Independence) Monument, reaching a height of 118 metres. The monument is surrounded by sculptures of statesmen, philosophers and poets who lived their lives in the Middle Ages of Turkmenistan. Inside the building is a museum whose exhibits tell the history of Turkmenistan and the origins of independence. Near the building there is a beautiful park, decorated with exotic species of trees and fountains.

The monument of “Bitaraplyk” (Neutrality) – is a modern architectural marvel. This lighthouse, visible day and night, surprises with its unusual appearance and size. The idea of creating this amazing building is associated with a very important event for the country, held on December 12, 1995 in the city of New York. On that day, at a meeting of the UN General Assembly, representatives of 185 states unanimously voted for the adoption of a special resolution on the “Permanent Neutrality of Turkmenistan”.

A monument to the Constitution, erected in honor of the 20th anniversary of the country’s fundamental law, located in the south of the Turkmen capital, is one of the main attractions of the city. Being a major historical museum, the architectural and art complex is considered not only a landmark of Ashgabat, but also a cultural and educational centre. This means the continuous connection of eras and generations, the unfading unity and solidarity of the Turkmen people, the constant pursuit of the great humane values of peace and creativity.

The “Yyldyz” construction is an embodiment of development and prosperity. The hotel was built at the intersection of Oguzhan and Bagtyarlyk streets. The height of the structure is 36 metres. Each of the five columns is decorated with Turkmen eight–pointed stars. The columns representing the crescent moon, join together into one structure. If you look at the monument from the side, you can see a crescent moon, a star above it, and in general, this design is a satellite flying into space.

On June 29, 2008, the grand opening of one of the beautiful buildings included in the Guinness World Records Book took place, located in the center of a major road junction at the entrance to International Airport of Ashgabat. This is a fountain complex with sculptures of “Oguzhan and his sons“. Ashgabat was added to this authoritative list as “Cities with the largest number of fountains pools in a public place”.

Among other accolades, on May 25, 2013, Ashgabat was listed in the Guinness World Records Book as the city with the highest concentration of white marble buildings in the world. The International Airport also received a Guinness Record in 2016. This complex covers an area of almost 1200 hectares and includes more than 100 structures. It has the largest image of a “göl” (the Turkmen national ornament) on the surface of the main passenger terminal.

The Water Sports Centre of the Olympic city of Ashgabat, hosts the image of the Ahalteke horse another Guinness World Record as the world’s largest architectural image of the horse. The sculpture of the “paradise” horse is testimony to the ancient traditions of the Turkmen people.

All in all these architectural marvels, along with many others, always make for an impressive visit and discovery of a city that so few from outside the region have had the chance to visit.

Text and photos byEMBASSY OF TURKMENISTAN IN THE UNITED KINGDOM OF GREAT BRITAIN AND NORTHERN IRELAND

Victory Day. 75 years of memories

War. How do you feel about it?

The Second World War is still one of the darkest pages of human history. There remain a lot of secrets, rumours, mistakes and past grievances driving international discussions about who won the war. It wouldn’t be wise to say that there were no political ambitions and economic reasons to start the war. No excuses, just facts. But would it be wise to say that someone had won this war?

We still don’t know the true count of victims. We’re still trying to recreate the whole picture of the battle years searching for even the smallest pieces of past. And we still have political ambitions and economic reasons to argue about the outcome of the war at the governmental level. But I’m not an expert in policy and economy. So, what can I say about the annual Victory Day celebrations from this point of view?

I’m a regular person. My family members were involved in those tragic things happened in 1940s. My great-grandfather died from combat injuries several years after the 9th of May, 1945 (yes, Russian celebrate the Victory Day at May 9 unlike British due to the time-zone differences at the time the declaration was signed). My great-grandmother lived much longer and she told me a lot of stories about peoples’ lives from the past. Often veterans don’t like to talk about frontline life though. And do you know what? I’ve never heard about policy and economy.

My great-grandparents didn’t fight against Germany. And they definitely didn’t compare with Uzbek, Armenian, Tajik, Georgian, Ukrainian, Belarusian, American and others for the title of the winner. Usually they would say, “We were fighting for…”, followed by personal reasons. For their own freedom so as not to not become prisoners or slaves in their own homeland. For saving innocent people from concentration camps because nobody deserved such destiny. For people they loved to see them alive and happy no matter what. Regular people – soldiers, doctors, factories workers and many others – didn’t fight against states and nations. They’ve been fighting against the fascism. Can you see the difference?

Here is another important question. As well as for politicians the question is who became the true winner, for regular people the question is if it was the victory? It sounds too idealistic maybe, but let it be so. I mean, ask any family that lost one of its members if the feeling of victory can replace someone dear in their hearts. You already know the answer. And it doesn’t matter your age, gender or nationality. Today we can feel it with our own skin once again because of the current pandemic. It’s hard to celebrate the victory if you lose someone. Uzbek, Armenian, Tajik, Georgian, Ukrainian, Belarusian, American, German, Italian, Polish and many other people suffered. That’s why when talking about winners and losers it’s so important to focus not only at global policy outcome of the war, but also the meaning of the psychologic, social and cultural changes it brought. There was no one winner for me. We did it together.

Today we should be grateful to all the regular people – soldiers, doctors, factories workers and many others – from all of the countries who gave us that chance to enjoy today’s life, fighting for us. That’s what I remember from my childhood. That’s what I want my future children to know about the Second World War.

Peace. How do you feel about it?

Text by Tatiana Shevchenko

Tajikistan: A View From the Top Interview: John Mark Pommersheim

After studying Russian at university during the Cold War, John Mark Pommersheim grabbed the chance to go to Moscow as an exchange student when Mikhail Gorbachev was in charge of the Soviet Union. His fascination with cultures, literature and languages in different parts of the world led him to study Russian and Chinese. As a student, he thought it important for nations to better understand each other and find ways to work through their disputes as well as the problems that the world faces which led him to a diplomatic career path. Ultimately, the chance to work on big international problems professionally attracted him to the Eurasian region where he served as the United States Ambassador to Tajikistan. OCA Magazine finds out more.

OCA: You have a wide range of experience in working with Eurasian countries. What were your first impressions of the region and its culture?

JMP: During my studies in Moscow I took the opportunity to travel around the Soviet Union. I met a lot of people and found them open and interested. At the time, traveling from Moscow to Central Asia, the Caucasus and other regions, I was struck by the cultural and other differences. I then had a chance to work in Tashkent in Uzbekistan on a U.S. exhibition for several months in the late 1980s and got a chance to get better acquainted with Central Asia.

OCA: What features did you notice in Tajikistan that differ from other countries in Central Asia?

JMP: I think Tajikistan has a very unique and wonderful culture. Poets such as Rumi and Rudaki are quite famous, and the music here, from traditional to current pop, is melodical and very pleasant to listen to. Tajikistan is an agricultural country with wonderful fruits and vegetables: one dish I particularly like is Qurutob that mixes vegetables with flat bread in a tangy yoghurt sauce.

OCA: What are the main spheres of economic or trade co-operation between the United States and Tajikistan?

JMP: Direct trade between Tajikistan and the United States is relatively limited, but there are significant business linkages, including Comsup Commodities Inc – an American company involved in mining, Coca-Cola, and Mountain Foods, which produces organic potato chips in Tajikistan’s far eastern province. Additionally, the American Chamber of Commerce is scaling up in Tajikistan, and includes representative franchises from several other U.S. companies in the hospitality and consulting sectors. We continue to consult with American businesses about opportunities in Tajikistan. As the Central Asian states strengthen their interconnectedness, we expect to see the market become more and more attractive to international investors, which could lead to economic growth in Tajikistan and throughout the region. We work closely with the Tajik government on steps to improve the investment climate. U.S. and international corporations want assurances of a level playing field where their investments are protected by the rule of law.

OCA: What priorities do you think Tajikistan should develop further with the United States?

JMP: I believe Tajikistan takes the right approach by keeping an open door to co-operation with many countries from around the world to include the United States. Tajikistan is a country of remarkable natural beauty, and I think more Americans would like to visit as conditions for tourism continue to progress. The U.S. Embassy supports Tajikistan’s efforts to develop the tourism industry through programs that, for example, teach English to tour guides, provide training on guesthouse management and marketing, and support the installation of signage around tourist sites to direct travelers. Another key area of bilateral cooperation is in the energy sector. Our government supports increasing Tajik energy exports though the CASA-1000 transmission project as well as the Central Asia Regional Electricity Market to expand trade and ultimately lower electricity prices. Additionally, the U.S. company GE is working on both national and regional energy projects, and we hope to see more openings for U.S. companies moving forward.

OCA: Are there any programs from the U.S embassy for supporting Tajikistan’s political or economic stability, or cultural and education?

JMP: The U.S. government has provided $1.9 billion in assistance to Tajikistan since 1992, including over $200 million in security sector assistance and over $5 million in assistance to combat COVID-19. The U.S. Agency for International Development (USAID) implements multi-year programs that support the economic sector ($56 million program), health ($30 million), democracy and governance ($14.4 million), and education ($20 million). We support economic development and food security through numerous projects to assist and train Tajik farmers and also support regional connectivity and stability through water management projects at the local and regional level. We also support education through free English language courses for hundreds of students and adults annually, 25 different exchange programs, and eight American Spaces across Tajikistan that offer free courses on English, humanities subjects, business, journalism, and technology to thousands of Tajik citizens. We support Tajikistan’s unique cultural heritage through the Ambassador’s Fund for Cultural Preservation, which has funded 17 projects in Tajikistan.

OCA: What did the visit of Michael Pompeo to Central Asian countries signify? What was the purpose of the visit, and can we expect a visit to Tajikistan in the future?

JMP: Secretary Pompeo visited Central Asia in February to reaffirm our shared commitment to peace, prosperity, and security in the region. We are encouraged to see the five Central Asian countries come together on their own to address shared challenges, and pleased that they see the C5+1 as a useful forum for common action. The U.S. goal is a stable and prosperous Central Asia that is free to pursue political, economic, and security interests on its own terms, with partners of its choosing; a Central Asia that is connected to global markets and open to international investment; a Central Asia with strong, democratic institutions, rule of law, and respect for human rights. Tajikistan hosted Secretary of State visits in 2011 and 2015, and I am sure we will have another visit at some point. We continue to have a robust dialogue at the senior level. Secretary Pompeo on June 30, hosted a virtual C5+1 dialogue, showing that the work of diplomacy continues despite COVID-19.

OCA: The culture in Tajikistan differs from the U.S. What have you learned that might be of interest for our readers who may be from Western countries?

JMP: I had heard before arriving that Tajikistan’s love for its poets knows no bounds. I have found that to be true. My sons have even gotten the bug: they like it when I send them quotes from the greats such as Abuabdulloh Rudaki. One of Rudaki’s famous verses goes, “Ҳеҷ шодӣ нест андар ин ҷаҳон, Бартар аз дидори рӯи дӯстон. Ҳеҷ талхӣ нест бар дил талхтар, Аз фироқи дӯстони пурҳунар,” which translates as “There is no joy in this world better than seeing friends. There is nothing sadder to the heart than being apart from great friends,” a quote applicable perhaps to those of us such as diplomats who spend long stretches on travel for work. In Tajikistan, you see and hear poetry everywhere: even when you open your wallet, there are the poets on the country’s banknotes. I also respect the attention that Tajiks give to family and the deference to elders: this is something that some in the United States might not be well aware of.

OCA: How do you usually spend your free time in Dushanbe?

JMP: Tajikistan has a well-deserved reputation as one of the most beautiful countries in the world. My wife Natalya and I enjoy hiking in the country’s amazing mountains. I also enjoy studying some Tajiki: Tajiki is a beautiful language that has Arabic, Russian, and Turkish influences on its Persian base.

OCA: Based on recent events in the world due to the pandemic, how has your work changed? And what new obstacles have you faced?

JMP: Our work has changed significantly since the global outbreak of COVID-19. Diplomacy is about building relationships, and during this age of social distancing we often need to find alternatives to face-to-face engagements to build and maintain partnerships. We have had to become more creative in the use of technology—for example, video conferencing and social media platforms—but the core work of our diplomatic mission continues. We continue to assist American citizens abroad, maintain our strong bilateral relationship, and conduct educational and cultural exchanges through virtual platforms. In recent months we have focused as well on providing assistance to combat the effects of COVID-19. The U.S. government has provided more than $5 million in assistance to Tajikistan since March to provide needed medical equipment, facilitate testing, train medical staff, provide personal protective equipment, and support vulnerable groups such as migrant workers. The COVID-19 pandemic is a global phenomenon that no country can address on its own. The United States works in close partnership with Tajikistan, and throughout the region, to help people who are suffering from the effects of the coronavirus. Together, we will overcome this crisis.

Sardobinsky Dam Breach – A Loud Wake-Up Call

The catastrophic breach of the dam earlier this year provides the perfect opportunity for the Uzbek government to learn from and improve its energy policy towards a sustainable future that goes hand in hand with economic reforms in the country.

By Iain Watt, IGI Solutions, regional expert in water security

Early in the morning of 1st May 2020, after a sustained period of heavy rainfall across the region, the earth-filled dam of the Sardoba Reservoir in the Eastern Uzbek region of Sirdayo was breached. This wasn’t one of the many dams across the world considered to be at risk due to age, no, this dam was completed in 2017.

A picture containing building, outdoor, street, bus

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SARDOBA RESERVOIR 8 MAY 2020 – image from NASA

IMAGE OF MAP SHOWING CLEARLY WHERE IT HAPPENED AND THE UZ/KAZ BORDER

Questions were immediately raised as to whether the breach was due to dam failure, lowering of the level of the reservoir in isolation, unusual concentration of rainfall or worse. So, it was only to be expected that two days later on 3 May, a criminal investigation was launched citing possible negligence and violation of construction regulations. Early assessment of the cause and effect seems to point to a sequence of disconnected actions taken after the initial breach which exacerbated the crisis, overwhelming the capacity of the network of local canals around the Southern Golodnostepky Canal to absorb the overflow thereby extending the flood area out of control with terrible consequences. So, now to be credible, the enquiry must be conducted independently, thoroughly and transparently.

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[SARDOBINSKY DAM BREACH]

The outcome could have been worse but for many of those affected it was a catastrophe; homes and livelihoods were washed away, acres of cotton fields were destroyed, innocent people were injured, displaced and died. More than 100,000 people had to be evacuated from their homes in Uzbekistan and Kazakhstan with hundreds of people reported injured and an unconfirmed number of fatalities. The impact on wildlife and the environment is still unknown. This occurred at a time of heightened sensitivity around cross-border water and energy security issues.

INSERTED TEXT BOX:

05.55 on 1 May, Sardobinsky dam breaches
100,000+ evacuated from their homes with unconfirmed number of fatalities
922 million m3 water capacity of Sardoba Reservoir
>500 million m3 water lost through the breach
35,000+ hectares of land affected in Uzbekistan and Kazakhstan
Sardoba Reservoir construction cost 1.3 trillion Uzbekistani Som (c. USD 400 million in 2017 money)
Project commissioned in 2008 and completed in 2017
Purpose: irrigation with potential for hydro
Recovery cost estimated at 1.5 trillion Uzbekistani Som

At least 70,000 people were evacuated after the dam burst.

OFFICIAL IMAGE OF EVACUATIONS

In Uzbekistan, as elsewhere in Central Asia, the network of old and new dams provides irrigation, power and access to water for the population. Over time, introverted policy, poor decision-making, sub-standard construction and sub-optimal planning have all placed the region’s water resources under severe stress. Unless this is fixed, more tragedies can be expected, raising regional tensions.

The countries which committed to the CAREC Declaration in November 2019 share a vision of cooperation in energy policy, including hydroelectric power. Similarly, there are international committees working on the management of water resources across the Region such as the Scientific Information Centre for the Interstate Commission for Water Resources (SIC ICWC) for Central Asia. Through these, there is a shared understanding of the threats to regional water security by abuse of transboundary river basins such as the Syr Darya where the Sardobinksy Dam is one of 60 large dams stressing water resources. The nexus of energy, food and water is the foundation of economic development for the region. Without radical policy reform and modernisation through stakeholder alignment, economic and social development will suffer.

A significant part of the challenge is the legacy from Soviet times and the destruction of the Aral Sea Basin stands testament to this. Yet imbalanced national priorities are driving the threat of this catastrophe being repeated unless there is a significant improvement in the alignment of stakeholder interests. The Sardobinksy Dam catastrophe will be repeated unless there is radical change in the management of water across the Region.

Uzbekistan occupies more than half of the irrigated areas in the Aral Sea Basin and also accounts for over half the water withdrawals from the Aral Sea Basin for irrigation purposes. So arguably, Uzbekistan should be leading calls for reform to protect the region’s precious natural resources.

Cross-border trade is vital to progress in Central Asia and transboundary water and energy reflect this. Kyrgyzstan and Tajikistan have abundant water supplies and Kazakhstan, Turkmenistan and Uzbekistan have rich supplies of oil and gas. Whilst access to clean water is arguably a basic human right, reliable energy systems are essential to the prosperity of nations and the well-being of their people. Policy alignment is essential. Uzbekistan is the only State to border all four Central Asian countries as well as Afghanistan and history shows that the people of the region fare better working together rather than separately. The breach of the Sardobinsky Dam symbolises years of short-sighted mismanagement of water resources not just in Uzbekistan but also in neighbouring countries and the time has come for meaningful change in public policy to stimulate regional inter-dependency and cooperation. To achieve this, sound leadership is needed and the eyes of the world are focused on President Mirziyoyev to influence the changes which will allow natural resources to be harnessed responsibly for economic and social progress.

A group of people standing on top of a sandy beach

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PRESIDENT MIRZIYOYEV VISITING THE DAMAGED DAM AT SARDOBA RESERVOIR

Uzbekistan has a more diverse economy than its neighbours and with a population of over 33 million with almost 90% under working age, it is well-positioned to become a key political and economic player. The Sordobinsky Dam breach has been a set-back for the local economy but fixing it following an aligned set of policy changes should be good for the future and set a precedent for policy alignment in other sectors as well as with neighbouring countries.

Following 27 years under the Karimov Presidency from 1989 to 2016, President Mirziyoyev is paving the way for market reforms and modernisation which have drawn the attention of world leaders and investors. Uzbekistan’s sovereign rating sits at BB- with S&P, B1 with Moody’s and BB- with Fitch. The pace of reform will help strengthen ratings and stimulate demand. It is a land of diverse opportunity provided there is a tangible and consistent effort to continue improving standards of governance across all sectors.

Since 2016, reforms have been focused initially on currency, the labour market and the free movement of goods and people. However, natural resources policy reforms must sit at the core of any modernisation strategy as people, food and power drive the economy. The Sardobinsky Dam breach has exposed the frailties of domestic policy in terms of regulatory alignment, clarity, bureaucracy and protectionism and the catastrophe should now be the catalyst for learning and urgent and transparent reform.

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EARLY REPAIRS ON SARDOBINSKY DAM

Now is the time to learn from past mistakes and adapt that learning to demonstrate that Uzbekistan is listening to the call for more Environmental, Social and Governance measurements alongside economic ones when planning the country’s sustainable future. Investors are increasingly expecting, indeed demanding ESG ratings alongside financial ones when considering investments and Uzbekistan will benefit from reflecting this.

The Sardobinsky Dam breach is a loud wake-up call and must serve as a catalyst for positive change in public policy, natural resources strategy, water security, regional cooperation, public procurement and the sound governance of State-run infrastructure projects. A proper risk mitigation, modernisation and integration strategy which matches the economic aspirations of the country will bring obvious benefits to all.

Silk Road Revisited : Review Material

You can now order your copy today for £35!

Suite 125, 43 Bedford Street, Covent Garden London WC2E 9HA United Kingdom www.hertfordshirepress.com Phone: + 44 (0) 7738615720 E-Mail: publisher@ocamagazine.com

The Silk Road Revisited

The Silk Road Revisited is an enticing new book that invites the reader to take an exceptional cultural and historical journey throughout Europe, Persia, Central Asia and China along one of the world’s oldest trading routes.

For more than two millennia the Silk Road developed a vital set of trading arteries between East and West. At its height, the route stretched from Venice in Europe to Xi’an in Northern China. Covering more than 8,000 kilometres, it spanned a wealth of cultures and lands, hosting many of history’s great legends and stories. This vast commercial and cultural relay between countries, peoples and religions influenced and changed the world and its effects are still being felt today. This book celebrates and cherishes a part of the world that once held more power through trade than any single empire could hope and which once again, Phoenix-like, is rising from the ashes with a reborn flourish.

This is no ordinary book on history – it is a personal view of the Silk Road’s fascinating history that has made each country that once lined its route what it is today. Charting a course from West to East, the book deviates from the traditional East to West depiction of the Silk Road and provides new perspectives. The engaging text interweaves the history and legends of this remarkable, and often forgotten, part of our world history. It is complemented by captivating photography as the reader travels from charming and powerful Venice to the homeland of the Yellow Dragon, China, from snow-capped mountains of Kyrgyzstan to the vast steppes of Kazakhstan and from the fearless Turkic tribes to the noble Persian empires. In each chapter the reader also encounters the diverse peoples, delicious cuisine and delightful landscapes through both the vibrant photography and rich historical writing.

About the Author

Nick Rowan is editor-in-chief of the UK published magazine, Open Central Asia, and author of “Friendly Steppes: A Silk Road Journey” that recounts his travel adventures along the Silk Road, Nick Rowan has an insatiable appetite for all things to do with the Silk Road. An Oxford University graduate, recently back from five years living in Moscow, Nick spends much of his spare time exploring Central Asia, having travelled to all the countries on numerous occasions, on the look-out for new experiences and people to meet. His new book, The Silk Road Revisited, seeks to capture the powerful influence that the history of the Silk Road has left on the countries as you find them today. It follows the success of Friendly Steppes: A Silk Road Journey, that recalls his first encounters as a traveller of the Silk Road from East to West.

Of his second book on the region, Nick says:

“It’s a book I have been writing for almost 15 years, ever since I made my own journey along the Silk Road. I wanted to capture just some of the fascinating history and cultural magic that makes the countries along the Silk Road today such marvellous places to visit and full of wonderful people to meet. The history of the Silk Road is complex, but this book hopes to unravel that a bit and complement it with stunning photography to really bring the words to life and open this part of world history that is so often dismissed and forgotten.”

Meet the Author

Why have you chosen to write a history book as a follow up to your first book, Friendly Steppes, which was more of a travelogue?

I’m not a historian, nor am I a writer by trade and yet I have written books on both, so you could say I am a bit of an accidental historian! When I returned from my Silk Road travels in 2006, I started to write Friendly Steppes to recount my journey. In that book I wanted to put some of the historical context around the various encounters I made with the local people I met on my travels. The problem was that the history of the Silk Road is so vast, there was plenty of it that I simply couldn’t add without turning my already lengthy time into a thousand-page encyclopedia! This would have lost the real purpose of the book – to retell many of the wonderful characters’ stories as I found them. So, I started to collate my historical research and decided that some of it might be interesting to put together into a coffee table book where people could try and get a distillation of the vast history alongside photos of the region’s people and places. And this is where the book was born. After a couple of stop-starts with various publishers, finally, after 15 years, I found the opportunity with Hertfordshire Press to get it finalized and out in the market.

Which readers does The Silk Road Revisited target?

I’m clear that this is not an academic book. There are people far more qualified than me for that. But it is a book that I hope provides a succinct history of the Silk Road, explains how some of the familiar characters we have heard about such as Marco Polo, Alexander the Great, or Gengis Khan fit into the history while introducing a few others and trying to place the customs and traditions of the people you might meet today into that historical context. So the book will hopefully interest anyone who wants a brief introduction to the region, or who may have travelled there and wants to marvel again at the stories and scenery, or those who have yet to visit who want to see why the region where the Silk Road once set its course is such a fascinating place today.

The photographs are stunning and a real draw for the reader, giving them another insight into the culture and feeling of the region. Who is behind these wonderful images?

The Silk Road Revisited also represents the breathtaking work of a great many photographers and photojournalists, many of whom are members of the Eurasian Creative Guild and who have kindly donated their work to bring the historical text alive. For me their exhaustive and in-depth work has resulted in some of the most compelling and historic images of streets, buildings and landscapes from the region. The book wouldn’t be the same without these images – even if you don’t want to read the text, you can’t help but be drawn by the colour, splendour and intrigue from the subjects captured.

Why did you choose the Silk Road as your travel destination originally?

After leaving university I knew I wanted to travel but I didn’t want to travel for travel’s sake. I wanted to do something that was challenging, had an element of research and purpose and above all something that not many people had done. I considered travelling north to south from Alaska to Argentina and trying to cross every country of the African continent, but then I came across these strange-sounding “Stans” as I pored over an open map of the world. For hundreds of years they’d been part of the Soviet Union and not much was known or written about them, in English anyway. The media portrayed many of the countries along the Silk Road as dangerous and forbidden. Yet for thousands of years a famous and majestic trade route, now extinct, had passed there and quite a lot was known and had been written about the Silk Road. It made sense – travel and try to find out what influences this ancient trading route had had on these countries today. Best of all, there was actually never a single Silk Road – instead it was a network of arteries and capillaries that collided and divided along the entire breadth of the trading route both East to West and North to South, so whichever route I travelled would be my own route, distinct from great travellers of the past like Marco Polo. That promised quite some adventure!

What lessons can be learned from the Silk Road’s history that can be applied today?

Winston Churchill once said that “a nation that forgets its past has no future”. For me, in today’s world where quite often people try to forget their past in search of the future I think this could not be more true. For almost a hundred years under the Soviet regimes many of the Silk Road countries were hidden behind a veil, and now that this has been lifted they have the chance to regain their former glories and make the most of their strategic location again – people may not be trading silk but with oil, gas, power, minerals, culture and even some ancient technologies from the past it provides me hope that the Silk Road is as relevant today as it ever was. And yes, there have been turbulent times in many of the countries’ histories but there were also times of great peace, where religions lived hand in hand in tolerance and acceptance, alongside open trade that brought wealth and security and places where new ideas and technology spread. I have great hope that the countries along the Silk Road can regain that purpose, outcome and outlook on life that for centuries thrived, and perhaps this time it might involve a few less bloodthirsty conquerors!

What part of your journey was the most challenging?

I’ve always had a thing about border crossings. I just don’t like them. I have nothing to hide, but the officialdom and knowledge that your fate is in the hands of a bored uniformed officer does nothing to ease my apprehension. Friendly Steppers mentions most of these because they are always a time of heightened tension whether it was trying to leave the practical joking guards on the Azeri port border or arguing with the Uzbek customs officer that my mis-declaration of 150,000 in currency was of the worthless Turkmen money rather than US dollars! The other time, when I felt really alone, was in Bosnia, a country shattered by conflict and still bearing the scars of today. I sat one evening reflecting on the stories I had heard of the war and just wanted to get away – and then I realised that I was missing home and only getting further away as I ventured towards the East. Funnily enough all the logistical and language challenges I faced later on in the trip always just seemed part of the fun – even having had the odd gun pointed at me by some jumped up military teenager in Turkmenbashi port made me smile, after the event of course.

What are the highlights of the Silk Road?

That’s simple – the people. Most of the people I met (excluding border guards and taxi drivers) were simply charming and welcoming. Their inquisitive hospitality left me feeling embarrassed at the way we treat foreign visitors to Europe. People had so much time to help me when I was lost or speak with me when I was lonely and before long an invitation would follow for me to meet their whole family. Of course, the architecture of Samarkand’s glistening blue domes, the stature of Kyrgyzstan’s mountains, the mesmerizing colour of Turkey’s bazaars and the sheer expanse of the Turkmen desert, with its burning gas crater, are impressive sights already out of the ordinary. And then comes the history which The Silk Road Revisited tries to capture a few slices of – everywhere is dripping in it – empires, enlightenment and technology all emanate from it.

Selection of Photographs

Further Information Books by Nick Rowan

The Silk Road Revisited Hertfordshire Press (Silk Road Media) – ISBN: 9781913356071 Friendly Steppes: A Silk Road Journey Hertfordshire Press – ISBN: 9780955754944

You can order books at

https://www.discovery-bookshop.com/product/the-silk-road-revisited-by-nick-rowan/

https://www.waterstones.com/book/the-silk-road-revisited/nick-rowan/9781913356071

Signed copies available on request directly from the author.

Review Copies

Review copies may be available on request for media purposes. Please contact the publisher below outlining your proposed media coverage. Distribution of review copies is strictly at the sole discretion of the publisher.

Open Central Asia (OCA) Magazine

For those interested in more up to date information, news and opinions from the region, quarterly magazine, OCA Magazine provides the perfect companion. Nick Rowan is currently the magazine’s Editor-in-Chief.

www.ocamagazine.com/

Contacts

To contact Nick Rowan for an interview, article or appearance please email: nick.rowan@ocamagazine.com

To contact the publisher please e-mail: publisher@ocamagazine.com

A Focus on Agricultural Research Development Interview: Yespolov Tlektes

Yespolov Tlektes is the Vice President and Academic at the National Academy of Sciences in the Republic of Kazakhstan. He is also the Chairman of the Board-Rector of the Kazakh National Agrarian Research University. He is also an academic of the Russian Agricultural Academy, the National Academy of Agrarian Sciences of Ukraine. His scientific work has been recognised throughout the world with honorary professorships at no less than 14 leading agricultural universities in South Korea, China, Hungary, Russia, Lithuania, Ukraine, Belarus, Moldova, Azerbaijan, Armenia, and others. He is a Laureate of the State Prize of the Republic of Kazakhstan in the field of science and technology named after al-Farabi and was awarded with national awards, including the orders of “Parasat” and “Barys II degree”. OCA Magazine managed to grab a few precious moments with this highly decorated academic.

OCA: Please tell us a little bit about your background and how you came to your honorary position of rector at the University?

Yespolov Tlektes: I am a mechanical engineer in agricultural production. I graduated from postgraduate study at the AN Kostyakov All-Union Scientific Research Institute of Hydraulic Engineering and Land Reclamation in Moscow. My teachers were the great scientists, D.L. Melamut and L.I. Badaev. I performed my candidate of science thesis under the guidance of the Russian Academy of Sciences, Honored Meliorator of the RSFSR B.M. Kizyaev and Honored Scientist of the Kazakh SSR, Professor L.Y. Tazhibaev. These people played a great role in the formation and development of me as a scientist and future leader. All my life I have been dealing with the problems of natural resources management, in particular, water and land resources in Kazakhstan.

After graduating from graduate school, I returned to the Kazakh Agricultural Institute, where I worked as the head of the branch research and production laboratory, senior lecturer, assistant professor of the Department of Hydraulics and Agricultural Water Supply. Then I headed the Almaty Industrial Academy for several years. And in 2001, by the Decree of the President of the Republic of Kazakhstan, I was appointed rector of the Kazakh National Agrarian University, where I still work.

OCA: What is the most difficult part of your job and how do you cope with it?

YT: Working as a first manager, I came to the conclusion that the most difficult thing is to make the right management decisions. Life experience, of course, teaches, and over time it becomes easier to make decisions, but it does not give any guarantee that all decisions, without exception, will be correct and effective.

I am constantly working on my own mistakes. In the work of the university, we carry out diagnostics in all areas of its activities. An effective model of corporate governance has been introduced: people – processes – technologies. Together with 15 foreign experts from GPI-groups, teachers were certified according to a new talent management methodology.

OCA: How has COVID 19 affected the structure of life at the university?

YT: The coronavirus pandemic has changed the world forever and posed a major challenge to education systems in all countries. Kazakh education was also forced to adapt to new realities. The crisis forced us to find quick solutions. In Kazakhstan, from March 16, all universities simultaneously switched to distance learning. In the context of distance learning, the university has completely restructured educational, scientific and socio-educational work with young people.

Innovative approaches have been applied to the implementation of academic policy, online seminars for teaching staff on the use of DOT have been organized, the work of the situational centre for the exchange of best practices has been strengthened, regular webinars are held, as well as online consulting for rural entrepreneurs in Kazakhstan. Since March this year University scientists conducted more than 60 online consultations for farmers, which were used by more than thirty thousand people.

The University has opened an International Research Centre for Vaccination. The centre, together with the National Scientific Centre for Especially Dangerous Infections named after M. Aikimbayev of the Ministry of Health of the Republic of Kazakhstan, with the support of foreign partners – Ohio State University (USA) and biotechnology company Vaxine Pty Ltd (Australia), has developed a safe nanovaccine against coronavirus, which is included in the list of vaccine candidates of the World Health Organization.

OCA: With which international universities does your institution work closely at the moment?

YT: The university cooperates with 137 leading universities and scientific centres of the world, is a member of 16 international associations and organizations for higher education and science, including the Global Consortium of Agricultural Universities of the World (GCHERA). I am the chairman of the Council of Rectors of the leading agricultural universities in the CIS.

In its innovative development, the university is guided by the experience of the Wageningen Research University (WUR, Netherlands), which is the number 1 university in the QS world ranking for agricultural specialties. An agreement was signed with WUR on joint training in two KazNARU educational programs “Veterinary and food safety and technology” and “Plant science and technology”.

Last year, in a pilot mode, KazNAU students were trained in the discipline “Food Chemistry” online. The students received a certificate from the Wageningen University. The same training will be conducted in four more disciplines.

The introduction of such programs will raise the quality of education in KazNAU to the world level and broadcast the experience gained to the country’s universities.

The university implements 11 double degree programs with leading partner universities from the USA, Europe, and the countries of the Pacific region.

OCA: What is the main scientific work at the university and what made it possible to increase the level of scientific research?

YT: The university has a developed scientific and educational infrastructure. There is an Agrotechnological Hub, whose mission is to search, attract and transfer the best innovative technologies and new knowledge in the agro-industrial complex. About 100 research, implementation and international projects are carried out in Agrohub. The Agrohub includes: 7 research institutes, 8 innovation centres, 31 research laboratories, which are accredited by international agencies.

An Agrotechnological Park has been created in the educational and experimental farm, where more than 100 varieties of 36 agricultural crops are studied. Scientists have developed 4 unique varieties of tomato, potato, pepper, and salad. A project to build a “smart” greenhouse is being implemented at the Kazakh-Korean Research Centre. A demonstration Smart farm is being created. With the support of ADB, a joint project is being carried out with the USDA and the University of Michigan on the assessment of pasture areas in the Akmola region. Microclonal reproduction laboratories, a reference laboratory for milk and dairy products have been created.

At the end of 2019, scientists published more than 800 articles, of which 26% are included in the databases of Thomson Reuters and Scopus. The University became the Science Leader in terms of Web of Science publication activity. The annual International Agrotechnological Summit has become a permanent dialogue platform for scientists, rural entrepreneurs, state and local executive bodies. In December 2019, 250 prominent scientists and experts from 30 countries of the world took part in this event.

OCA: We know that this year the Kazakh National Agrarian Research University celebrates its 90th anniversary. What developments did the university go through to achieve the best ranking among research universities?

YT: KazNAU was established in 1996 by the merger of two older universities – the Almaty Zooveterinary (established in 1929) and the Kazakh Agricultural (created in 1930) institutes. In 2001, by the decree of the President of the country, the university was given a special status. This year KazNAIU celebrates its 90th anniversary.

In 2020, by a government decree, the university received the status of a national research university. This was the result of many years of systematic work. Since 2010, KazNAU began the process of transformation into a national research university based on international standards of project management with the support of 13 experts from the best foreign research centres and universities.

In 2015, KazNAU was transformed into a new organisational and legal form of a non-profit joint stock company (NAO) and transferred from the jurisdiction of the Ministry of Education and Science to the Ministry of Agriculture (MOA) of the Republic of Kazakhstan. It became a part of the newly created National Agrarian Research and Education Centre, which united 3 agricultural universities, 23 research institutes (SRI), experimental stations and farms. This made it possible for the university to gain academic freedom, to move to autonomy, and to implement the principles of self-financing, using the mechanisms of public-private partnership.

As a result of systematic work, the university occupies a respectable place in 9 international and national ratings. In 2018 and 2019, the university was ranked 651 in the QS World’s Best Universities Ranking. Over the past year, the university has made a big leap and moved up 60 positions, taking 591 places. The goal is to be a world-class university with a QS-400 rating by 2024.

As a result of systematic work on transformation in 2020, by the decree of the Government, the university was awarded the status of a national research university.

The research university is responsible for the development of science, therefore, the training of specialists through science and science-intensive production is strengthened.

Welcome Word of Nick Rowan, Editor-in-Chief

Dear Reader,

It seems as through Eurasia is taking a fair share of airtime in a world that has plenty of things to talk about. Away from COVID-19, The US Election, Brexit and Chinese trade wars, there has been plenty of tension boiling over in the region. The tensions around Nagorno-Karabakh, Belarus’ protests and the unrest following the Kyrgyz elections provide quite some concern that the region is increasingly becoming unstable and quickly prepared to descend into civil or international war to resolve differences.

Preserving the status quo in Eurasia remains one of Russia’s top foreign policy priorities. While some of the issues may relate to underlying anti-Russian sentiment, most of the actors retain strong ties to the Kremlin and are often dependent on Russia’s loans and support. Furthermore, the countries remain strong trading partners with Russia and there doesn’t seem to be enough anti-Russian feeling (yet) to threaten the influence that the Kremlin has on the region.

That Kyrgyzstan, Central Asia’s only democratic country, remains mired in political turmoil following allegations of widespread voting violations, is a worry though. Leadership competitions are not new in country, and the nation’s first two presidents post-independence in 1991, were forced to flee the country over public protests around vote fraud and corruption. Akayev, who served from 1991 to 2005 is holed up in Moscow while Bakiyev ended up in Minsk. Atambayev spent more than a year in jail following a fierce stand off between him and successor Jeenbekov – the current round of protests appear to have freed him. Only interim president Rosa Otunbayeva appears to have escaped an all too familiar fate for the leadership of the country.

Kyrgyzstan has dramatically improved its voting procedures over the past decade in a move that none of the surrounding countries have followed – there is not yet much real political competition in Kyrgyzstan’s neighbours. To that extent Kyrgyzstan has been leading the way in bringing in the democratic way of life for its citizens, led by its people’s determined contributions. One must hope that the struggle of its people for the freedoms, rights and aspirations to live in such a democracy will not be in vain.

Meanwhile in Belarus, the news of rigged elections will have surprised few. The response though of violent protests did raise a few eyebrows. Demonstrators filled the streets in numbers that until recently would have bene unimaginable, while President Lukashenko showed no sign of stepping down, arming himself to the teeth in a bid to show confidence but which portrayed more a lack of it. His moves remain unpredictable, with the latest ploy to put forward a puppet opposition for “negotiations” by visiting jailed members of the political opposition for discussions. This move was latched onto by Western media as the first signs of an olive branch – it isn’t.

Finally, Nagorno-Karabakh. This shockingly sad flare up of relations after relative quiet adds further fuel to the fire of events in the region. Worse, it now threatens a humanitarian disaster. There are fresh attacks, impacting more than just the soldiers, but destroying homes and lives and defying hopes of ending the immediate conflict in the enclave. The hopes from a Russian-brokered ceasefire have somewhat faded as I write this and the escalation has so far killed more than 700 people, including 80 civilians.

It feels as though the whole region is back to being on a knife edge – one sincerely hopes that these localised flare ups do not turn into something bigger or more destructive that could set back the progress of the last three decades of progress since independence. All this at a time when economies are likely to be shattered from the fallout of the Coronavirus pandemic.

Stay safe.

Nick Rowan, Editor-in-Chief

OCA PEOPLE: KHALIDA AKHMEDZHANOVA

OCA Magazine: Tell us about yourself and your work/creativity

Khalida Abdulkhakovna: My life was such that literature was my teacher. Our class teacher, Lidia Afanasyevna Vorobyova, was a teacher of Russian language and literature. She managed to develop in me a love of fiction. I was very fond of writing essays, and on any topic. Probably, it was important for me to Express my opinion and my attitude to the given topic. I remember even sending some essays to the regional competition.
I wanted to go to drama school. I don’t know why. But in my 15 years I was not allowed to leave home and I finished 10 classes and went on my first trip to the Crimea on my own. On the train, I met people who advised me to read interesting books.
I don’t remember if I found all these books or not, but at the age of 17 I became the head of the village library. Then I saw that not only I live in the world of books, but there were many readers in the village. My duties included educational work, I went to the farm every day, hung out lightning
bolts. Here my literacy in the Russian language and ability to Express my thoughts correctly came in handy. But the twists of fate are unpredictable.
My Universities were held in Kazan. There in the mechanics and mathematics he studied my sister. Probably, I was very Executive, and mathematics is a mandatory subject, so our school math teacher, Mars Abdrashitovich, had some hopes for me that I would follow in his footsteps.
When I arrived in Kazan, I found out that the entrance exams were already over. My mother’s friend advised me to go to work in a factory. Youth accepts everything with joy, we can do everything. At the factory, she worked as a Turner, and in the evenings studied at University preparatory
courses. So I enrolled at MSU, and graduated in 1984. Literature, Russian language and mathematics came together in my professional activity when I worked in the system of SPO of the Ministry of education of the Samara region. Information technologies were just beginning to be introduced in the field of education and needed specialists who knew different programs. Then I created my first website of our technical school. It was interesting. We worked with a colleague, a history teacher, on the content of the site in the evenings. We had such a noble creative tandem. We sent our work to various competitions, received awards and were happy with our success.
OCA: What is “Eurasianism” for You?
KA: Books have always been a mystery to me, I wanted to reread everything at once. Then somehow everything came together: literature, authors, Internet resources. And so, perhaps, Eurasianism was born in my soul just then. I have collaborated with booksellers, so to speak, from Germany. I supplied books for the Bavarian library. The book about Crimea, the Crimean Tatars, the history of Crimea-all this was very popular. Our cooperation stopped when the Crimean spring came. My colleagues from Bavaria ended their relations with me, taking the side of Ukraine.
Although, since school, I loved to be friends and always corresponded with girls from other countries. I remember the name of the girl from Czechoslovakia Dunk Masia. Then at the University we studied together and were friends with Cubans and Germans, lived in the same hostel.
I always studied and improved. I was interested in any case. Faced with social activities. I should have sent articles about the work done. I wrote for the website “world Congress of Tatars”. She worked as a journalist At the center for the protection of citizens’ rights, was a representative of the world Tatar news Agency, ran the Republic of Crimea page, and collaborated with the Tatmedia news Agency. It was almost a volunteer job. Then we created a media Center named after Ismail Gasprinsky at the Committee on ethnic Affairs. There I worked as a lead editor of “Our
Crimea” and also the editor of the “Hoffnung”, which is printed on RNKA the Germans of Crimea.
In parallel, she was engaged in social activities. Perhaps my Eurasianism began when I arrived at Kazan airport at three o’clock in the morning, as the head of the delegation of Tatar women of Crimea to the world Congress of Tatar women, I met a delegation from France and some other Russian cities. Little Galia from Paris in a red kerchief sang the song “and Tugan tel, and
matur tel”. Of course, we all picked it up. At some point, everyone merged in this song with their love for their native origins. It seemed that here, at the airport, at three o’clock in the morning, was the place to Express our solidarity, our feelings, our attitude to each other and to our people. After all, many spoke English and Tatar, and did not know Russian. But most importantly, we were United by our native language. In the autumn of the same year, I was again invited to Kazan for the first international women’s Congress. There was a proposal to create an organization “women of Crimea” in Crimea. So I became the Director of the Regional public organization International center of culture and creativity “women of Crimea”. Members of our organization are women-
representatives of different nationalities. Our goal is to consolidate the women of Crimea for active social activities, preservation and development of national cultures and traditional family values. (for more information, visit: http://womencrimea.org/)
I cooperate with the magazine “Union of nationalities”, I am a member of the Union of journalists of Russia, I constantly maintain the website of the NGO “Interethnic center of culture and creativity “Women of Crimea”. My training at the Russian presidential Academy of national economy (Ranepa) under the program “Reputational technologies in state and municipal management” was the final step in improving my skills. I am currently working on the publication of the book “the Saga of a strange woman” by my friend and like-minded Adolina Gordon. Adelina lives in Lower Saxony, the city of Quakenbrück, Germany. We met her when I was working in the magazine “Our Crimea”. Then she came to the international Crimean women’s Congress “Blooming almond”, which we hold in Crimea every year. My Eurasian friends include journalists, artists, writers, artists, and even a ballet master. There are no boundaries for creative interaction.
OCA: What are your favorite artists?
KA: At different ages, everything is interpreted differently, and through the creativity of others, we are simply filled with the spirituality that opens up new ways of development for us. Of course, there are idols whose energy flows into our blood, becomes our part, with which we live on. I Love
Chekhov, Ivan Efremov, George Sand, Larisa Rubalskaya, George OTS, Muslim Magomayev, Luciano Pavorotti, Tchaikovsky, Mikhail Zadornov. The list goes on indefinitely.
OCA: Have you participated in the events of the Eurasian Creative Guild (London)?
KA: Yes, I have twice participated in ETG events that took place in Crimea. The first time I met Marat Akhmedzhanov was during a photo exhibition in Yalta. For the second time, we met with Megan Werner at the Zhukovsky library in Simferopol. Now we have become closer through online conferences.
OCA: What does the Eurasian Creative Guild mean to You and how has it influenced Your work?
KA: ECG for me is first of all new interesting people, an opportunity to find your audience of fans on a global scale. You know, if you’re always among the roosters, you can’t help but crow . In good sense. I feel the team spirit, goodwill, interest in creativity and the prospect of growth here. I admire the ability to organize everything, keep up with everything. It is very difficult to successfully develop an organization in just a few years. There are no analogues of our Guild in the whole world.
OCA: Do you have a personal project that you would like to talk about?
KA: There is a wonderful project “international Crimean women’s Congress “Blooming almond”, which I am the initiator and organizer of. It is held annually in Crimea. The highlight of the
event is the planting of the almond alley “Peace and harmony”. When women of different Nations from different countries plant trees together, give rise to a new life in nature, this is the Foundation of the future of our planet Earth. There is an idea to spread the experience in different countries. If we plant almonds in Crimea, other countries also have their own symbols of nature. It would be great if our Guild initiated such a tradition.
OCA: What projects have you participated in and what projects do you plan to participate in?
KA: My dream is to publish Lina Gordon’s book “the Saga of a strange woman”. I am its editor, and I really want to participate in the International literary festival.
OCA: What would you wish to the members of the Guild, just starting their creative path?
KA: Be bold, truthful, sincere, never change yourself. And, of course, great success in your chosen work and always remember your roots. We are strong in unity with our people.

OCA PEOPLE: GULZHAN KALDYBAEVA

OCA Magazine: Tell us about yourself and your creative activity

Gulzhan Kaldybaeva : After graduating from the Alma Art College, I have worked almost all of my life in the field of culture – in the leading museums of Kazakhstan. I chose to work as a restorer. It was interesting for me to study and bring various works of art back to life. In general, working as a restorer is very noble, I preserve the works of famous artists for future generations. Sometimes, in my free time, I do painting. I went to the “Plain Air”, and I gave out my works to my friends and relatives as a gift.

OCA: What style do you paint in? What influenced your style?

GK: I draw using the style of impressionism and romanticism. These styles are very lively, and convey the play of light and shadows, emotions. Recently I have been experimenting a bit with abstraction. I love the impressionists. They made it possible to most vividly and naturally depict all the variability of the real world through the prism of the impressions and emotions of the artists. Impressionist works are filled with positive emotions, there is no place for gloom and heavy thoughts, there is only lightness, joy and beauty of every moment, sincerity of feelings and frankness of emotions.

OCA: Who are your favorite artists?

GK: When I was a student there were artists who had a strong influence on me such as El Greco, E. Monet, Van Gogh, P. Cezanne, O. Renoir, P. Gauguin. Now there are many good artists around the world who inspire me, including those from Kazakhstan and Central Asia. I also love classical and Russian paintings.

OCA: What is your favorite piece of art and why?

GK: I can’t say what my favourite artwork is. However, when someone asks me such a question, I instantly imagine Van Gogh’s paintings created in Arles. His series is “Sunflowers”, “Red Vineyards in Arles”, “Starry Night”. They are very emotional, lively, deeply intimate and temperamental. His works are immortal, and his name will forever remain in the history of not only painting and world art, but also humanity.

OCA: Have you taken part in the events of the Eurasian Creative Guild (London)?

GK: I took part in a meeting of the Guild participants with Marat Akhmedjanov at the end of 2019 in Almaty, where I was awarded a certificate of the Guild. I have not yet participated in other events of the Eurasian Creative Guild (London). I found out about the Guild through my Facebook friends, ambassador and artist Marlan Nysanbaev and joined the Guild in 2020. I met a lot of creative people, this gives me support and allows me to develop my creativity. I would like to participate in all future art projects. The next project is “Top 25 Artists”, which will be held this year.

OCA: What is “Eurasianism” for you?

GK: “Eurasianism” is the relationship between East and West, settling life and peace between people of different nationalities and religions, their cultural development and cooperation. Europe and Asia need dialogue for mutual understanding and respect between the peoples living in it. Consequently, the role of the Eurasian region and its influence on political processes in the world are increasing every day. The basic idea of Eurasianism is the idea of self-knowledge of culture and its development.

OCA: What would you advise for people who’re just starting their journey of creativity?

GK: To people who begin their career, I would advise working on themselves constantly, to observe, study their own self and the world around them, and not lose hope! Don’t waste precious time, don’t lose your inner strength.

OCA: How do you generally feel about art in the countries of Eurasia?

GK: Art in Eurasian countries is united by one common desire: to bring together such a diverse modern world with true beauty and creativity that knows no boundaries. This is an example of cultural diplomacy that exists in order to create mutual trust between countries and people. Artists, writers, musicians, poets realize that this is art without borders.

OCA PEOPLE: ILONA REEVES

OCA Magazine: Tell us about yourself and your activity / work

Ilona Reeves: I am a musician, social activist, teacher and writer. Since my early childhood, I have loved and have been very much attached to the world of literature, but life brought me into the field of music. I graduated from the Belorussian Academy of Music. Being a Member of the society of Music figures of Belarus I have written the songs, lyrics and several scenarios for kids whom I was teaching those days. On the other hand, many years of work (14 years) in the Gulf countries have largely influenced my personality. Gradually I was getting ready to open a new page in my professional career. Over the last few years, I have devoted myself completely to the literature and my children.

OCA: What is “Eurasianism” for you?

IR: “Eurasianism” – as a writer I understand this word as an endeavour to emphasize the common unity of the continent. Throughout the history of the Silk Road, its routes are an important link in building dialogue, trade, interaction, the exchange of experiences of various peoples and cultures. Of course, there are always many contradictions in that but this is already a question of the geopolitics of a particular country or nation.

OCA: Who are your favorite artists?

IR: Speaking of my favourite artists, first of all, I have to mention the art of Pushkin, Picasso, Shakespeare and Andersen. The list may be too long I guess… Undoubtedly, the heritage of these prominent artists has formed a fundamental layer in modern culture. Among my favourite contemporaries is Leonardo DiCaprio ( American actor, producer and environmentalist). His art of acting as well as the things he has done in protecting animals and nature has been an enormous source of inspiration for me. And the apple of me eye is Elon Musk, the most successful entrepreneur of the Silicon Valley with whom I was honored to talk to quite recently. These are the people you want to write books about.

OCA: Have you taken part in the events of the Eurasian Creative Guild (London)?

IR: I did take part in some events of the Eurasian Creative Guild (London). At the end of summer 2018, I found a writers’ contest on the internet. Then I realized the same platform offers a professional internship as well. I filled in the intern form and was acquainted with the ECG. I really enjoyed meeting many wonderful writers and members of the society during my internship. The curator of the department I went in was M.I.Akhmedjanov, the Vice-Chairman of ECG. It’s like I saw the life of the company from the inside. It was a good experience to improve my professional skills. During an internship, I sent my artwork “The Tales of The lost Forest “ to the Open Eurasia Contest and to my great joy I became an awarded writer! There was an amazing week of Open Eurasian Literary Festival & Book Forum in Thailand. We were given a lot of inspirational and positive moments which are yet in my heart . Last summer, Belorussian poets and writers , members of the ECG, had an honor to take part in the Great British Festival held in Minsk . It was quite a massive event where we introduced our art to an audience. The town of Minsk turned into a part of Great Britain. I was presenting my book of tales “The Children of The Sun “ as well as the interests of the guild. You know, the thing I like best in the Eurasian Creative Guild – is giving people of the large list countries the good chances and needful instruments for career growth. If you are strong enough – you will succeed. If you really have an interesting project or product –you will succeed.

OCA: Do you have any personal projects that you would like to talk about?

IR: This winter, the ECG announced an international social project “Resolution “ which I cared for tremendously. The goal of the project – a call to action in the name of protecting our planet. A musical project that was created to attract the attention of world leaders to environmental disasters and global climate crisis. In a duet with the ex-soloist, Pesnyary ensemble, we made our version of the “Resolution ” song. Besides that , in cooperation with John Farndon, a British writer and poet, an article about the “Resolution ” project and climate change problems were launched for science magazine in Belarus. Some things were pretty hard to achieve but we have done it. I love our planet and our nature, in my every fairy tale you can feel it. And if there is a thing I can do for our planet, for our kids and their future be sure I will make that thing happen. Of course there are moments in life where you want to surrender, but if you find your truth you will be a winner.

OCA: What does the Eurasian Creative Guild mean to you, and how did it affect your creativity / activity?

IR: I really love the ECG. I thank it for uniting people through art and through love for that art. I wish you can discover more and more treasures on the path called “The Great Silk Road.”

OCA PEOPLE: CAROLINE WALTON

OCA Magazine: Tell us about yourself and your activity/work

Caroline Walton: A Londoner born and bred, I am a Russian to English translator and editor. Translation is more than just knowing two languages – the translator has to be able to write well in their own language. I am also an author of books on Russia, Ukraine and the countries of the former Soviet Union. My books have been published in The UK and the US and have won several awards.

I set up my company, Sirin Books, to help Eurasian authors prepare their work for publication in English. We offer advice, translation, editing and liaison with publishers such as Hertfordshire Press. I have translated and edited for Azerbaijani, Crimean Tatar, Kazakh, Bukharian Jewish, Russian and Ukrainian authors – all of whom have opened windows onto their cultures for me and for their western readers.

I first became interested in Russia in my teens, through reading Tolstoy and Dostoevsky. I lived in Russia for a while in the early 90s and wrote a book about the experience. I write mainly non-fiction, true stories about people’s lives. For example, in 1999 I went to St Petersburg to speak to the survivors of the siege of Leningrad, specifically, people who had been singers, actors, artists, and musicians. How did their creativity enable them to transcend their circumstances? Their answers changed my life and can be read in my book The Besieged – a story of survival (Biteback Books).

My latest book My Cossack Family – meetings with remarkable people in Russia and Ukraine is a further exploration of how people were able to survive famine, the Gulag, war and nuclear disaster. The tragedies in Soviet history have been well documented; I look at the positive sides, at what can be learned. In the light of the Covid-19 pandemic, the messages of the subjects of my book are all too relevant today.

The book can be ordered from sirinbooks@gmail.com

My website is www.sirinbooks.com

OCA: What is “Eurasianism” for you?

CW: I love the word ‘Eurasia’. From the perspective of this small island it brings images of grassy plains, baking desserts, stern mountain ranges and fabulous cities, homes to a myriad of different cultures. Eurasianism is a bridge that spans these cultures, bringing them together while celebrating their uniqueness.

OCA: Who are your favourite artists?

CW: For me art must point to deeper spiritual truths. I love mugham music for example, and the textile art of Uzbekistan, early Russian icons…

In the ECG it has been a great privilege to meet not only writers but also Eurasian women and men who work in all kinds of media. For example I love Guli Bost from Kyrgyzstan and her felt art. I would never have believed it to be possible to create such beauty with felt.

OCA: Have you taken part in the events of the Eurasian Creative Guild (London)?

CW: I meet regularly with ECG members in London and attend ECG literary festivals.

OCA: What does the Eurasian Creative Guild mean to you, and how did it affect your creativity / activity?

CW: The ECG is a brilliant concept. Besides introducing me to the art and literature of many different countries in the region it brings enormous possibilities for meeting fellow creative people, women and men whom I might not encounter in the normal course of life.

OCA: Do you have any personal projects that you would like to talk about?

CW: At the moment I am working on getting my books translated and published in Russia. I would be happy to have them translated into other languages of the region too.

OCA: What projects have you participated in and in which do you plan to participate?

CW: The literary festivals. In October 2019 the ECG held a launch for my latest book My Cossack Family – meetings with remarkable people in Russia and Ukraine (Sirin Books). The responses of members of the audience were very moving. They reminded me of why I write.

OCA: What would you wish for the members of the ECG, just starting their career?

CW: Believe in yourself, your talent and inspiration. Keep to your path. Stay true to your heart.

OCA PEOPLE: ZAURE TOREKHAN

OCA Magazine: Tell us about yourself and your creative activity

Zaure Torekhan: My name is Zaure Torekhan, I am a writer and screenwriter, author of youth books and writing courses from Nur Sultan, Kazakhstan.

My career began in 2014, when I wrote my debut fantasy “Amina Turan in the Nomad World”. In the same year, with the first 8 chapters of this book, I won the national literary competition “Altyn Kalam”. Already in 2019, a fantasy novel about the adventures of Amina Turan took 3rd place in the OEBF International Literary Competition in Brussels, which was organized by the Eurasian Creative Guild.

This success was noticed by the prestigious publishing house of Kazakhstan Almatykitap Baspasy. In 2016-2017, I wrote guidebooks for children “Our beloved City Almaty” and “The Heart of our Motherland – Astana”. It was a huge experience, I met wonderful people, wise mentors, learned a lot about publishing and got a good life experience. All three books published by Almatykitap Baspasy publishing house were exhibited at prestigious book exhibitions in Moscow, Frankfurt, Nur-Sultan, Tashkent and Ashgabat. The guide books can now be found not only in the libraries of Kazakhstan, but even in the library of the US Congress.

My creative activity was more developed in 2017 when I became a laureate of the prestigious literary prize “Altyn Tobylgy” in the nomination “Best Children’s Literature of the Year” with the story “Aisha and Invisible Neighbors”. The literary prize was organized by the Foundation of the First President and the Union of Writers of Kazakhstan. Currently, the book is published in an unusual format in the form of a series book in the IKitapDYKENI. The release of the printed version will be published in autumn 2020.

OCA: What is “Eurasianism” for you?

ZT: For me, this is primarily collaboration and communication with creative people from different countries with common interests and the desire to create joint projects. The peoples of Eurasia have much in common, the similar history, culture and mentality. In a nutshell, there are many points of contact, so you can always find an opportunity for interesting creativity. As a writer, I would really like for my books to have readers abroad, I would be happy to receive feedback, questions and comments. Thank you very much OCA Magazine, for your support and the opportunity to tell a wide audience about myself.

OCA: Who is your favorite artist?

ZT: Each country has its own outstanding figures of art and literature, but if I focus only on the literature of Kazakhstan, I especially respect the work of the great thinker of the Kazakh people Abay Kunanbaiuly, whose 175th anniversary we celebrate this year. I also like reading and re-reading the treatises of the second Aristotle al-Farabi, the military poetry of Makhambet Utemisov, the novel “The Way of Abai” by Mukhtar Auezov, the trilogy “Nomads” by Ilyas Yesenberlin. These are our Kazakh classics, and among creative figures we can especially mention the thoughtful poetry of Olzhas Suleimenov, writer and director Ermek Tursynov, scientist and researcher Serikbol Kondybay.

I would like to thank Marat Akhmedzhanov. Although he is not a writer, he is a unique person who found the strength of will and energy in himself to promote Eurasian literature around the world. This is just an amazingly large-scale idea and its implementation requires incredible efforts. I respect the work of Marat Ismailovich and always try to support him and Eurasian Creative Guild.

OCA: Have you taken part in the events of the Eurasian Creative Guild (London)? For example, did you participate in exhibitions from our organization in the CIS countries, or at the Eurasian Culture Week in London, or the Open Eurasian Literature Festival in Belgium and other countries?

ZT: The first time I heard about the Eurasian Creative Guild was in 2014, at a cultural event organized in cooperation with the Ministry of Culture of Kazakhstan in Almaty. In 2016, I was lucky enough to take part in the Open Eurasia festival in London. The festival program was very interesting, I visited many cities. Among them are the Turkish and Russian cultural centers, the BBC headquarters, top universities in Britain and many other locations. I also enjoy going to formal and informal meetings of the Guild, especially when Marat Akhmedzhanov and his team come to our city. I am always interested to hear the news, look through the books of authors, and talk with people. This allowed me to make new acquaintances and friends in Almaty and Nur Sultan, as well as around the world, and this is great.

OCA: What does the Eurasian Creative Guild mean to you, and how has it influenced your creativity ?

ZT: The Eurasian Creative Guild is constantly developing. Along with annual festivals and various contests, new creative projects appear that are put forward and offered by the members of the Guild. This makes it possible not only for the development of the Guild as a whole, but also for the growth and communication of creative people from around the world.

As for my artwork, I have great ideas for cooperation. For example, as a winner of a literary contest and a member of the Guild, I hope to publish “Amina Turan in the Nomad World” in English. Also, with the artist Nurlan Abishev, whose illustrations for the book were awarded the 1st place in the “Illustrations” category, I plan to release a whole series of comics, “Nomad World.”

OCA: Do you have any personal projects that you would like to talk about?

ZT: Currently, I am working with the animation company ARA Studios on a script for a 26-episode cartoon for preschool children. The customer is the only children’s television channel in Kazakhstan, Balapan. For me, this is a very energy-intensive project, and I do enjoy the creative process. My childhood dream of creating cartoons has finally come true. I hope there will be as many projects as possible in my life, because I really like watching cartoons.

I also lead a Kazakh group participating in a volunteer literary project together with Hungarian writers. As a result of the project, we intend to release a joint bilingual illustrated collection and a Kazakh-Hungarian dictionary. We are supported by the international literary fund The International Board on Books for Young People (IBBY) in Hungary.

OCA: In which projects / exhibitions do you plan to participate in the future?

ZT: I’m also involved in scriptwriting. This year I am participating in the ECG Film Festival competition with the script “The House of Silkworm”. This is a fantasy adventure story of a brave student who fights dangerous Time Warriors. The hero must return the Clock of the Universe to its place before the time runs out. In the future, I also plan to write a full-fledged book on the plot of this scenario, not limited to the scope of screen time.

OCA: What would you advise people who are just starting their journey of creativity?ZT: There are no easy ways, no easy professions; diligence, creative approach, ability to communicate, desire to carry out our plans everywhere. I want to wish them to be active, not afraid to bring their projects to life, to be proactive, persistent and always move forward!

OCA PEOPLE: YELENA ASLANYAN

OCA Magazine: Tell us about yourself and your activity / work

Yelena Aslanyan: Born in 1961, father was an engineer, mother is a doctor, by the way, my mother still works as a doctor in a clinic, she was recently awarded an honorary diploma. I live in Yerevan, married, have an adult son and a daughter. My first profession involved programming, I worked in this specialty for more than twenty years and taught in university. My first stories were written twenty years ago, and immediately started being published in “thick” literature magazines. Recognition from readers was followed by the recognition of literary critics. When my “Getashen” story was awarded the Diploma of the joint competition of the Writers’ Union of Armenia and the Ministry of Defense of Armenia, it was called one of the most piercing stories about the Karabakh war, the story was spread over electronic resources (without the author’s knowledge) and was reprinted from one site to another. After my prose passed the test of time, I had to make a choice – it was already impossible to combine my favourite work as a programmer and writer. I chose literature and journalism. For example, an analytical article about Nogales’s book “Four Years Under the Crescent”, first published in “Literary Armenia”, was then published in “Russkiy Vestnik” in Moscow and was a resounding success.

I am the author of four books and four miscellanies, two of which are international. At the request of the UNHCR I wrote a book «At the crossroads» about refugees. It was a great honour for me to be elected in ECG Corporate Council and to be entrusted with the honourable mission of the Guild Ambassador to Armenia. One of the undoubted creative successes was the novel Three Distichs”, winner of two international literary contests and the ECG film festival in the nomination “Book Trailer”.

OCA: What is “Eurasianism” for you?

YA: For me, “Eurasianism” is my essence: my childhood, the same school’s programmes throughout the space from the Baltic and Sakhalin, Murmansk and Yerevan; my youth with construction teams in Tyumen and on Lake Baikal; our common pain of Afghanistan and the collapse of the USSR; our common Victory in 1945; our common Russian language and the history of our countries, which a interconnected by thousands of threads. By the way, the novel “Three Distichs” can be considered as a literary reflection of the idea of Eurasian integration, because all the heroes of the novel both spiritually and “territorially” belong to the space that gave birth to them, a single Eurasian space, which determines the affinity despite the post-Soviet borders.

OCA: What are your favorite artists?

YA:Lewis Carroll, Mikhail Bulgakov, opera conductor Konstantin Orbelian

OCA: Have you taken part in the events of the Eurasian Creative Guild (London)?

YA: I organized the Meeting of the Eurasian Creative Guild in Yerevan in 2019, it was a huge success and widely covered in the media. Also, I took part in the book forum and festival Open Eurasia in Brussels.

OCA: What does the Eurasian Creative Guild mean to you, and how did it influence your creativity / activity?

YA: The Eurasian Creative Guild gave me wings and allowed me to get off into the world of big creativity. So, I entered the world of cinematography thanks to the ECG & Romford Film Festival. I met professional directors and producers, it was amazing. And this year I took part in the film festival with two nominations, nomination “book trailer” and the new for me “music film”. Of course, the creation of a musical film dedicated to the creativity of Cyril Scott was a completely new experience, which means a new facet in my creative life.

OCA: Do you have any personal projects that you would like to talk about?

YA:I would like to tell about the “The Daughter of a Kurd” project, which includes two stages: publishing the book “Kurdish Daughter” in four languages (Armenian, Kurdish, Russian and English), and a presentation in Yerevan, Moscow and Los Angeles (because there are many Armenians). The events described in the book take place in January 1990, a symbolic time for all those who lived at that time in the USSR. And the fate of the main character Anahit is a bridge from the past to the future over the unhealed wounds of 1915. The artistic value of the story can be judged by the fact that it is included in the curriculum of Kurdish schools in Armenia. In addition, the book received a special diploma “For Solar Creation” at the German International Literary Competition “Buch des Jahres” in 2017. The book describes the events of 1915 in a completely new way, overcoming “the effect of tiredness” about a topic that has not received a solution for more than a hundred years.

OCA: What projects have you participated in and in which do you plan to participate?

YA: I have been participating in the Open Eurasia literature contest since 2014 and have already submitted my works for the contest this year. I also sent an application for the Almanac “Voices of Friends”. I sent two videos to the ECG film festival, and dream about taking part in the forum in Rome.

OCA: What would you wish the members of the Guild just starting their career?

YA: I would advise them to take part as much as possible in the projects offered by the Guild, try themselves constantly in new genres and enjoy creativity and communication with interesting personalities, enter into discussions, share thoughts, reflect on thoughts of spiritually close people.

OCA PEOPLE: XANDRA SILANTYE

OCA Magazine: Tell us about yourself and your activity / work?

Xandra Silantyeis : I’m a writer, composer, journalist, screenwriter, director, author of psi-projects: “Pregnant Lectures”, “Hearty Podcasts”, publisher, editor, public figure, festival organizer, system psychologist, nutritionist, director of the Interlegal Public Fund and the Publishing Magisterium of the same name which publishes the Kazakhstan “Rapsod” Collection of Writers, researcher, owner of the “Tritium” music label and co-owner of “InterVision” live television, director of the 1st youth radio “StarKids.fm” and school of radio hosts and bloggers, founder of the “Writers” web community.

Currently I’m working on 4 books: the second part of my neo-roman called “Moon Gods: Through Time” (the part 1 “Earth Gods: Through Sky” is available online in large electronic book platforms + an audio book will be available from 06/01/20 on the Internet; the book has been translated into 20 languages), on fundamental “Gospel of the Writer” for all who are familiar with “Demonology. The self-instruction manual on self-instruction manuals”, the collection of “Taboo” verses. I’m also an author of a ruthless motivational marathon “PinCode” which already has an English version – “KickCode”. This is a glider, a quest game and a manual for the implementation of any project.

Apart from 4 albums that I wrote – WESTiAIRe, Music is not BORSCH, E.V.genica, La Chocolatier, which are available on iTunes, Amazon, Yandex, Beatport, Soundcloud, Google Play and Napster – there is a musical album ‘War Hymns’ in which I strive for 100 tracks. All the tracks can be downloaded or listened to along with the podcast-shows, programmes and interviews on the website of ‘Tritium’ label.

3 solo albums are coming soon – “Mudaism”, “Blyadiada” and “Kherofobia”, and these are not abusive jargon, these are terms of the Russian language.

OCA: What is “Eurasianism” for you?

XS: Eurasianism – is a unity of many active personalities through joint projects for the benefit and development of industries.

OCA: What are your favorite artists?

XS: Without any doubts, it’s Marat Akhmejanov, Mikhail Zemskov, Zhanna Bektimisova and other active event managers. My dream is to unite them all under the sky of my ‘great coworking city’.

It is such a rainbow of personalities and an abundance of projects. Every time new faces and their projects add new power and ideas. The connection between countries is an amazing work of Marat and other ambassadors. And it’s impossible to express all my gratitude through words. I feel like Marat has a unique ability to be everywhere.

When you start understanding the structure of your society and field you work in, you can see borders and opportunities. The ECG is borderless. In order to realise global projects, you need a network and like-minded people. The ECG is exactly that network. Writing ball, marathons, staging a multiformat 3D performance based on my neo-novel about the 8000th year “Earth Gods: Through the Sky”, issues of “Rhapsody”, presentations and discovering of new names – all this is coming next.

OCA: Do you have any personal projects that you would like to talk about?

XS: I have totally crazy and global projects which require heavy investment as well as like-minded people. This includes opening a Google office in Central Asia as there is no such office so far. I have a project with a hacker space of 6000 sq.m. active area excluding land. And all this is a so-called eco-city. Instead of waiting for the future, the youth should start building it. I would also like to invest in the auction of lots by Salvador Dali in this project. And the main investment in this project of the “New Kazakhstan Creative Valley” is the new personnel that will revolutionise the industries. We have so many talented people who can bring tremendous revenues. These talented people need a foundation for development and a vector for self-realisation. I don’t want to go abroad and invest large amounts of money in an ‘empire’. I want to build an empire here! And in order to build a society we need new territories and conditions.

I also plan to launch a national brand of clothes and perfume called “Sahara”. It’s unique feature is in well-forgotten old, but new to society fabrics and traditionality. For example, eco-fur. And this is not recycled fabrics or eco-structure. Speaking of perfume, so far there hasn’t been any world-class perfume from our country. A cosmeceutical company with a deviation from chemical hazards is also a revolution in the future. Of course such creams, mousse, soaps, champagne and body truffles have rather short shelf life, but it’s fine. Even some newborn babies now have more than 15 types of plastic in the blood. What does it mean? It’s time to move towards natural production without fanaticism, in which there would be a harmonious interaction with nature without harming it significantly. Even eco-movement can bring resources which will be sufficient for future generations. Even Mars will become closer to us because the success of niches will give us new personnel for the space industry, as said by the leader of our nation.

OCA: What would you advise the members of the Guild who are just starting their career?

XS: I want to wish or even encourage all creative people to define borders for their start-ups. If something doesn’t realise, it means that you target the wrong audience or use the wrong resources. I always repeat that ‘unreal – is the most real’. This is the slogan of my neo-novel. In order for unreal to become real you need an environment with personnel who have projects and who are able to create cells to implement all this.

OCA PEOPLE: TIMUR AKHMEDJANOV

OCA Magazine: Tell us about yourself and your activity / work?

Timur Akhmedjanov : My name is Timur Akhmedjanov and I’ve recently finished high-school at Rugby School Thailand. I enjoy art in general as well as drawing, however the comic-book medium interests me the most. I also like anything relating to ‘film’ and I’m hoping to have a career in that field. Right now I’m working on a comic-book adaptation of Kamran Salayev’s children book, ‘Elish and the Wicker Tales’. I’m doing this because I’m interested in making comic-book stories as well as writing for a good cause.

OCA: What is “Eurasianism” for you?

TA: “Eurasianism” (in terms of art, literature and creativity) is a word that is used to define the blend and cooperation between cultures and nations of both Europe and Asia. Whilst the ECG’s primary goal is promoting ‘Central Asian’ culture, in particular, it’s overall motto and dream is to unite people of both the west and east through the creative medium and to recognise talented, yet less known individuals of the ‘Central Asian’ people to be the spearhead of that union.

OCA: What are your favorite artists?

TA: There are various artists that I like but most of them are comic book artists. I have great respect for their skill and dedication, especially for those who publish in weekly magazines. They are able to write coherent and incredibly compelling narratives under such a tight deadline whilst at the same time backing it up with incredible artworks and illustrations to properly convey the story and actions they are trying to show.

OCA: Have you taken part in the events of the Eurasian Creative Guild?

TA: To some degree, I have supported multiple ECG events as a helping hand for the hosting group, meaning that I haven’t actively taken part in any of the ECG events.

OCA: What the Eurasian Creative Guild means to you, and how it influenced your creativity / activity?

TA: Whilst I like the concept and idea of the ECG, the guild’s goals deviate from that of my own interests. This also means that the ECG has not influenced my creativity whatsoever, a lot of that comes from the goals and aspirations that I have as an individual.

OCA: Do you have any personal projects that you would like to talk about?

TA: As I have already mentioned, I am currently working on a comic-book adaptation of Kamran Salayev’s children book, ‘Elish and the Wicker Tales’. Whilst being the translator for the original work I had grown a certain affection for the story and though that both it’s presentation and the message behind it are both very fascinating and is something I want to recreate in a comic-book medium. Whilst this isn’t my first ‘illustrative’ project it is definitely my most ambitious and professional one that I have done and will spend many more hours working on and perfecting.

OCA: What would you advise the members of the Guild who are just starting their career?

TA: I don’t think I am fit to give any advice to people starting any career as I am still too young and know very little about creative industries and instead would like advice from other, more honed veterans of that industry to assist me with further developments of my future career and projects that I may have. However, if I had to give one piece of advice it would be to people similar to me who ‘are’ or ‘were’ struggling to find a ‘passion’ or ‘desire’ to pursue in their lives and that is advice is to absolutely try your best in whatever holds your interest the most. Just because you fail at something or don’t do as good as you had intended you shouldn’t give up, because if you do you might find yourself in a spot that is a lot worse to the one you had started on and might ruin your passion for that interest for a really long time. Instead, you must accept that whatever you are doing will never turn out perfect, no matter how good you are, and that you must use that experience to help you improve on that interest for the future to come. Also, remember that if people don’t support or don’t show the same level of passion as you do for your interest that doesn’t mean you should be discouraged, instead you must act selfishly and carry on with whatever you are doing with the mindset that you will eventually meet people who will appreciate your work if you carry on pouring your entire passion into that interest.

OCA PEOPLE: TALGAR ZHANIBEKOV

OCA Magazine: Tell me about yourself and your creative work. How did your journey start?

Talgad Zhanibekov : I was born in Semipalatinsk and was raised there until I was 5. In 1978, me and my family moved to the Almaty region. From the 1st to 11th grade I studied in the school named after Furmanov in the Shamalgan village. Since my childhood, I’ve been listening to the rock band ‘Deep Purple’, ‘Whitesnake’, ‘Iron Maiden’. In the 11th grade I decided to try to play such music myself. Of course, I didn’t have any skills for that, but there were teachers either. By trial and error, step by step I learnt how to play heavy-metal. But I thought it wasn’t enough, so I decided to enter the Kemerovo Institute of Culture and chose the speciality of “Conductor of Russian folk instruments” in order to learn about the theory of music. In Kemerovo city I had my first stage performances which were also my first unforgettable experiences. My music and lyrics were becoming heavier and heavier, and indeed I was influenced by such bands as Metallica, Megadeth и Slayer. Upon returning to Almaty, I started to work as a sound engineer in the Kazakh Drama Theater named after Mukhtar Auezov. At the theatre I created a music studio and recorded my long-awaited thrash-metal style music album. My debut on the stage of the academic theatre happened in August 1996. At that time, the directory of the theatre was quite shocked when they saw a completely different side of me.

OCA: What does Eurasianism mean for you?

TZ: I live in the world’s biggest continent called Eurasia. Its length covers the entire eastern hemisphere from Portugal to Japan if we don’t count Island states in Southeast Asia. But to be honest, I’m a cosmopolitan and I feel good in any place as long as I can create art works.

OCA: Name your favourite artists

TZ: In music – Ritchie Blackmore, Dave Mustaine, Mick Jagger, Armen Grigoryan. In films – Ingmar Bergman, lars von Trier, Guy Ritchie, Christopher Nolan. In literature and poetry – Mikhail Bulgakov, Edgar Allan Poe, Sergei Esenin.

OCA: How did your journey in the film industry start?

TZ: As I’ve mentioned above, I worked as a sound engineer in a theatre. At that time, the director of the theatre was People’s Artist of Kazakhstan Tungyshbay Zhamankulov who staged a play called “Salt desert”. I was responsible for the arrangement of music in it. And during one conversation, he told me that my way of thinking was like a producer. So then I entered the Institute of theatre and cinema, the workshop of Ardak Amirkulov. He is a powerful teacher and thanks to him, I acquired my first skills in film-making. At first, we did small projects. During my second year, Ardak Amirkulov launched his film ‘1997 – Rustem’s Notes with pictures’ at the ‘Kazakhfilm’ base. All members of our group directly took part in the creation of it. I played a supporting role and wrote the music for the film. Bedises, we learnt almost everything: wrote a director’s script, learned to put on light, tucked in film, were holders of camera rails and so on. In short, we got all the practical experience. In my third year, we started to defend our courseworks which were short films. I had three of them: “French lesson”, “Thaw” and my graduate work “Lory”. In 2001, I got a film producer diploma but only in 2006 I started my first steps in the film industry. At the beginning, I worked as a screenwriter and at that time Rustem Ibragimov bought my scripts (“White Sun in the Desert”, “Burnt by the Sun”, “Siberian Barber”), and a year later a company “Kazakhfilm” purchased the rights of my script for “Meat King”. In 2011, Russian producer Renat Davletyarov (who filmed “Love Carrots” 1, 2, 3, “Steel Butterfly”, “And Dawns Are Quiet Here”), bought the rights of my script for “Conversation”. Then, this movie was a breakthrough of the Montreal film festival in 2012. During that year, I also filmed the feature movie “Joker”, in which Birch Tree Entertainment (USA), JSC Kazakhfilm, JSC CPC and CAMD LLP also participated. This was a black and white noir story, almost completely filmed on the green background in a pavilion. All the rest was added through computer animation. The style of “Joker” quite resembled the film ‘Sin City’ filmed by Robert Rodriguez and Frank Miller. The movie was released in October 2013. In 2014, I started to work in the company “Kazakhfilm” with a science fiction movie “Phoenix” which we wanted to relate to the 55th anniversary of the world cosmonautics. This is because the first flight to space was made from the Kazakh land by Yuri Gagarin, who opened that era. We received financial support from the government, but then tenge was devalued and as a result, that amount was not enough anymore for such a big project and I needed to find additional investors. So, I attended the Cannes Film Festival because I thought this was a perfect place to find investment, and I wasn’t mistaken. The first person who accepted my offer was Sergei Bespalov. He was a General producer of such films as “Sin City 2: A Woman Worth Killing For”, directed by Robert Rodriguez (“From Dusk Till Dawn”, “Alita: Battle Angel”), “Chef on Wheels” directed by John Favreau (“Iron Man”, “Avengers: Infinity War”, “Avengers: Final”). Me and Sergei got along really well and signed a cooperation agreement. In fact, we planned to film the movie in Hollywood, however, uncareful actions by some officials brought the project to end, unfortunately. Later on, I filmed two auteur projects using my own budget – “Charm of Life” and “Kuanysh”. Actually, I want to present “Kuanysh” at the “Eurasia” Film Festival in London.

OCA: Have you ever taken part in the Eurasian Creative Guild (London) events?

TZ: Of course, as a member I always take part in events organised by the Eurasian Creative Guild (London) if I have a chance to do so. Even recently, on the 6th of May I participated in the zoom conference on ‘Virusology in movies’ as a moderator. I would like to thank Marat Ahmejanov for trusting me and providing me with an opportunity to share my views on the film industry.

OCA: What does the Eurasian Creative Guild mean for you and how did it influence your creative activity?

TZ: The Eurasian Creative Guild is doing an important work, it brings together all us into one big creative union. Although all the members of the guild are from different countries, with different mentality and religion, different views, we all are united by the common desire of self-realisation. Every member tries to be useful to other members and this is so important in current times. I’m really grateful that I became a member of such a union as the Eurasian Creative Guild. Thanks to the guild, I opened new horizons and new possibilities that would help me to find like-minded people and allow me to work in my favourite field which is film-making!

OCA: Please tell our readers about your own project or film.

TZ: Currently, I’m working on two film projects – “DNA: chapter 1” and “DNA: chapter 2”. Both projects are quite similar, but the difference is that in one film there is a male actor playing in 7 different hypostases, while in another one there is a female actor playing in 3 different hypostases. The film will be recorded in one room, with a green background and no decorations at all. So, it’s totally minimalistic. This is all I can say about it for now.

OCA: What projects or exhibitions do you plan to participate in the future?

TZ: I already participated in the film festivals “Go East”, “Weisbaden” in Germany, “Eurasia” in Astana (Kazakhstan), Cannes festival in France, and I would like to to participate in other film festivals as well.

OCA: What would you wish for people that have just started their journey in the movie industry?

TZ: I’m not the biggest expert in the movie industry so I cannot really give any advice. But I want to say just one thing – be sincere.

OCA: In general, what is your attitude towards the movie industry in Central Asia? What problems do you see and how would you solve them?TZ: This is a very difficult question for all the movie makers. For the domestic market, private companies release movies with small budgets, usually comedies, and they are quite successful in terms of making a profit. But there are also big governmental companies which allocate large budgets to their movies, but they are not profitable because their theme and message is about patriotism, ideology and country image. Such movies can be profitable only if the country’s population exceeds 50 million people, as said by a famous German producer Karl Baumgarner, and I completely agree with him. The answer is obvious. I would personally recommend those companies to co-produce with other countries in order to reach a wider audience and earn corresponding profits. But if it’s an auteur cinema, it should be supported by funds, film festivals and those who simply love movies!

OCA PEOPLE: NATALIA LOSKUTOVA

OCA Magazine: Tell us about yourself and your activity / work

Natalia Loskutova: Natalia Corshun was born in the Moscow region. She has graduated from Plekhanov Russian University of Economics and Lomonosov Moscow State University. She is a member of the Russian Union of Writers.

All her life is filled with travelling. She passed the mountains of Altai, the Urals, the Himalayas, Tibet, the Caucasus. In the course of her professional activity she was lucky to visit the great corners of Russia: Sakhalin, Taimyr, Siberia, the Urals, Altai. The beauty of the world and communication with people served as the basis and source of her creativity. A visit to China, Peru, Bahrain, Greece, Syria, India, Sri Lanka, Bhutan inspired the creation of colorful works.

The first book named «Christening» was written in Jordan in 2003.

OCA:Have you taken part in the events of the Eurasian Creative Guild (London)?

NL: “I took part in the conferences of Eurasian Creative Guild in London in September, 2019. The visiting of London is a bright part of my life. I am very thankful to the invitation of Eurasian Creative Guild. It goes without saying it was a good chance to meet with creative works of new writers and artists.”

“Eurasian Creative Guild is a big deal for me. It is a realization of my interests which gives me the step up to go on and develop my creative activities. I consider that the Guild unites peoples of different countries with spiritual bonds.”

OCA: What does the Eurasian Creative Guild mean to you, and how did it affect your creativity / activity?

NL: My pen name is Natalia Corshun. It was first pronounced by Marat Akhmedjanov at the Moscow meeting of Eurasian Creative Guild. I’d like to emphasize that a warm-hearted atmosphere prevailed on all meeting of the Guild. Every member of the Guild may gain support and a word of encouragement to make your own way in the literary world. The Guild suggests any member to have a bash at different kinds of works: poetry, prose, translation, illustration and so on. The unique character of proposed projects expressed in great possibility to combine interests and prospects.

OCA: Do you have any personal project that you would like to talk about?

NL: I participated in OEBF contests of works in the genre of prose, poetry and illustration. I gave it a try.

I published my works in the collection of poems named “Нить 3”.

Besides, I am a participant of new project in Poetry Almanac “Voices of Friends” where I published the poem “My grandfather came to Berlin”. It describes grandfather’s act of bravery in World War II.

As a result of participation in different contests of Eurasian Creative Guild I released my own collection of Russian-English poems called “Fate has a tough hand” in May 2020. It is placed on the web-site: amazon.com .

I reflect on the idea that the life path is not always easy, but it is necessary to find strength and energy in order to overcome all the difficulties and ups and downs of fate in this book. I hope that readers will take my book at its worth.

I plan to publish a book for babies with cheerful illustrations. I am sure that it will be something special.

OCA: What would you wish for the members of the ECG, just starting their career?

NL: I’d like to wish all members of Eurasian Creative Guild starting their writer’s career to work hard to win over the readers. The most important thing is to be honest with readers. I believe it is half the battle.

OCA PEOPLE: NATALIE BAYS

OCA Magazine: Tell us about yourself and your activity / work

Natalie Bays: I am a cultural project manager based in the outskirts of East London and I have thirteen years of experience working in participatory and community arts. During my degree study at Chelsea College of Art & Design in London I founded an arts organisation with my colleague Joe called ‘The NO Collective’ – which celebrates its tenth birthday this June! We develop creative programmes and festivals in the UK and abroad – including having conducted a 3 year programme in association with CSSN Azerbaijan. I have a niche experience in developing cultural business’s and events in town centres – having successfully regenerated an East London shopping centre through cultural activity, developing a business hub in a dilapidated night-club, and opening an artists studio within an ‘art-deco’ parade of shops. I am now working in a shopping centre in Romford with a community-centric ethos where we are turning the experience of your weekly shop on it’s head. This is now an award winning community hub, which plays home to two international film festivals, an architecture week, a couple of food festivals, and a winter lights festival to name a few!

OCA: What is “Eurasianism” for you?

NB: To be honest, I find the 1920’s term for ‘Eurasianism’ paradoxical, it implies that individual Russian and post-soviet cultures and societies are ‘unique; as a singular body’, which in turn would make the individual communities stereotypical of each other. I would agree that Russian and post soviet regions and countries do not ‘fit’ into these stereotypes of European or Asian cultures and societies specifically, however from the same perspective I do not believe that the term completely justifies the richness of the individual communities that are present in these regions; the basic concept being that you cannot generalise ‘a people’ as a geographic concept.

On the other hand I do feel that in our society now “Eurasianism” has rejected these 20th Century confines and has now become a term that is about discovery. As a Brit, I have studied a typically heritage syllabus throughout school, and for me, Eurasia is an area of the world that stands out for not being part of it. This exudes the enjoyment for me in discovering more about these regions and their hidden delights. So far during my own discovery and working alongside the Eurasian Creative guild I have found that in the Eurasian regions and countries there is a huge diversity of heritage, linguistics, religions and lifestyles and cultures that have been shared with its people from all over the world – especially with great influences from the great silk road, Russian and Ottoman Empires; because of this, each country has its own shared cultures, and differing sub-cultures and hyper-localisms – all very different to the ones that i know about already. The realisation of this is daunting, but so exciting.

OCA: Who are your favourite artists?

NB: I have many! They mainly they all seem to dove-tail to the theme of civic society and accessible arts. I am very much drawn to contemporary artists that consider the histories of people and create fun works that engage audiences. Ólafur Elíasson’s (Iceland) work is probably one of my most recent loves – his work is extremely enjoyable to experience – primarily using simplistic forms and light to engage his audience. I am also a big fan of Faig Ahmed’s work (Azerbaijan) which unites very modern themes with his cultural heritage – the ‘protected and intangible heritage’ of Carpet Weaving. His works do not sabotage the historic processes used to create them – but instead use it as a tool to reimagine and provoke ideas of our engagement to technology and science. I feel I should also mention one of my artistic peers who is currently researching his PHD at UCL– Robert Mead; we studied together and he is a fabulous thinker. Rob has worked with us in the past on some of our Azerbaijani projects previously and his work depicts imagery that researches and explores both organic and social behaviour and interconnectivity in some of the Eurasian and post soviet regions.

Despite my visual background, I am also a huge fan of buildings – with the late Iraqi-born Zaha Hadid being my icon of contemporary architecture. Her developments are daring and sculptural, but also innately social, if you have ever been inside a Hadid building, the spaces are not only beautiful, but also completely designed for people to be within them. The Heydar Aliyev Centre in Baku for example is a visual masterpiece to look at, but also delightful to venture inside of. It’s hard not to spend a whole day there.

My last mention is Jeremy Deller, a British contemporary who I drew great inspiration from during study. His work elevates people, societies and their micro-cultures, archiving the stories and things that average people feel are important, whether it be sub-cultures of music or local rituals. Much of his work culminates in community led carnivals or re-enactments that are fun to be a part of and in turn document the importance of everyone within culture.

OCA:Have you taken part in the events of the Eurasian Creative Guild (London)?

NB: I would say i am an active participant in the Eurasian Creative Guild, I have been a member for almost three years and attend meetings in London and book launches where possible. I have also attended art exhibitions, fashion shows and literary events curated by the guild and its members in London. I am now on the guild’s advisory board to help consult on programmes and events, so I believe I will become a participant of many more in the very near future!

OCA: What does the Eurasian Creative Guild mean to you, and how did it affect your creativity / activity?

NB: The guild is an opportunity to expand my knowledge and learn from the experiences of others. By meeting and becoming friends with new people from a spectrum of places and cultures that I know barely anything about I can adapt my own norms and values. Professionally, working with the guild it has enhanced my event outcomes and the priorities that programme curation entails. Working with the guild members I have found that I have also become more relaxed and changeable and very aware of unexpected minority ethnicity cultures living in my community. From a personal development angle it is also great to learn from the confidence of some of the guild members too. My experience has been that Eurasian women are very strong, honest and bold in what they have achieved, and what they do. This is not something that British culture nurtures so well in women, and as a sometimes ‘shrunken violet’ I completely admire the traits. The members are also extremely kind, polite and friendly too; it was a very easy and quick transition, as a ‘cultural outsider’ to become involved in activities and invited to social gatherings outside of the guild.

OCA: Do you have any personal project that you would like to talk about?

NB: InAzerbaijan is a project that brought me to the guild originally. A project with the NGO fund of Azerbaijan (CSSN), it has seen our members travel to Azerbaijan and write about the countries History, Politics, Culture, Society and Environment from a first hand perspective. The information gathered has been collated on a website: www.inazerbaijan.co.uk which includes teaching resources for all ages, travel advice and a huge amount of information that was not available online previously. We were also lucky enough to hold an artists residency programme so that new artworks could be made in Baku to display in the UK. This has been an amazing project to coordinate and hopefully one which will increase good feeling, partnership and awareness between the UK and Azerbaijan. I also have great hope this is something that not only can we continue adding to alongside Azerbaijan – but that we can also engage other Eurasian countries too. I would love to see an umbrella of programmes, InKazakhstan, or InUzbekistan for example – as the more we learn about these amazing places, the more we can learn and develop from each other. I know that this is definitely something that our exploratory members would be interested in.

OCA: What projects have you participated in and in which do you plan to participate?

NB: I support the running of The Eurasian Creative Guild annual film festival in London and have participated most recently in the Eurasian Culture Week in London. It is now my aim in the coming year to participate with the activities that are outside of the UK, especially those within the Eurasian regions. I have met some amazing creatives from the Eurasian region and now I would really like to experience their homes and heritage to put greater context to their artworks, poetry and writing. The ‘Voices of Friends’ project has caught my eye specifically for it’s collective meaning. This project is collecting poetry and writing from all of the Guild’s members to create a diary almanac to capture the guild as a collective. The almanac will then be submitted to the British Library to be kept, almost as a moment of heritage of a mutually connected group of people from across the world. The ethos is great.

OCA: What would you wish for the members of the ECG, just starting their career?

NB: Stay bold, pursue your creativity and commit to all of the experience that the guild has to offer. Every event brings a different Guild audience and there really is a huge array of creatives from different backgrounds and professional levels who are friendly and willing to help you in your journey. You just need to meet them. There are also lots of opportunities to promote yourself at meetings and events for free. These are great to connect with people and also for self development, reflect on your practise, who you are and where you would like to be.

OCA PEOPLE: NADIA OLEFIR

OCA Magazine: Tell us about yourself and your creative work

Nadia Olefir: My main profession is graphic designer. I live in the environment of fonts, slogans, pictures and their relationships. After I moved to Japan, my focus gradually shifted from graphic design to modern art. I entered another world with different laws of gravity. I had a feeling that my personal space was widening and being filled with creativity

OCA: What is your painting style? And what influenced your style?

NO: I paint my works in an abstract style which was perhaps influenced by my abstract view on the world. Frankly speaking, it’s a very funny and yet exciting story of existence. In my world, all forms are merely decorations which can be replaced, and so new storylines can be created.

My favourite writer Grigori Pomeranz, who studied zen-Buddhism, said: “you need to stand on nothing and hold everything”. The depth of these words amazed me and is still unfolding and widening inside myself. My poetry is very much reflected in my paintings. Or it’s better to say that my poetry and painting are in unison: there are no borders between them. All my abstract paintings smoothly transit into poems and vice versa. It’s a double maneuver which grasps both vision and heating and creates an incredible volume of perception of art.

OCA:Name your favourite artists

NO: It’s hard to choose favourite ones because each genius occupies a certain ‘honeycomb’ of my heart and brings his or her own unique ‘honey flavour’. For me, Shagal, Kandinsky and Malevich are timeless painters. An important part of my life is occupied by a poet Zinaida Mirkina, I. Brodsky and L. Aronzon, as well as Andrey Tarakanovsky – he reflects my subconscious.

OCA: What is your favourite piece of art and why?

NO: My most favourite piece of art is the whole world of God. Everything He drew or wrote on a universe canvas, everything living and not so – is a masterpiece. Even the darkest corners of a painting support the harmony of the whole work. Dark and dirty shades very well highlight the bright colours. But the most beautiful out of all the Creator wrote is the canvas itself before any creation started.

White, clean and empty.

One of my poems has this moment of whiteness:

Washed whitened overwhelmed

You are … clean.

Shaved by the wind

Weathered in the morning

Flat … sheet.

In a fictional world

Losses … no.

White on white

Only God … light.

OCA: Have you ever taken part in the Eurasian Creative Guild events?

NO: This winter I joined a very warm meeting with a B.ART group and the Eurasian Creative Guild in London. It was really nice to realise that such an art space like ECG exits. Knowing that you’re not alone makes you really excited.

OCA: What does the Eurasian Creative Guild mean for you and how did it influence your creative activity?

NO: For me it’s a unique platform of live socialisation with talented people, an opportunity for self-realisation, a source of inspiration and new ideas, a sense of unity and mutual understanding.

OCA: What projects do you plan to participate in the future?

NO: I participated in the poetic almanac “Voice of Friends” which is scheduled for autumn 2020. I really hope that in the future I can make video-poetry.

OCA: What would you wish for people that have just started their journey in the arts?

NO: Just listen to your inner voice carefully, there is everything a creative person needs: inspiration, live enthusiasm and lots of energy.

OCA: In general, what is your attitude towards painting in Eurasia?

NO: I see a huge potential in the development and expansion of borders. Eurasian counties make a significant contribution to the spiritual part – the heart and basis of the art, which like beads on a thread all the surface genres of the modern world are strung on.

OCA PEOPLE: ALISA ALTA

OCA Magazine: Tell us about yourself and your activity / work

Alisa Alta: I started writing a book to recover from a hard day’s work. As a student, I worked as a salesgirl in a store. This was a real hell for an introvert like me! Writing was the best way to get in touch with my inner self, bringing me great pleasure as well. I realized that I wanted to make it my job, so now I create content for mobile apps and games. But my core passion is still literature.

To date, I wrote a science fiction cycle of five stories called ‘A.S.Y.L.U.M’. Four initial characters transform into new personalities in different worlds. It brings a and psychology-based detective element into the narrative, as I as a reader have to guess who is who. Each story offers a new reality, whether it is the dystopian United States of Europe, sliding into a cultural abyss, or a mystical Saint-Petersburg with a touch of the absurd.

OCA: Have you taken part in the events of the Eurasian Creative Guild (London)?

AA: In 2018, I also finished a love novel ‘The Orchid’s Shame’. Just a month later, I was lucky to see an announcement for an internship at the Eurasian Creative Guild in Minsk. It was there that I learned about Open Eurasia Book Forum and Literature Festival. And dared to send my novel. Then, a little miracle happened: ‘The Orchid’s Shame’ hit the shortlist in the ‘Prose’ category! I was happy that an international jury appreciated my job, especially as it hadn’t been widely read yet. It’s one thing when a book is appraised by friends; another is valued by impartial professionals. Such an achievement definitely adds credibility in the eyes of readers and publishers. It also inspires confidence to move toward new accomplishments.

OCA: Do you have any personal projects that you would like to talk about?

AA: This year, I have sent a story from the A.S.Y.L.U.M. cycle to the contest. It’s called ‘The children of Saturn’: the protagonist gets into a dystopian society that can be described as North Korea with matriarchy and fantastical elements. Its leader is a woman, so the cult of feminity and maternity dominates every aspect of that society. Like any dictator, she rules with fear: families are erased due to sins and even impure thoughts against the Great Mother as treated with severe punishment. Yet the system has no clear rules: each time people try to understand what may be considered a sin, inventing more and more philosophical teachings. But the purpose of the Great Mother is to remain unsolved and unpredicted so that the fear never ends. She destroys houses on a random basis, and the society falls under Stockholm syndrome. Faced with the necessity of implementing mild reforms and losing a part of power, she prefers to destroy cities with all of its inhabitants. A sinful ruler devours their subjects just like Saturn devours its children. I hope this year will bring me luck!

OCA: What does the Eurasian Creative Guild mean to you, and how did it affect your creativity / activity?

AA: Another important benefit of being in the guild for me was discovering a layer of Central Asian culture. ‘The Stans’ is a cultural terra incognita, where precious nuggets can be found. For example, I translated a wonderful story of the Uzbek author Isajon Sulton called ‘The Fish’, where an abusive father gets incarnated in a fish after death. And has to deal with his family. Not only the story is masterfully written, but it also contains a pearl of special wisdom. “If you throw a splinter at your father, years later your son could throw a stone at you”, says an Uzbek folk proverb as the epigraph, lime-lighting a complicated family story. In my opinion, a beautiful cartoon with a mystical halo can be made on its basis.

And there is so much more: for example a children’s book ‘Elish and Wicker Tales’. Its main character is an autistic boy, which resonates with my idea of creating a cartoon series. There will be many families (remember ‘Game of Thrones?’), each with its own flaws. One kid is raised by a single mother, another lives with homosexual parents; some parents are narcissistic, others are overprotective. And yet they coexist in peace, coping with troubles. After all, cartoons tend to show us happy and complete families, healthy and flawless kids. And what about children who do not fit into the perfect picture? They must also have characters to relate to.

OCA PEOPLE: ELENA SMIRNOVA

OCA Magazine: Tell us about yourself and your work.

Elena Smirnova: I am a writer and an editor. My first book was titled Over a Cup of Hot Tea and was published in 2019. I wrote it almost accidentally and ended up winning the We Grew up in Russia writing contest.

I have been doing editing for a decade. It is what I am trained to do, and it is also my vocation. I like working with authors and journalists. I help them express themselves on paper, making their ideas clear not only to themselves but also their readers. I try to be most attentive and treat their work with delicacy. And I always read their final drafts with great pleasure.

At the moment I am working on a project called WriteCreate, which helps authors learn simple techniques for finding ideas and inspiration. I organize writing challenges and teach classes and I am working on my second book about it.

OCA: What is “Eurasianism” for you?

ES: I would define it as meeting new people of different personalities, from different countries and of very different mindsets and having the opportunity to work with them. I like how we are all united by creativity, though we speak and write in different languages. But what brings us together is our love for creating.

OCA: Who are your favourite artists?

ES:: I get inspired by many things. My ideas come from movies, theatre, and visual art, as well as literature. I sometimes read a review on how a film director works, and that inspires me to use a literary technique of some sort. All of it is art, and writers are not the only ones you can learn from.

OCA: Have you taken part in the events of the Eurasian Creative Guild (London)?

ES:: I often go to different writing events in Moscow, I love them with all my heart. At one of them, I had the chance to present my book, thanks to Marat Akhmedjanov. In November 2019 I took part in the Open Eurasian Literary Festival and Book Forum in Brussels and it was great.

OCA: What does the Eurasian Creative Guild mean to you, and how has it affected your creativity?

ES: Thanks to the Guild, I started speaking publicly more often and reading my stories to others. Though it always seemed impossibly challenging to hold the listeners’ attention for a whole five minutes or more, I have learned to do it. I like being listened to in complete silence. It gives me goosebumps every single time.

The Guild has helped me unlock my potential and meet so many creative people from around the globe. It’s amazing how writers, playwrights, artists, and poets are brought together by it. I am grateful for this opportunity and this experience.

OCA: Do you have any personal projects that you would like to talk about?

ES: My project is called WriteCreate and it is a network of creative authors. I help people learn to love writing books, defend their rights and promote their work. I also help those who write short stories and want to get better at it. I speak about popular genres, the basics of playwriting, give advice on how to participate in contests. Our first book of stories submitted by participants of the WriteCreate project is to come out this summer. It will be titled Where to Begin? Writers’ Stories.

Another thing I do is organize creativity challenges for Instagram users. They usually last several days. One technique I came up with is called “The Happy Milkman” and the idea is to combine emotion and an object. For example, the words “happiness” and “brick” would start a story about building a big family house, while “sadness” and “doctor” would probably make a story about a terminally ill patient. People come up with new ideas and their stories get more interesting each time. Why don’t you try!

OCA: What projects have you participated in and in what do you plan to participate in?

ES: I would love to participate in another Open Eurasia contest and maybe give other creative competitions a try. Last year I made the finals of the Short Prose contest and this year I hope to win. It’s good to have a dream once in a while, right? I like finding new ideas and putting them into practice. The past couple of months have had me thinking of completing a course in screenwriting and maybe mastering this genre.

OCA: What would you say to the members of the Guild who are just starting their career?

ES: I would suggest being proactive. To publish more, participate in competitions, use social networks to promote yourself and your work. If you try, you are bound to succeed.

OCA PEOPLE: ELENA LOBOVA

OCA Magazine: Tell us about yourself and your creative activity

Elena Lobova : My creative work started with drawings. I started drawing when I was 3 years old and I already did it consciously. I still remember my mother’s reaction when I showed her my first drawing which illustrated a field, a stack of hay, a butterfly and huge blue sky. A field is a life, a stack of hay is a bread, a butterfly is a family and blue sky is a universe which gives knowledge and creativity. This is how my life priorities were formed in early childhood.

OCA:What is your painting style? And what influenced your style?

EL: I’m a realist, so I use this style for my paintings. I love the truth and mystery, in every artwork a viewer should find something close and familiar to himself.

What inspires me is dreams, beautiful paintings, music, my spiritual state, travel, cities, especially night views, and nature.

Thanks to my parents, I fell in love with painting in early childhood. My father often took me on his business trips when he worked in the police and taught me to appreciate Siberian nature. My mother really loves art and traveling, so she often brought me to famous museums where I could see the works of famous past and contemporary artists. This gave me a good stimulus to work in painting and photography and to get a degree in the field of arts. My biggest impression of my childhood was during the trip to Saint Petersburg with my mother when I was 9 years old, and this encouraged me to engage in arts. I traveled with my sketchbook and camera to wild places of Karelia, Sakhalim, North and South Ural, holy places of Russia and abroad – Valaam Island, Kizhi, Sergiev Posad, Ethnographic Park of the History of the Chusovoy River, France, Turkey, Chezh Republic, Italy, Germany, Great Britain, Bulgaria… this all gave me an opportunity to embody my feelings and view on the world into photos and paints on canvas.

Prose came into my life much later, when I was in school, but people often rejected what I wrote. I didn’t show my stories or scribbles to anyone and didn’t discuss it with anyone, but one occasion in London helped me open up this part of creative work. In 2016, I participated in a contest of the “Ethno Art Fest” held in “Rossotrudnichestvo” at the Russian Embassy in the UK and my paintings “Music of the Night City”, “Grandmother’s House”, “Snow Falls Quietly”, “Lights of the Night City” attracted attention from not only the judges, London residents, but also from media. One of the guests was the president of the Eurasian Creative Guild (London) – Marat (Mark) Akhmejanov, and he invited me to participate in the Open Eurasian Literature Festival and to join the Eurasian Creative Guild, which I’m really grateful for because he opened new opportunities for me to show my creative work.

OCA: What is your favourite piece of art and why?

EL: In literature, I love creations of Alexander Dumas, such as “The Count of Monte Cristo”, “Three Musketeers”, “Queen Margot”, “Countess de Monsoro”, “Black Tulip”, etc. I also like Joseph Eugene Sue Marie and his “Paris Secrets”, and Mikhail Bulgakov with his “The Master and Margarita”. These pieces attract me with their mystics, adventure, complex relationships between nobility and selfishness, the fight between good and evil, and of course love, love affairs.

My favourite painting is “Starry night” by Van Gogh. The painting is very mysterious but at the same time easy to understand. It reflects such a distant yet close universe, the life of a spirit after death, eternity, transience of being and loneliness, loneliness in front of oneself…

And my most favourite painters are Shishkin, Levitan, Vasiliev, Vasnetsov, Aivazovsky, Korovin, Repin, Vrubel, Serov, Kramskoy, Van Gogh, Monet, Cesar, Gainsborough who represent a classical and impressionist school of painting.

OCA: Have you ever taken part in the Eurasian Creative Guild events? For example, did you take part in our exhibitions in the CIS countries, in the Eurasian Culture Week in London or in the Open Eurasian Literature Festival in Belgium and other countries?

EL: I took part in the Оpen Eurasian Literature Festival in Bangkok, Thailand and got second place in a nomination for “Illustration” and became a finalist in a nomination for “Prose” for my novel “Karma. The story of my family”.

OCA: What does Eurasianism mean to you?

EL: It means brotherhood to me. “Eurasians” are like-minded people in terms of spirit, thoughts and creativity. It’s very hard for a creative person to find his society, his admirers and fans. But here I found people who inspire and support me. A special importance should still be given to our creative friendship in the guild – all the advice, tips, debates and insights really help to start with our creative projects and find new ideas.

OCA; What does the Eurasian Creative Guild mean for you and how did it influence your creative activity?

EL: I have a big list of various events and exhibitions that I participated in, such as “Art Shopping” in Louvre, France in 2014 and 2015, “Ethno Art Fest” held by the Russian Embassy in London in 2016 where I got first place in a nomination for “Presentation of the region”, and in 2017 I organised my personal exhibition in Moscow with the support of the Russian Academy of Arts. But the Eurasian Creative Guild gave me even more opportunities to show myself to the world, to communicate with creative people from different countries and to learn about their cultures, and most importantly, to get published in a prestigious magazine and to get support from prestigious publishing companies.

OCA:What projects do you plan to participate in the future?

EL: I keep working on my stories and in the future, I want to publish a storybook with my illustrations. Next, I want to participate in international festivals and especially festivals organised by the Guild. I have some ideas to make personal exhibitions in Greece, Paris, London, Italy, Monaco and of course in my hometown Omsk in Russia. But for now my priority is to write stories and paintings. I will decide on my personal exhibitions later on.

OCA; What would you wish for people that have just started their journey in arts?

EL: To those who have just started their journey, I want to wish the most important thing – don’t be afraid of anything! Don’t be afraid to show yourself, your thoughts, work and projects. Search for your style and path, be decisive and active, be free and independent.

OCA PEOPLE: LAURA HAMILTON

OCA Magazine: Tell us about yourself and your creative activity

Laura Hamilton: As director of the prestigious Collins Gallery at the University of Strathclyde, Glasgow, from 1988 until its closure in 2013, I originated exhibitions and events related to contemporary Fine and Applied Art by artists from throughout the world. Now freelance and employing skills gained in the writing and publication of numerous catalogues and monographs, my focus has turned to editing English translations of Central Asian literature, in tandem with memoirs by UK authors.

OCA: What is “Eurasianism” for you?

LH: I would define ‘Eurasianism’ as a term which unifies a vast and divergent collective of peoples, their heritage and culture, both past and present. As a westerner, from whom that world has long been hidden, it is a new and exciting concept imbued with intrigue and romance.

OCA: Who are your favorite artists?

LH: I found the deeply- rooted and significant role of cultural heritage in Central Asian life, hauntingly and beautifully encapsulated in ‘Farewell Gul’sary’ by Chinghiz Aitmatov and ‘Howl’ by Kazat Akmatov; and have enormous admiration for acclaimed Uzbek author Hamid Ismailov, to whose books I return again and again. However, straddling the two spheres of visual and literary creativity, it is impossible for me to name the many, many other artists and writers whose work has left an indelible mark. There are also, too many authors to mention, whose work I have edited and who deserve global recognition.

OCA: Have you taken part in the events of the Eurasian Creative Guild (London)?

LH: Following Marat Akhmedzhanov’s generous review of my exhibition ‘From Quilts to Couture in Kyrgyzstan’ in 2011, for the OCA magazine, I began editing for Hertfordshire Press, and in due course, joined the Eurasian Creative Guild. I have attended Open Eurasian Literacy Festivals in London, Almaty and Stockholm, as well as events in London, Glasgow, Edinburgh and Bishkek. I participate in judging the annual Open Asia Competition and after serving as Chair of ECG from 2017-19, now sit on the Guardian Council.

The Guild is a unique and ever-evolving organization that provides a warm welcome, support and stimulating opportunities to creative people working in all genres and at different stages of their careers. It is a uniting force, an extended family of sorts, which nurtures the development of close collaboration and firm friendships.

OCA: Do you have any personal project that you would like to talk about?

LH: To date, I have edited some fifty works in translation, the most recent of which is ‘Er Toshtuk’; one of an ongoing series of classical Kyrgyz epics. Much as I enjoy these historically rich and wonderful legends, I look forward to revisiting contemporary literature. It appears that Guild members have many new exciting projects in store, which will hopefully, be translated into English!

OCA: What would you advise for people who’re just starting their journey of creativity?

LH: Based on experience, my advice to anyone embarking on a creative career, is twofold:

Don’t be in a hurry to succeed; take time out to think, and invest time to revise and if necessary, rework what you’ve done until you’re truly satisfied.

Astonishingly, there are artists who don’t visit galleries, writers who don’t read, and translators who don’t access texts written by native speakers! There’s an unlimited wealth of information waiting to be discovered, guide and inspire you; so, use it to your advantage…

I wish you all the best of luck!

How an English town brought a creative inspiration to a Russian student

We often notice big differences between our own country and the country we travel or move to. We may see differences in everything that surrounds us – culture, nature, architecture. Sometimes, we have a positive attitude towards them, but sometimes – not so.

Two years ago I returned to the UK to finish my undergraduate degree in the city of Norwich. Actually, I returned from my exchange programme in another country and by that time all my friends and fellow students had graduated. My new classmates were mostly British. They had already formed their own groups and had their own sort of subculture. Unfortunately, coming from Russia, I had totally different interests and values. For example, I didn’t feel like spending time in pubs or nightclubs, I preferred winter sports to football, I was more used to saying honestly what I feel rather casually saying ‘I’m alright’ and to have deep and emotional one-to-one conversations rather than general and routine talks. I was also more used to different kinds of atmosphere in general. Because of these and many other differences, I found it extremely hard to adjust to the environment and to become a part of the British society. As a result, lack of personal communication made me feel very lonely and sometimes even depressed.

Having no friends, I had to spend most of my time on my own. After classes I had a lot of free time to do literally anything I wanted. But the problem was that the more I stayed in the UK, the more I felt like this was not my place and I couldn’t find anything that would make me feel happy. But I knew that I still had to spend several months in the UK and finish my degree, and I needed to cope with those issues. So, I decided to take advantage of being alone and to dedicate my time to exploring surroundings. As a photography lover, I brought my camera with me every time I went for a walk. I decided that I should have explored as many streets and areas as I could. And thanks to this decision, I discovered a completely different side of Norwich and the UK. Through photography, I started to pay attention to small details that I had never noticed before, while walking completely alone allowed me to fully focus on the appreciation of the surroundings. I explored every park and riverside, every cathedral and cosy street. I realised how wonderful they were, but also, how different they were from what I normally saw in my country! I realised that I wouldn’t be able to experience such a lovely atmosphere of an English town after I finish my degree and return to Russia, so I started truly appreciating it.

One of the things that really impressed me was some sort of harmony and synthesis. By this I mean that all the buildings in a street fit each other, and all the streets truly reflected the style and image of the city of Norwich. And all the nature inside and around the town added vibrant colours and made Norwich even more lively. And I cannot even describe in words how beautiful and harmonious the churches and cathedrals surrounded with trees and flowers looked in different seasons. To compare, governing bodies in Russia pay a lot of attention to bringing more trees and flowers to cities and towns, which I really appreciate, but because those plants are placed there on purpose, it doesn’t always give me that sense of harmony and naturality which I felt in the UK.

Another treasure was Norwich parks, which truly amazed me by how well and naturally they integrated nature with architecture. In Eaton Park, for example, you cannot imagine the pond in front of a majestic pavilion with seagulls and a heron that often come there to rest and communicate with visitors. Another beautiful park – Wensum Park – truly impressed me by its design: historical architecture, lovely bridges across the river, the Zodiac garden, a labyrinth and perfectly arranged trees and plants transformed the park from merely a recreational place into almost a piece of art. Parks in Norwich have long histories and you can feel it. A simple walk in such parks inevitably turns into an aesthetic experience and immersion into the history. And this is something that impressed me because I found it interesting and unusual for myself, something that was probably not so common for my country where many parks are more entertainment-oriented and are places where people come for fun rather than aesthetic appreciation.

Discovering a different and beautiful side of England made me reconsider my attitude towards it, to fall in love with it and to finally feel there like at home even though it was so different from my actual home. What also important was that I was so astonished and inspired by the beauty of English streets, cathedrals and parks that I couldn’t help but capture all those scenes. I wanted to take such photos that would convey that atmosphere and reflect the beauty, and this motivated me to learn more about photography and to improve my photography skills.

During those times, I learnt to pay attention to details, to discover new places and to appreciate differences. Indeed, each place will be different from our homes, but each place has something new and fascinating to offer to us. And discovering new places from inside might even help us to discover something new about ourselves and open up new talents and passions. It’s been almost a year since I left the UK, but I’m grateful that I got to capture all the beautiful places I found in Norwich. Luckily, I can come back to my archive photos anytime and experience that atmosphere again and again. I hope you can also feel and appreciate the atmosphere of the lovely town of Norwich through these photos!

Text and photo by Iana Saveleva

OCA PEOPLE: MIKHAIL ANANOV

OCA Magazine: Tell us about yourself and your creative work.

Mikhail Ananov: I’m a poet, a poetry translator, prose writer, playwright, literary critic, journalist, publicist, theorist, sonetologist and I am also engaged in mathematical modeling in the field of poetic art.

I’m a member of several creative unions, including international ones: Union of Writers of Georgia, Pushkin Society of Russian-Language Writers “Arion”, the Vernatun Union of Armenian Writers of Georgia, international club of science fiction of Crimea “Fandango”. I’m also a member of the Advisory Board of the Eurasian Creative Guild. I’m one of the founders and a manager of a literary theatre “Arion”.

I’m a author of poetry collections “Above the Abyss of the Worlds”, “The Ghosts of Eldorado”, “Selenastra” and two scientific works in the field of literature theory: “The Cryptography of the Poetic Form” and “The Atomic Model of the Sound Order”. I am also a translator of collections of Armenian poets Mikael Akhtyan, Stanislav Melkonyan, Anaida Bostanjan and Okro Okroyan.

My poems were translated into Armenian and English.

I am Diploma-recipient of the V International Forum “Golden Knight”, in 2014, a winner of the VIII International Festival in Brussels held by the Eurasian Creative Guild in Brussels in 2019.

I won the Order of St. Elijah Chavchavadze in 2017, the Grand Prix of the Lermontov competition in honor of his 200th anniversary in 2013, the poetry competition of science fiction writers in Feodosia in 2016. Moreover, I’m a Laureate of various literary contests dedicated to anniversary and memorable dates.

OCA: What does “Eurasianism” mean to you?

MA: In my own understanding, it is a convergence of the two cultures of Europe and Asia which blurs the border between us, as representatives of two different peoples in our views and in spirit. In the past this border was obvious, but things are changing over time and our relationships are becoming much better and making it worth presenting ourselves in the new world. And I should say that the Guild plays an important role in it.

OCA: Name your favourite artists

MA: Among classic writers it is of course Alexander Pushkin who I treat as my ‘teacher’. He’s a great personality and I’m striving to reach him like striving to reach the sun. Another my ‘teacher’ – Edgar Poe, a master of the psychology genre. I recommend all artists to read his book called ‘Philosophy of Art’ in which he step by step and in detail describes the process of creating a masterpiece.

Indeed, I also admire artists from other spheres: painting, music, theatre, film. My favourite artists are also Rubens, Mozart, Shakespeare, Coppola

OCA: Have you ever taken part in the events organised by the Eurasian Creative Guild (London)?

MA: Yes. I took a part-time participation in the VIII International Festival of Eurasian Creative Guild held in Brussels where I presented my speech to the participants. I also participated in a contest of small prose and even became a diploma winner in the nomination “Generals of the world for peace” for the story “A very interesting guy”, dedicated to Vladimir Vysotsky.

Currently I’m preparing for new contests of the Eurasian Creative Guild. So far, I want to participate in several contests: poetry, poetic translations, small prose and children’s literature.

I write tales and plays for children of different ages. In the 30th anniversary issue of our “On the Hills of Georgia” almanac my play was published in “The New Little Humpbacked Horse” poems. There is a story behind it: the director of the theatre named after Griboedov – Nikolai Sventitski, whose dream was to bring together all the characters of Russian tales, asked me in person to write it. It’s unique because I didn’t just bring the characters together, but also showed the harmony between them.

OCA: What does Eurasian Creative Guild mean to you?

MA: It means a lot to me. Over the past few years, not only the number of members in the Guild has risen, but also the number of countries that represent it, the number of projects, events and so on. In addition, it allows an absentee participation in festivals which is some kind of bridge between us that strengthens our relationship and facilitates creative approaches to solve problems. We live in worrying times and I have no doubts that our meetings help to bring more kindness and warmth to our world. Creativity – is a power given by heaven.

OCA: Is there any personal project that you would like to tell us about?

MA: I have quite a big project: I want to found a rock band which would not only perform its own songs but also translations of famous English songs. First steps are already made. Besides, I’m translating rock poetry including songs of Deep Purple and Animals. I told Marat Akhmejanov about my plans and he promised to introduce me to the producers of Deep Purple. I also talked about this with John Farndon who got really interested in it.

OCA: Which projects did you participate in and plan to participate in?

MA: I participated in many projects, including creative ones: Victory Day events, foundation of ‘Arion’, evening meetings dedicated to artists and scientists.

There is another big and special project related to a worldwide famous director Sergei Parajanov from Tbilisi. The thing is that I wrote the “Confession of the Hermit” play, in collaboration with the famous cameraman and director Jose Magigner, who makes a series of documentaries called “Conversations about Parajanov. Maestro of beauty “. As representatives of Tbilisi and his admirers, we aim to open a cultural centre named after Parajanov.

OCA: What would you wish to the members of the Guild who have just started their journey?

MA: First of all, listen to your inner voice. This is a talent which you need to develop, whether you are a poet, painter, composer or actor. It’s important to keep learning while preserving your personality in order to confidently enter the world which you shape yourself in order for you and others to feel comfortable in.

OCA: Tell us about creative societies in Tbilisi.

MA: The first society represents Russian-speaking writers led by Nika Dzhindzharadze who gathers creative people in the House of the Caucasus and organizes musical poetic evening events. The guests are people from many countries.

I want to talk about ‘Arion’ briefly. Apart from theatrical productions, there are also various literary contests, quizzes, events and celebrations. At one of such events, I met Marat Akhmejanov and this motivated me to join the Guild.

The second society is Tbilisi Armenians which has quite a wide audience. Their cultural centres are Hayartun and the House of Hovhannes Tumanyan where they organise all kinds of events.

The third society is Georgian writers and cultural workers. They have many cultural centres, including the Writers Union, and I often join their events as a poet and a translator of Georgian poetry. My daughter Anna joins me in the events, performances, theatrical productions, melodeclamations, musical, poetic and creative evenings.

OCA PEOPLE: GUMER KARIMOV

OCA Magazine: What is “Eurasianism” for you?

Gumer Karimov: This is everything for me: the philosophy of life, its meaning, my whole worldview. I am from Ufa, the capital of Bashkortostan. My nationality is Tatar.

Fifty years ago, at twenty-two years I left my homeland to continue my education at the Faculty of Philosophy at Leningrad University. I thought at the end of my studies I would return to my back home, but somehow I stayed for half a century in St. Petersburg, the country’s most European city, the “Cultural Capital”.

All my development as a person took place under the direct influence of two great world cultures of the East and West. Our planet Earth is one for all and for God we all are only temporary guests here.

OCA: Tell us about yourself and your creative activity

GK: I am 72 years old, after graduating from graduate school I went to live in the Leningrad region and work in the house of culture. At first, I worked at a poultry farm then at a fur farm, and then at a state farm. And everywhere it was interesting, I got an amazing experience, which later came in very handy for me in writing. During the perestroika, I was into the farming business. Then at the fur farm I worked as the director of the House of Culture, I was elected director of the farm. I also was engaged in politics, I started to write at the end of the last century. My 6 books of poetry were published, and I wrote several prose books in various genres – from novel to science fiction.

In 2000, I organized a non-profit partnership “Union of Writers of the Leningrad Region and St. Petersburg.” In 2006, I headed the literary association in St. Petersburg founded by Tatyana Gnedich. In our association, we publish the magazine “Tsarskoye Selo” and the literary supplement “Northern Herald”. I must say that my wife Antonina Karimova, a poetess, writer and essayist, helps me a lot

OCA: What are your favorite artists

GK: Ernest Hemingway, Ilya Shemler, Valery Popova, Vyacheslav Leikin.

OCA: Have you taken part in the events of the Eurasian Creative Guild (London)? What projects have you participated in and what are you planning to take part in?

GK: I’m new in the Guild. My wife and I took part in the Brussels Festival and then at the end of the year we became members of the community. By the way, thanks to the guild, we made many friends. Even living in the Soviet Union, I never had so many friends among Kazakhs, Kyrgyz, Tajiks, Uzbeks and representatives of other nations …

At the request of the vice president of the Guild, Marat Akhmetzhanov, we are creating the St. Petersburg group ECG. We are trying to attract as many new members as possible.

Speaking about participation I will try to take part in all creative categories, I hope that our experience and creative opportunities will help the guild especially working in the Expert Council. We have a lot of ideas, for example, a wonderful thing – internships that the guild conducts. The creation of a youth section is a great idea. I communicate with some of the young members of the guild, read their works.

OCA: What does the Eurasian Creative Guild mean to you, and how has it influenced your creativity?

GK: When I was introduced to the Guild, I had a feeling that I have known everyone here for many years! Later, when Marat Akhmedzhanov and Angelina Krasnogir visited us in St. Petersburg I realized: this is my place to be! Every day I talk with my friends from the Guild, text and call them. Since I joined the guild the lifestyle has changed, new horizons opened up in front of me. Even the rhythm of life has changed. Who would have thought in my 72 years! I am very happy! But happiness is hard work and great responsibility.

OCA: What would you advise the members of the Guild who just started their career?

GK: I am convinced that if a person ceases to be surprised, then someone loses interest in him/her. I worked in culture for many years, therefore, I have been dealing with youth all my life. Who knows, maybe that’s why I don’t feel my age.

I only rejoice for young writers and really want them to have a happy literary fate! I wish them good books, new ideas, fresh thoughts. And, of course, good luck. Nothing will work without her. Good luck, dear friends!

OCA PEOPLE: ZHANNA SHVYDKAYA

Tell us about yourself and your activity / work

I am a writer and blogger from Saint-Petersburg and my credo is to create beauty and awaken mindfulness.

By profession, I am a journalist and public relations specialist. Working in the field of communication, I contribute to the advancement of science, education and professional communities, and manage federal and international projects.

My working life is therefore a combination of the seemingly disparate skills of management and creative writing. I have been in love with the printed word for a long time and during this twenty-year romance, have published hundreds of interviews, news stories, articles, public posts and of course, short stories, essays and novels.

Do you have any personal project that you would like to talk about?

My literary journey began unusually, with a personality crisis. Success in my career flamed professional ambitions, but conquering peak after peak brought only temporary satisfaction and each time I wanted more. This continued until at the age of thirty-seven, I experienced a complete emotional burnout. In order to understand the underlying reasons, I had to look within myself; a difficult and painful process.

As a rule, much of what is contained within us, is never revealed to the outside world. It’s not talked about because it’s painful, because it’s scary, because it contradicts the ‘good’ persona we wish, and are trained, to promote. Writing down my thoughts and feelings helped me survive. Autobiographical stories appeared and then, chapters and books were born, which later became the decalogue “Gravity of Life”. This is currently the main literary project which I am developing in Russia and abroad.

The first book of the decalogy, is an autobiographical novel entitled ‘The Faceting’. Published in 2019, twelve years after it was written, it was a finalist in the Eurasian Creative Guild’s Open Eurasia Contest, and in 2020, voted the Best Book of the Year in an international literary contest in Germany.

The second book, ‘The Metamorphosis’ which continues my story from childhood into youth, will be released in 2020. If childhood is the starting point of self-knowledge, then youth, is the very first frontier of rethinking values, personal growth and a deep internal metamorphosis, all of which are decisive factors in how we approach the future.

Have you taken part in the events of the Eurasian Creative Guild (London)?

Participation in the Open Eurasia Literary competition in 2019 was the starting point in the international promotion of both me as an author and my novel. From my own experience I can vouch that the path was difficult, but effective. Having submitted ‘The Faceting’ to the competition, I did not sit back and wait for the results. Instead, I took an active stance in promoting my work through social networks and by introducing readers to new passages on a daily basis, initiated discussion and ultimately, votes. By the time the results of the competition were announced, I had expanded my circle of readers several times over and having formed a pool of subscribers interested in my work, launched my own Yandex Zen channel.

What does the Eurasian Creative Guild mean to you, and how did it affect your creativity ?

My acquaintance with the Eurasian Creative Guild has been an incredibly interesting and useful experience. It’s like climbing a staircase to new horizons; it broadens your perception and suddenly, the world’s borders disappear. Every time you communicate with someone new, you learn something, and if that person is also creative, a whole new universe opens up in front of you. The Guild is a global community, embracing different cultures, different creative practices, different literary genres, and by welcoming participants of different ages, the younger generation’s new, bright and courageous energy is complemented by the elder’s wisdom, moderation and depth of experience.

Another important aspect of the Guild is that within the framework of classical projects, new forms arise which by encouraging collaboration between creative talents, give birth to exciting and innovative combinations of poetry, prose, music and art.

I am also greatly impressed by the Guild’s endeavours to share the work of Asian authors with a European readership, thereby contributing to both the convergence of cultures and the preservation of national traditions amongst former compatriots. As a creative writer and because it is important to me that my work is beneficial, it is an honour to be involved in the preservation of Russian culture.

Membership of the Guild has afforded me a better understanding of other cultures and acquaintance with contemporary Eurasian authors. One particularly interesting and useful service that I would like to continue and develop, is themed online meetings, both as a platform for communication and as an educational resource. The modern world expects new approaches to creativity, with cross-knowledge of skills from related fields, increasingly in demand. Creating a presentation of poetry set to music or filming an excerpt from a novel complimented by music and visuals, requires the input of specialists from different fields. In this regard, the Guild is able to unite the invaluable creative resources of hundreds of professionals through the formation of sub-groups, masterclasses, presentations by individuals, brand- building, and guidance on the fundamentals of marketing and promoting creative projects.

What would you wish the members of the Guild, just starting their career?

I would advise my young creative colleagues from the Guild to stick to their goals, regardless of internal doubts, envious disapproval and sharp criticism. The creative path is not easy; no one is obliged to applaud or patronize you. Ups and downs are inevitable, but even if you fall, even if criticism pierces you like a hundred poisonous arrows, take a deep breath, get up and move on!

You may believe yourself a genius and the creator of a great masterpiece, but in today’s world that is no longer enough. You must reach out to your audience and make your voice heard above the surrounding noise. The Eurasian Creative Guild provides great opportunities, but how you use them depends on you.

OCA PEOPLE: ALIYA SHEKHMAMETYEVA

Don’t be afraid of mistakes

Alia Shekhmametieva was born in St. Petersburg. She graduated from the university with a degree in Environment Designer. Before entering her specialty, she was in two minds about it for a long time, because her interest in creating was always very deep. Alia Shekhmametieva considers herself as an aspiring designer, artist and just a dreamer who loves to compose stories, poems, stories. She also loves to learn something new, because the knowledge of the world, and everything that surrounds us, nourishes her creativity.

OCA: Tell us about yourself and your creative activity?
AS: I consider myself as an artist, a dreamer, a designer, and I write a little bit. It seems to me that these concepts are somehow interconnected. I’m thinking of creating my own painting style, and also continue to improve my artistic skills. Also, I write poetry. My career began from the moment I decided to go to university “where I could draw.” I finally decided to follow the path of creativity, especially when my painting teacher said, “Never give up painting.” Her words did not leave my mind and I think that they’ve really influenced my choice.

OCA: What style do you paint in? What influenced your style?
AS: It’s difficult for me to put my works into any of the styles since among my works there are both close to realism and abstract, as well as those that I call experimental art. However, since I became interested in studying the works of surrealist artists, my thoughts are concentrated in this direction. In short, what influences the formation of my style? The answer will be: “those things, situations and experiences that are in my heart.”

OCA: Who are your favorite artists?
AS: I like Jerome Bosch, his artwork is striking in its unreality. The images that he created for me are absolute surrealism. I also love the work of Raoul Dufy for the lightness, brightness and simplicity with which the artist depicts the reality surrounding him. Since 2015, I was especially keen on Japanese culture and discovered Katsushika Hokusai. I was captivated by that inexplicable aesthetics, that subtlety, simplicity, and at the same time complexity, which can be seen in engravings by Hokusai and ukiyo-e artists.

OCA: What is your favorite piece of art and why?
AS: In fact, I have several of them and it’s difficult to give preference to anyone. Therefore, I think that it’s worth highlighting those that I managed to see in real life. Among them: “The Last Day of Pompeii” – a picture painted by Karl Bryullov, now in the collection of the Russian Museum.
Another picture is “Sadko”, which was painted by Ilya Repin by order of Alexander III. When I first saw this artwork, I froze, amazed at the underwater world that Repin portrayed. And finally, “Sailboats in Trouville” by Raoul Dufy, this is the painting when my interest in Dufy’s work began.

OCA: Have you taken part in the events of the Eurasian Creative Guild (London)?
AS: Since I joined the Guild only last year, when I finally decided to take part in the Open Eurasia 2019 contest, as a writer with my short story and poem, so I could not attend many events, including Open Eurasian Literature Festival, which was held in Belgium.

OCA: What is “Eurasianism” for you?
AS: For me, “Eurasianism” is a community of peoples who have certain principles, ideas, values and ways of thinking that have formed in them within the framework of that culture, environment and geographical location, including the environment that formed entire groups no less than anything else.

OCA: What does the Eurasian Creative Guild mean to you, and how did it affect your creative activity?
AS: I first found out about the Eurasian Creative Guild in 2017 then I didn’t dare to take part in Open Eurasia – 2017. And last year, I finally decided to show my work at the competition. And the fact that one of the works (a short story) got to the finale inspired confidence in my abilities.

OCA: In which projects / exhibitions do you plan to participate in the future?
AS: I plan to continue participating in the Open Eurasia contest, and also think about participating in such projects as the literary collection “Thread”, the Voices of Friends almanac and the “Top 25 works of Eurasian art” to prove myself not only as a writer, but also an artist.

OCA: What would you advise for people who’re just starting their journey of creativity?
AS: Don’t be afraid of mistakes, as they inhibit all creative activity and do not allow you to move forward. Learn to accept constructive criticism, as this is something that will help develop your potential, although it can be difficult. And the last thing I want to wish is to enjoy what you are doing, put my thoughts and emotions into it, and finally look for inspiration even in small and simple things.

OCA: How do you generally feel about art in the countries of Eurasia?
AS: Speaking generally about the art of the Eurasian countries is definitely interesting to me. Their way of thinking is completely different from ours and the ability to look at what is happening on the other side; try to understand the people around you.

OCA PEOPLE: ALEXEY SIDORENKO

Alexey was born in Ukraine. He started drawing at school. He loves to draw nature, sky, water … He studied at the Kharkov cultural and educational school in the direction of folk instruments. In Kharkov, he worked in amateur music performances. Seriously began to draw after serving in the Army, he took painting courses.

He was engaged in woodcarving, manufacturing of paid furniture, chasing, mosaics. Participated in competitions of painters of the Belgorod region, Kharkov. He decorated 2 schools, a dozen cafes, walls of his house, public transport stops in the Gayvoronsky district with his paintings, and restored the city’s monuments.

In Grayvoron he’s a member of the Graivoron folk pop brass band.

OCA: Tell us about yourself and your creative activity/work
AS: I was born in Kharkov, Ukraine in 1952, on March 30. I started drawing at school. I always deeply loved to paint nature, sky, water … Seriously, I started drawing after serving in the Army, I took painting courses. Since then my brush and paints have always stayed besides me.

I’m constantly engaged in wood carving, embossing, mosaic, but painting is always my passion. My dream of a lifetime was to create a home similar to the Tretyakov Gallery, so I began to copy the style of famous Russian artists: Shishkin, Savrasov, Kuindzhi, Repin, Shcherbakov and many others. Now in my collection there are more than 40 works. I was always fascinated by the mood of the work, penetrating into my soul, I feel like I’m in another world, that I live in it, breathe in it, smell the herbs, admire the dancing lights…

OCA: What style do you paint in? What influenced your style?
AS: I paint in the style of classical Russian painting. What influenced my choice was that I come from a simple family and often went to my grandmother in the village. In the mornings I drank fresh milk, went barefoot on warm land, I walked about, picking up mushrooms in the forest, and went fishing. All these memories of childhood left a wonderful feeling, a love of nature and a simple way of life that will never be lost in my memory.

OCA: Who are your favorite artists?
AS: Favorite Russian artists: Shishkin, Savrasov, Kuindzhi, Repin, Levitan, Shcherbakov. From Europe, I love Claude Monet and Van Gogh. The works of these artists are present in my “Home Tretyakov Gallery”

OCA: What is your favorite piece of art and why?
AS: My favorite work I would say is “the Moscow courtyard” by Polenov. I see this artwork filled with the sun, the warmth of the house and gentle sadness. It contains the whole gamut of moods. Very homely painting.

OCA: Have you taken part in the events of the Eurasian Creative Guild (London)?
AS: Until recently , I did not participate in the activities of the Eurasian Creative Guild, but this is only because of a recent acquaintance with the activities of the Guild. I have a lot of great things planned ahead!

OCA: What is “Eurasianism” for you?
AS: “Eurasianism” for me are the open doors to the world of European and Asian authors, acquaintance with new techniques, styles and directions of art

OCA: What does the Eurasian Creative Guild mean to you, and how has it influenced your creativity?
AS: For me the Eurasian Creative Guild is a new discovery, I understood that there is a force in the world aimed at uniting talented creative people, it’s wonderful, we are together, without borders.

OCA: In which projects / exhibitions do you plan to participate in the future?
AS: I’m ready to participate in any projects, exhibitions and events. I want to please the audience with my paintings where I express my soul.

OCA: What would you advise for people who’re just starting their journey of creativity?
AS: For beginner artists, I advise you to learn from great masters, not just Russians. There are many artists from whom you can learn to know the beauty and grandeur of nature (I mean landscapes). Look at the world with wide eyes, love nature, be surprised, do not offend it and it will return you a hundred times back.

OCA: How do you generally feel about art in the countries of Eurasia?
AS: I have a good attitude to any kind of art and not only in the countries of Eurasia. After all, painting, music, theater, cinema has no boundaries, art enters every house without visas and passports and lives in our hearts and souls. It makes us happy, sad, hurts us and inspires us.

OCA PEOPLE: ALEXANDER YUSHKEVICH

Interview

Alexander is a sculptor, artist, and teacher. He has been working as an artist-sculptor. He gives preference to the social genre in sculpture. The sculptor is concerned about a person and his place in society, his values, his thoughts and deeds, his feelings and attitude to what is happening. He is the winner of the “ART SESSIO” Exhibition-Competition of Visual Arts for Art Students ”(Vitebsk, Republic of Belarus). His sculpture “Mother” was awarded the Grand Prix. Alexander is a scholar of the special fund of the President of the Republic of Belarus to support talented youth. In 2005, the young sculptor was awarded the Talents of Belarus medal.

OCA: Tell us about yourself and your creative activity?
AY: My name is Alexander Yushkevich. I’m an artist, sculptor, teacher. I studied at an arts secondary school with a decorative and applied bias. After graduation I entered the Minsk Art College. I studied in the sculpture department, which predetermined my choice of profession as a sculptor. After graduating from college, I realized that I did not have enough skills in my profession. That’s why I have decided to improve my skills at the Belarusian State Academy of Arts. Later on, I came to BGAMT to work as a graphic designer. As a sculptor, I always had work to do in the studio. However, I realized that this wasn’t enough for me, and I began to combine work in the studio with teaching. In my free time, I work as a sculptor as well.

OCA: What style do you paint in? What influenced your style?
AY: Everything starts with an idea, and sculpture in my hands is a way of expressing this idea. I think it’s not right to put ourselves in some kind of stylistic framework, and not to go beyond them, because only in art are we free. The last thing you think about is when you are ready to work and you analyze what style it belongs to. In most cases, I relate my work to Dadaism because I use the Redi-Maid technique. If the viewers understand your message, your idea, then everything has worked out.

OCA: What are your favourite artists?
AY: I cannot single out one, I admire everyone and always take inspiration. And again, my choice is determined by my own preferences. I admire ancient Greek sculptures, it is the Homeric period of small plastic works, the period of classics. It is a series of sculptors such as Polyclet, Miron, Skopas, Praxiteles, Lysippos – I just love them. On my shelves, I have albums of my favourite artists, among them – Lucian Freud, Giacomo Manzu as well as Alexander Rukavishnikov.

OCA: What is your favorite piece of art and why?
AY: My favourite work is the sculpture “Mother”. This is an image of a mother sitting with a ball of thread in her hands. The ball symbolizes the planet Earth and the thread is the path to the house. For a long time, the work stood on my shelf (since 2002) in plasticine, it has passed the test of time and in 2018 I remade it in bronze.

OCA: Have you taken part in the events of the Eurasian Creative Guild (London)?
AY: Yes, I was a member of the ‘Art in English’ project and ’Plein Air’ in London in 2018. Our collective exhibition “living and dreaming” includes a five based gallery which was held in London.

OCA: What is “Eurasianism” for you?
AY: This is a geopolitical concept. For me, this is a cultural bridge that did not exist before, it is an opportunity to communicate, speak and be heard. I thank the Eurasian Creative Guild for that opportunity.

OCA: What projects have you participated in and in which do you plan to participate?
AY: In the future, I’m going to cast several works in bronze, among them will be a sketch of a park sculpture in a scale of 1:10.

OCA: What would you advise the members of the Guild, who’re just starting their career?
AY: If you have already chosen this path, then I would advise you to be patient. Do your favourite thing that gives you pleasure, improve your capabilities. Don’t chase popularity and money, first of all, think about where you are running, with whom you are running, where you need to go, maybe you can just walk there . Be self-critical, ask yourself questions and find answers to them. The main thing is that you should love what you create, because if you like it, then someone else will like it too. Do everything for yourself, because it’s difficult to deceive yourself. Be ready for criticism: remember that any person perceives everything through his/her perspective. Good luck!

OCA PEPLE: ZULKHUMAR KENDZHAEVA

INTERVIEW

Zulkhumar Khamdamovna from 1994 till 2015 she worked as a teacher, from 2015 she began writing poetry and essays. The theme of her work is the knowledge of the truth of life. For 5 years (2015-2020) she wrote more than 70,000 lines of poetry, more than 2,000 sheets of essays. Books are her most faithful friends, she can’t imagine her life without them. Zulkhumar Kenjaeva loves to study the life and work of great poets, writers and philosophers. She is especially into the works of the founder of the Uzbek literary language, Alisher Navoi, loves traveling to sacred places, before quarantine she visited more than 70 places in Uzbekistan with her family.

OCA: Tell us about yourself and your activity / work ?
ZK: My name Zulkhumar. I was born on July 30, 1972 in the Kanimekh district of the Navoi region of the Republic of Uzbekistan. I have spent twenty one years working as a teacher. Since 2015, I have been engaged in creativity: I write poems, stories and essays. In terms of higher education, I graduated from Samarkand State University.

My favorite pastime is reading books. My love of books has been passed on from my parents. They were book lovers. We had a lot of books in the house. My parents have a phenomenal memory. My father was a teacher, he sometimes composed poetry. My mother was a saleswoman. She loved literature, and knew various folk songs by heart. My parents paid great attention to raising their children. There were six of us.

I was the fifth child in the family. As a child, I made friends with fairy-tale characters who are still with me to this very day, that is, I, like my parents, live in the world of books. They have long been separated from me but I still feel their love. And I know that this love is infinite. It is they who inspire me, help everywhere and in everything. Thanks to my parents and books, I found my way in life, I found myself and my happiness…

Main theme of my work is self-knowledge. In order to know myself, at the age of 40, I started traveling with my family in the sacred places of Uzbekistan. I have visited more than 70 locations. Traveling has helped me. In the 43rd year of my life, my sixth sense opened. I worked both day and night, incessantly, I could not stop. It was incredible. And I was surprised to myself, but over time I realized what I really am.

The real Zulkhumar was able to write 1000 lines of poems in a single day, or 30-40 sheets of essays, and filled out a general notebook in a week. For 9 months, I turned out about 30 thousand lines of poems. And the world opened the way to the truth for me. I realized that all truth is in man himself. It turns out that everything is simple and clear …

… Studying the life and work of great ancestors, I found the answer to all questions, i.e. the key to all the doors. Using it, you can solve absolutely all the problems of mankind, except death. And death means that our time is up, that it is time to return back to our home. In the meantime, we are alive, while visiting the planet “Earth”, we must use that time for the benefit of mankind, leaving their bright mark in this white light.

OCA: What is “Eurasianism” for you?
“Eurasianism” is a mutual understanding, friendly cooperation between the West and the East in a single Earth Under the same Sky.
OCA: What are your favourite artists?
ZK: In childhood, I loved to listen and read fairy tales.
In my school years I read E.Vokhidova, A.Oripova, U. Khoshimova, H.Tukhtabaeva.

My favorite works at the university were the works of A. Pushkin, A. Chekhov, V. Hugo, Exupery, Shakespeare, Charlotte Bronte. At the moment I am reading the philosophy of ancient times (Aristotle, Socrates, Confucius, etc.) Sufi literature (Rumiy, Gazzoliy and others) as well modern literature.

I am interested in the philosophy of Hegel and Kant. In a word, I’m a book lover. Since childhood, my favorite poet has been Alisher Navoi. I admired him and do to this day. The works of A. Navoi are treasures not only of the East, but of everything of the world. But so far, mankind does not know the price of this wealth.

My whole life is connected with the name of this poet: I was born in the Navoi region, studied at school at the A. Navoi University. I currently live in the Navoi mahalla. And in a dream I see a great poet. Three years ago A. Navoi presented me with his pen, the book “Hamsa” (“Five”) and blessed me to call upon all mankind for kindness, to help people find the meaning of life. From this day on, my pseudonym is Kenzha Navoi. (Harbinger of Navoi).

OCA: Have you taken part in the events of the Eurasian Creative Guild (London)?
ZK: Yes, I did. For the first time in Astana (Kazakhstan) and 5 times in Tashkent.

OCA: What does the Eurasian Creative Guild mean to you, and how did it affect your creativity / activity?
ZK: For me, the Eurasian Creative Guild is a fabulous planet where dreams come true. Heroes do not survive, do not exist, but live and create. It is easy to communicate with such people without even knowing their language. We spiritually understand each other. Each participation in Guild events inspires me even more.

Many thanks to the Guilds for understanding, for their interest in my work. I have been looking for this planet for a long time, I think the Guild was also looking for me. And one fine day we found each other thanks to the Almighty. No wonder they say who seeks will always find.

OCA: Do you have any personal project that you would like to talk about?
ZK: Yes, I have a personal project. But it is very widespread. If this project is realized, then many people will know themselves and begin to live humanly. When people begin to live, then they will begin to think and think. When people think and think, then they will begin to understand and listen to each other. And when there will be mutual understanding between people, then families will not break up, children will not become orphans, and older people will not get into the nursing home. Then humanity will find its happiness. I believe and hope so.

OCA: What projects have you participated in and in which do you plan to participate?
ZK: I did not participate in any projects. In the future I want to participate in various interesting projects that benefit humanity.

OCA: What would you advise the members of the Guild, who’re just starting their career?
ZK: I wish you all health, patience and love. They contain real happiness!

OCA PEOPLE: VLADIMIR TULINOV

At the age of 27, Vladimir began writing poetry and articles, many of which were published in newspapers and magazines. He graduated from two universities,and in 2011 his first book of a journalistic nature with the title “My language is my friend” was published. His other book such as “Guards of Hippocrates” – was highly appreciated in Belarus. Its circulation sold out quickly and the book was published in London in English language.

OCA: Tell us about yourself and your activity / work
VT: My career as a creative artist began when aged about thirty, my first poem ‘I Didn’t Look at Other Professions’, was published in a Soviet magazine.
I had always enjoyed singing and playing the accordion, guitar and drums as a hobby and in the nineties, in collaboration with the Belarusian composer Izmail Kaplanov, some three dozen of my poems were set to music.
It was only later on, that I turned almost exclusively and seriously to literary creativity and to date, have published nine books as well as several articles in newspapers and magazines. In 2013, I was accepted by the Union of Writers of Belarus, and as a contributor to the Military Scientific Society, published three papers on modern history and World War II.

Inspired by my interest and respect for those in white coats who work with medical weapons that save people’s lives, I wrote about doctors practicing in the harsh wartime period. Entitled ‘The Hippocratic Guards’, the book was translated into English and published in London in 2018. It received a number of high awards in Belarus and abroad and is the basis of a documentary to be screened on Medical Workers’ Day in Belarus on June 21st 2020. In addition to writing, I have spent the past two years editing the military magazine ‘Army and Culture’ and running a music and literature studio.

OCA: What is “Eurasianism” for you?
VT: For me, the concept of “Eurasianism” is a set of actions and principles that can unite the peoples of Europe and Asia, ensure a peaceful sky over both continents, and promote prosperity in all spheres of life.

OCA: What are your favourite artists?
VT: Creative activity is a three-dimensional, multi-faceted concept. Anyone who is not indifferent to their cultural environment, has favourite artists working in theatre, film, music and the visual arts, and as a writer, I can cite various authors and poets whose work has had a significant impact on my own. Those whom I consider my mentors include: Jack London, Karel Chapek, Alexey Tolstoy, Sergei Yesenin, O. Henry, Vladimir Mayakovsky, Alexander Pushkin, Anna Akhmatova, Mikhail Sholokhov, Honore de Balzac, and George Byron.

OCA: Have you taken part in the events of the Eurasian Creative Guild (London)?
VT: I have participated in almost all of the Guild’s events in Minsk, the most memorable of which are performances by ‘Lithosphere’; an amateur theatre company headed by Anastasia Kuzmicheva, a talented poet and active member of both the Guild and the Belarus Union of Writers.
I also attend Guild members’ meetings in the City Art Gallery and in the library named after the famous Belarusian classical poet Yanka Kupala and each time, come away with new impressions and feeling positively charged; both of which are invaluable to the life and work of any creative person.

OCA: What does the Eurasian Creative Guild mean to you, and how did it affect your creativity / activity?
VT: The Eurasian Creative Guild is a conceptual bridge linking the peoples of two continents and offers a platform for the free exchange of opinions and an in-depth study of the history and culture of various ethnic groups, their traditions, lifestyles, views of the world and cultural achievements. It is a platform for meetings between people of different nationalities and religions, united by a common desire to sing and affirm the benefits and joys that creativity brings to the world.

OCA: Do you have any personal projects that you would like to talk about?
VT: It is now my intention to realize a long-harboured project to write a book exploring the critical role of spirituality in people’s lives and its importance in the existence and development of any society across the globe. It is a highly complex subject which will require reworking past material, conducting an in-depth analysis of the current situation in the spiritual sphere, and gathering hard data to support each conclusion.

My ultimate aim is to identify sources of negative phenomena in this sphere, name ways to stop them and determine the prospects for achieving the proposed changes. In this regard, I would like to suggest that the Guild holds a festival on the theme of ‘High Spirituality in Creativity”.

OCA: What projects have you participated in and in which do you plan to participate?
VT: I would love to participate in such a project but in principle, am ready to support any project instigated by the Guild since the goals and objectives of the ECG meet my beliefs and interests.

OCA: What would you advise the members of the Guild, who’re just starting their career?
VT: As for newcomers, it is important to recognize that creativity and learning go hand-in-hand. Continued study of the works of the great masters is essential but take care to avoid imitation. A creative person creates in his or her own path. A template kills creativity, so strive to be unique. Focus on developing a tight plot. Don’t chase after a sensational topic. The simple things in life are often the most meaningful.

OCA PEOPLE: VICTORIA LEVIN

COVER STORY

Victoria is a writer, poet born in the Chita region. Graduated from Moscow State Technical University. Bauman. Author of two novels and seven collections of poetry. She has been published in magazines in Israel, Russia, Germany, Bulgaria and others. Also she’s a Winner of the Russian Literary Prize medal. Laureate of several international competitions and festivals. Since 1997 he has been living in Israel, working as an engineer in the aircraft industry.

OCA: Tell us about yourself and your activity / work?
VL: I used to position myself as a poet. Poems have been written along all my life, with little interruptions. Now the emphasis is shifting towards prose and journalism. In addition, I am happy to do translations from several languages. Currently, I have more than twenty books, four of which are from the field of big prose, there is a collection of fantasy, a collection of journalism, the rest of the books are collections of poems. I actively participate in contests at various venues, festivals, and participate in several literary unions and associations. And if in a few words – then I live a full-blooded literary life.

OCA: What is “Eurasianism” for you?
VL: “Eurasianism” for me has a broader meaning than the unity of cultural values of Europe and Asia. I am a persona of the world! Therefore, for me – this is the unity of creative people from different countries, regardless of geographical and mental characteristics, of the whole world.

OCA: What are your favorite artists?
VL: Due to my high mobility, I often meet people with creative professions. And these people then turn into personal friendships that last for decades. Among the many favorite outstanding figures of our time, I want to mention Mikhail Kazinik – a popularizer of music, a person of encyclopedic knowledge; writer Boris Akunin – a man whom I adore the accuracy and imagery of his words; poet Joseph Brodsky, who for me always remains living in modern poetry and against which I compare my present day work.

OCA: Have you taken part in the events of the Eurasian Creative Guild (London)?
VL: Yes, in October 2018, I was lucky enough to attend Creative Week in London. Memories of this event still warm my heart! Wonderful people in magnificent London, new friendships that I made there, museums and exhibitions, a sensitive audience of highly intelligent people. Unforgettably! I presented my books “Not like everyone” and “Run away from Turner”.

OCA: What does the Eurasian Creative Guild mean to you, and how did it affect your creativity / activity?
VL: Staying in London then, in October 2018, definitely expanded my creative horizons! I even wrote poetry in one gulp and read it on stage at the final meeting of Creative Week. And the remembrance of the wonderful people I met there, for a long time it excited my imagination! And then impressions gave way to reflections on the intersection of cultures, on the ways of developing the creative world, on the global, sometimes inexpressible, unity of the world and differences in mentality and worldview … All these thoughts came to me after talking with representatives of Asian countries during my unforgettable week in London.

OCA: Do you have any personal project that you would like to talk about?

VL: Currently, I started to work on the ECG expert council, the vice-chairman of the Journalism section. So the plans are huge! From personal plans – to continue a series of autobiographical novels, two of which have already been written, and the next three are still ripening in my head … I want to quickly open the “closed borders” and attend my favorite international festivals, where I will meet with my favorite poets and writers who also dream to return to our beautiful wide communication!

OCA: What projects have you participated in and in which do you plan to participate?
VL: I have a very wide range of projects and literary employment! Principle: fly wherever you call and where there is an opportunity to enrich yourself and hang out creatively (in the good sense of the word). From each trip – I put new fresh ideas into the creative piggy bank and grow into new acquaintances in the creative world. Therefore, I try to participate in contests that I find on the Internet, and if I go to the finalists, I’m going there without hesitation for a long time! Previously, when I worked in engineering positions on serious aircraft construction projects, this was not possible. Now, in retirement, I can take advantage of such a gift of fate and attend creative forums and international literary festivals.

OCA: What would you wish the members of the Guild, just starting their career?
VL: I wish you openness to the world and new ideas! Many are talented, but not everyone has the ability to develop their talent and make a “literary name”. Listen to professional advice, read good authors, expand the circle of literary communication, try your hand at competitions and festivals. The world will never appreciate your work written “within the table” and will never know about your potential if you yourself do not declare yourself! Therefore: write, participate, act!

OCA PEOPLE: SULTAN RAEV

INTERVIEW

Sultan Akimovich is a writer, playwright. People’s Writer of the Kyrgyz Republic (2011). Laureate of the CIS Interstate Prize. He’s known as an acclaimed playwright and theater director. Author of more than two dozen plays. Performances based on his plays have repeatedly won victories, incl. Grand Prix, at theater festivals in Germany, Tatarstan, Uzbekistan, Tehran, etc.
In 2000 he was invited to the French Theater Arts Center. In 2002, he was awarded a personal invitation by Queen Elizabeth II of Great Britain and took part in the celebrations of Her Majesty’s Golden Jubilee at Buckingham Palace.

According to the results of 2007, BBC radio station (Great Britain) included Sultan Raev’s play “The Last Testament” in the rating anthology “Seven Wonders – Seven Best Plays in the World”.
Laureate of the State Prize of the CIS
Laureate of the State Prize named after Toktogul
Laureate of the Lenin Komsomol Prize of Kyrgyzstan – Laureate of the T. Abdumomunov Prize
Winner of the “Genghis Khan” gold medal

OCA: Tell us about yourself and your creative activity?
SR: You know the most difficult part for me to introduce myself. First of all, as a writer and playwright. Yes, I am the author of more than ten books and plays. My works have been translated into several languages of the world, including English. Each work of the writer is like a newborn child, it is a kind of revelation, insight, understanding of the world …
My novels such as “Kara”, “Flood” have attracted a huge number of readers not only in my homeland, but also abroad. Why do readers who do not have a clue about our culture, life, psychology and national colour, read with such surprise? What’s the secret? The secret is that people understand human destinies, we are different but at the same we have different fates even though we love, suffer, experience the same way. We are united by common human emotions. Literature provides food for thought as a person to remain human.

OCA: What is “Eurasianism” for you?
SR: Eurasianism is a new approach of the 21st century, which brings together human unity. The world is changing, as well as human relations those stereotypes of thinking that have separated us for a long time are being destroyed. We should not be united by misfortune, we should be united first of all by our minds. Eurasia should not be a political space, it should be a place where anyone can bring new ideas of the values of mankind. Eurasianism is a completely new discourse, the paradigm of a renewed world.

OCA: Name your favorite artists
SR: I want to mention those great masters of English culture and literature such as Jeffrey Chaucer, poet and artist William Blake, writers Charles Dickens, Oscar Wilde, composer Edward Elgar, actor Richard Burton, as well as world culture legends William Shakespeare and Charlie Chaplin! Thanks to the great English language in the world there is mutual understanding and world peace.

OCA: Have you taken part in the events of the Eurasian Creative Guild (London)?
SR: In 2016, my novel “Kara” was presented in London. This is the most remarkable event in my creative life. I met with my readers at the Cambridge University, where the great Winston Churchill spoke. With great success, my book was presented, thanks to the support of the Eurasian Creative Guild.
OCA: What does the Eurasian Creative Guild mean to you, and how did it affect your creativity ?
SR: The Eurasian Creative Guild is a platform of creative people of East and West. The guild is a bridge of literature and culture.
Thanks to the Eurasian Creative Guild, I discovered new horizons and I got new acquaintances. The guild is aimed to popularize the work of writers in the European countries and it gave me the opportunity to expand the literary geography of my works.

OCA: Do you have any personal project that you would like to talk about?
SR: My projects are my works. And I consider it premature to disclose literary plans.

OCA: In which projects have you participated and in which do you plan to take part?
SR: I was a participant in the first literary festival of the Eurasian Creative Guild, which was held in Bishkek in 2011. Also I am the owner of the Grand Prix of the international literary competition in Stockholm. In 2016, Sweden, I was awarded the Heinrich Senkevich Literary Prize, a Nobel Prize laureate.

OCA: What would you advise to the members of the Guild who just started their career?
SR: I want to tell writers and poets that the Eurasian Creative Guild helped me to open the literary world, and it will certainly help you. It is an honour to be a member of the Guild!

OCA PEOPLE: SHAHSANEM MURRAY

Shahsanem is a writer, film critic, translator, international business, tourism,. In 2001 she moved to Scotland, married. I work in Edinburgh. Writer and translator. I work in a private company and do creative work in my spare time. I participate in Literary Festivals organized by the OCA Magazine team. I promote the Culture of the Northern Peoples and Central Asia in Scotland with colleagues.

OCA: Tell us about yourself and your activities/ work?
SM: I am an author, translator, and producer. I am currently studying Films at Edinburgh University. In 2001, I studied ‘Surrealism in Art and Films’ and this remains my main topic of interest.

After meeting and then marrying my husband, Gordon Murray, I have been living, working and enjoying the past 19 years in Edinburgh. It is truly a beautiful City and a fantastic location to live.

I took part at the Literature Festival organized by OCA magazine back in 2012. The festival took place in Bishkek, Kyrgyzstan. For the event I presented Kyrgyz Si-Fi writer Begenas Sartov’s book ‘When the Edelweiss Flowers Flourish’ and six of his short stories which I had recently translated into English and had published.

Since then I have taken part at this Literature Event several times and presented my own books.

My first book was presented to the public in 2015 ‘Finding The Holy Path’ and the second book ‘Cold Shadows’ was released at the Literature Festival in 2017. This the second publication won the prize ‘Best book of the year’ award at the 2018 Festival. I was truly thrilled.

OCA: What does ‘Euroasianism’ mean for you?
SM: ‘Eurasianism‘ firstly means friendship and secondly cultural blend. Within each person, I believe there is a creative individual – this may be an artist, a writer, a filmmaker or a musician. Everyone has some form of expression and can find something to say and show to the world. We are all the same in many ways but our little differences and means of self-expression are what makes the human race so interesting.

OCA: Who are your favourite artist’s or filmmaker’s?
SM: I love music. I actually trained as a Grade 8 classical pianist. As well as Classical music, I have a deep affinity with Classic Rock with my favourite artists being Pink Floyd, Peter Gabriel and the Norwegian group A-HA. Like many people of my age, this music is ingrained within me from my teenage years at University.

Notwithstanding they all have produced fantastic music that is timeless and often relates my thought and creative process as I put pen to paper for my novel writing. I actually think some of these artists will be regarded in higher and higher esteem as the years pass and will give similar inspiration to future generations.

My favourite filmmakers are Michael Curtiz, I do admire his film ‘Casablanca’. Federico Fellini, Krzysztof Kieslowski and many others.

OCA: How often you take part in the events organized by Eurasian Creative Guild (London)?
SM: I try to support the events as much as possible I can. The last time I attended was at the summer 2019 meeting in London. I am always happy to support and meet my colleagues and contemporaries.
OCA: How does the Eurasian Creative Guild affect your creative work?
SM:The main driver and founder of the Eurasian Creative Guild is Marat Akhmedjanov.

He came up with this wonderful idea where many talented, creative people can gather into one group and we can meet and share our works. I hope it will continue to grow into something big, and I am sure many members of this group still be supporting and helping for many young individuals.

OCA: Do you have any personal projects that you would like to talk about?
SM: Well in the past, we have held many events. We have a small Central Asian Community in Edinburgh, Scotland, which also regularly pulls in friends and colleagues from Glasgow.

An event that was interesting with theme ‘Shakespeare V Pushkin’ where each member of this small community were happily reading poems of greatest writers W. Shakespeare and A.S. Pushkin.

We gather at cultural events like Burns Night and recite his poetry. With the ‘Orzu Arts’ theatre, with their stage performance from London, we supported both them and a young singer from Uzbekistan.

In 2017, we organized a festival called ‘True Connection’. It was truly amazing to invite filmmakers Paul Morgan, Denis Filippov from Russia with their work. Artist from London Gulzada Hamra took part as a participant-creating exhibition. Honoured guests Laura Hamilton and Marat Akhmedjanov. My friends and colleagues David Wingrove , Shirin Abdullaeva, Zaynab M. Dost, Brian Thomson, Rosie Sweetman ,
with whom we created small pop up theatre and managed to present small scenes with my own work and Norwegian writer Johan Alstad . Filmmakers D. Almazan, J. Mortoz created a film from this event.

These meetings and events are how we can reach our goal is to blend culture, literature brings into sense ‘Eurasianism’. We can achieve something beautiful in the future festivals.

I will be continuing to work with different countries with this theme ‘True Connection’ to gather artists that are more interesting, bring into life book and poem reading culture.

I would like to continue this amazing journey despite all this hardship. Especially in this moment in time where we all in the lockdown. Very difficult to work and we all waiting when we do not have to be in two weeks quarantine after travelling. We need to create and work; it is already a biblical journey in many respects.

Finally, I would like to say my warm wishes to Eurasian Creative Guild to grow, never give up and continue the long journey to help young members.

Any creative work should have a place to be supported. Good luck to all of us. Mainly in this moment!

OCA PEOPLE: SARIYA MAMEDOVA

Sariya Aga Mamad kyzy, graduated with honors from the institute, full-time postgraduate study. Since 1976, candidate of chemical sciences. Editor of the magazine “Society and Woman”. She is the owner of the “Golden Pen” by the Azerbaijani media, 2013.
Member of the Writers’ Union of Azerbaijan 01.16.1913
Member of the Russian Writers Union (RSP) since August 5, 2014.
Full member of the International Writers’ Union. (ISP)
Winner of the “Golden Pen of Russia” 2018
Individual member of the Eurasian Creative Guild (London), 2020.

OCA: Tell us about yourself and your activity / work?
SM: My name is Sariya Mamedova I’m a well-established writer, I am a member of the Union of Writers of the Republic of Azerbaijan; the Russian Union of Writers (RSP); the International Writers Union (COI) and the Writers’ Union of North America. In addition to being a laureate of various awards, I am a holder of ‘The Golden Pen of Russia’.

It is only now, after the passing of many years, that I am beginning to understand the meaning of life and my destiny. It is only after experiencing all the stages of cognition and picking up crumbs of wisdom, that one can reach a balance and peace of mind and spirit; in other words, attain appeasement or pacification.

How wonderful it is, to realize that your life is a success and you are happy, despite the hardships, losses, failures and burdens of fate, and that the formation of your character is almost complete. And this outcome is priceless. There are no material values that can equate the attainment of a meaningful position in life, founded on one’s ideals, ideology and principles, spiritual and inner beauty.

Belief in yourself, your abilities and capabilities, is one of the most necessary and important qualities in helping anyone find their way through life. My books are about the meaning of life; the pain, the good and evil inherent in our earthly existence, the formation of a child’s character… We all have our own destinies but not everyone has the opportunity to follow their true path. Anyone can fall but so too, can they achieve their goals, by finding the strength to rise and overcome obstacles. Life must be loved!

OCA: Do you have any personal projects that you would like to talk about?
SM: My creative practice gives me a wonderful state of mind and soul. Writing makes me feel needed and though my market is limited for now, I relish being able to communicate with people through my books and at forums, the opportunity to discuss, face to face, their misconceptions of such phrases as: “We only live once” or “Live for yourself.” These phrases are the fallacy since human beings should live with the aim of making this world a better place: kinder, nobler, purer and more morally truthful. I am happy when readers tell me: “If I had read your works earlier, my life would have turned out differently, for the better”. It was especially gratifying to hear that after reading “On Happiness,” a woman realized that she was actually happy! Imagine only being able to understand that as a result of reading a book!

OCA: What are your favourite artists?
SM: I favour any creative people who command admiration and respect through work which leaves a strong and indelible impression. Such people are both unforgettable and extraordinary, and I am grateful to have met many who became my role models.

OCA: Have you taken part in the events of the Eurasian Creative Guild (London)?
SM: I had the honour of becoming a member of the Eurasian Creative Guild (London) in February 2020 after attending a presentation on the Guild’s objectives and activities by its Vice-Chairman Marat Akhmedjanov at the Yarat Art Museum in the Republic of Azerbaijan. It soon became clear that the Guild is Akhmedjanov’s mission in life, and the pride, zeal and enthusiasm with which he described the opportunities it affords creative people, was met with great excitement and inspired prolonged discussion between everyone in the room. When someone sets such high goals and purposely marches towards their realization, it is natural that creative people will be instilled with the desire to follow and lend their support. I was personally enthralled by his enthusiasm and that, coupled with the many different opportunities offered by a wide variety of events, spurred me to join the Guild.

OCA: What projects have you participated in and in which do you plan to participate?
SM: It has been a pleasure to contribute to the almanac ‘Voices of Friends’, in addition to entering this year’s Architectural Structures competition, and I look forward to participating in other ECG projects to both inspire my practice and bring maximum value in its prosperity.

In the future, I would like to see an increased focus in festivals and forums on the younger generation, to encourage participation by senior class and university elementary level students. An exemplary project which currently identifies and supports young gifted writers from around the world, is the multi-cultural competition, ‘Your Position.’

OCA: What does the Eurasian Creative Guild mean to you, and how did it affect your creativity / activity?
SM: Art, creativity and culture belong to a universal language that can unite us all and there is nowhere better to learn this language than the Guild. I would therefore recommend anyone embarking on a creative path to join ECG. Membership will help you to chant your culture not only in your own country, but also introduce your work to people living further afield. It is not enough to garner popularity and esteem at home; in order to grow and truly succeed, you must cross borders.
OCA: What would you advise the members of the Guild, who’re just starting their career?
SM: The Guild offers the most effective means of communication through which we can learn about, exchange ideas and share our work with talented, creative people, living and working across the world.

Many people never have the chance to experience the beauty inherent in art and architecture, nor to plunge into the magical world of music, dance, poetry and literature; sublime and spiritual worlds in which we can rise above ourselves to become better and more noble beings. The direction in which society develops depends purely on how we educate our children and as creative practitioners, we all have an important role to play.

OCA PEOPLE: SAGYNBUBU BERKANALIEVA

Sagynbubu was born in Kyrgyzstan. She has been a Member of the Union of Writers of Kyrgyzstan since 2014. She’s very interested in opera classical works, from time to time she’s singing opera. Sagynbubu Berkinalieva also performed on stages and expressively read the poems of Kyrgyz poets. Winner of a diploma for outstanding poetry and for active participation in the competition of young poets “Mekenge taazim” and “Besh Akin” 2017.

OCA: Tell us about yourself and your creative activity/work?
SB: My name is Sagynbubu Berkinalieva Abdysamatovna. I’ve been a Member of the Writers Union of Kyrgyzstan since 2014. I wrote artworks such as:
“Chan Baskan Barak” (Leaf covered with dust “collection. Lyric poems.) Bishkek – 2014
“Girl dancing in the sky” a collection of lyric poems. Great mountains – 2019. “
“Dedication to Turar” Bishkek – 2015
“Kyzdar Ay” Great Mountains 2014
“Zholongo Yar Dest” Osoo Gulchynar 2015
Mekenge Taazim 2016

I’m also the winner of the contest of young poets “New Names” and the winner in the contest Besh Akyn.

The winner of the Open Eurasian Guild competition in the category of poetry in Brussels 2019

OCA: What is “Eurasianism” for you?
SB: Open Eurasian Guild. This is an organization of talented creative people that unites over 50 countries of the world. And most importantly, it gives a chance to become famous on the international level.

OCA: Who are your favorite artists?
SB: Walt Whitman, Joseph Brodsky, Chyngyz Aitmatov, Lee Boy.

OCA: Have you taken part in the events of the Eurasian Creative Guild (London)?
SB: In 2019, I participated in the 8th forum of the Literary Festival of the Open Eurasian Guild in the poetry nomination and took 1st place and was awarded for the best female lyrics.

OCA: What does the Eurasian Creative Guild mean to you, and how has it influenced your creativity?
SB: Having participated in the competition, a great change has happened in my life and artwork.
Thanks to the Guild, I became famous and was recognized as a poetess in 50 countries of the world.

OCA: Do you have any personal project that you would like to talk about?

SB: Poetry is destiny; it happens suddenly. This is the state of mind of the poet.
Currently I’m writing a book about the work of brilliant poets like Walt Whitman, Lee Boy.

OCA: What projects have you participated in and in which do you plan to participate?
SB: I wrote many artwork about my country and participated in many competitions. I participated in an international competition and introduced my country Kyrgyzstan. I also have published many lyric collections.

In the future I want to participate in international festivals with the intention that the world will know more about my little homeland. I’m proud that I’m an active member of the Guild and I will try to take part in all projects of our Guild. This year for instance I’m participating in the project “Voice of Friends”.

OCA: What would you advise for people who’re just starting their journey of creativity?
SB: I wish the new members of the Guild success in creativity and inspiration. Only the Guild gives the fairest chance to express yourself.

OCA PEOPLE: NINA BELOMESTNOVA

Nina Belomestnova is a freelance journalist, historian (anthropologist), writer. Engaged in scientific and ethnic journalism. In journalism, holder of the titles “Journalist of Siberia”, 2016, “Golden Pen of Russia”, 2017. Winner of the Y. Rytkheu International Literary Prize in 2016 for the nomination “small prose”.

OCA: Tell us about yourself and your activity / work?
NB: My name is Nina Belomestnova. I was born and raised amongst the Evenki in a remote village in the north of Siberia’s TransBaikal region where both my parents were doctors. The indigenous Evenki are mainly hunters and reindeer breeders. They are also shamans and growing up in the community allowed me to witness, first-hand, local customs and ceremonies. It was an experience which led to my studying history at Tomsk State University, and later, a career in journalism.

I worked as a correspondent for a military newspaper for seventeen years, covering stories about war veterans and investigations into hitherto hidden events of World War II.

Now freelance, I have edited two books of people’s stories of the Second World War but focus primarily on ethnic and scientific subjects.

I began writing books in 2000, and to date, am the author of six publications, four of which are based on native people’s beliefs and customs, and shaman practices.

OCA: What is “Eurasianism” for you?
NB: To me, “Eurasianism” is a bridge that links writers and artists from different countries and even continents. It is a bridge that provides unity through the sharing and promotion of ideas and projects. That, coupled with the potential to publish my books in England, is the reason I joined the Eurasian creative Guild in 2017.

OCA: What are your favourite artists?
NB: My favourite writers are Russian authors Nikolai Gogol, Ivan Bunin; the Soviet writer Isaak Babel, and the post -Soviet writer Varlam Shalamov. I admire the paintings of Russian artists Boris Kustodiev and Mikel (Mikhail) Vrubel, and have a strong interest in Japanese art.

OCA: Have you taken part in the events of the Eurasian Creative Guild (London)?
NB: I have participated in the annual Eurasian Literary Festivals, organized by the Eurasian Creative Guild (London) since 2017. I particularly like the judging process which by commending a book, short story or poem, encourages people to read and then recommend it to others. I also enjoy the sense of close unity amongst members and cherish the camaraderie and support of like-minded creative people.

OCA: Do you have any personal projects that you would like to talk about?
NB: I am currently working on two books, the first of which is titled: ‘The Ethnography of Siberian Shamans (Trans-Baikal region): Past and Present’. The second, for which I am now investigating crimes against humanity committed by Japanese military bacteriologists, will be called: ‘Unknown Events of the Second World War’.
Apart from completing the above, my ambition is to have my articles and stories published in the OCA magazine.

OCA: What would you advise the members of the Guild, who’re just starting their career?
NB: My advice to anyone starting a creative career is to be active and open your eyes to the world around you. Remember: Feed your soul with lasting and interesting impressions and in due course, they will furnish your writing or artwork.
Here, at the ECG, you’ll find all the support you need and plenty of opportunities, open to all.

OCA PEOPLE: MARINA PODLESNAIA

Marina Podlesnaya was born in Moldova. She’s a poet, writer, museographer of the House-Museum of A.S. Pushkin in Chisinau, member of the Administrative Council of the Writers’ Union of Moldova A. S. Pushkin; board member and member of the ballroom committee of the Center for Russian Culture of the Republic of Moldova; organizer and presenter of the Pushkin lecture hall in the municipal library named after MV Lomonosov, as well as others, including children’s and youth events.

OCA: Tell us about yourself and your creative activity/work?
MP: I’m the museographer of the A.S. Pushkin House-Museum in Chisinau, a member of the Union of Writers of Moldova named after A. S. Pushkin; member of the Eurasian Creative Guild ECG (London), member of the Association of Guides and Translators of the Republic of Moldova and WFTGA, member of the Club of History Lovers of Chisinau. I’m also the member of the ball committee of the Center for Russian Culture in the Republic of Moldova; I’m a laureate of the Yesenin Prize in 2019, representative of the international competition of Russian culture “Sources” in Moldova.

OCA: What is “Eurasianism” for you?
MP: Recently, thanks to Marat Akhmedhanov , I discovered new friends – these are like-minded people who live in different parts of the Earth. In order to communicate, the Eurasian Creative Guild unites Europe and Asia, as well people from all ends of the Earth, which helps promote the projects of each of them.

OCA: Who are your favorite artists?
MP: Alexander Pushkin and Vasily Zhukovsky, Shota Rustaveli and Chingiz Aitmatov, Matsuo Basho and Musa Jalil, Alexander Ostrovsky and William Shakespeare, Mikhail Eminescu and Hans Christian Andersen, Omar Khayyam and Baltasar Gracian.

OCA: What does the Eurasian Creative Guild mean to you, and how has it influenced your creativity?
MP: The Eurasian Creative Guild gives everyone a unique chance to be themselves and be heard – anyone who wants to can join the Guild and express themselves on an international level.
I’m very delighted to be a member of the Guild and carry on being part of it.

OCA: Do you have any personal project that you would like to talk about?
MP: It’s very exhibiting and takes a lot of responsibility to participate in international contests, to express yourself and represent your country at the same time. But in order for the world to become a better place, the world must live in peace. In my opinion, it is worth introducing each other at international contests and showing your interest to your friends, but not to impose someone’s opinion, yet to give the ability to touch cultural values without making conflicts. Then the feeling of friendly warmth and happiness will not be forgotten.

Who am I? I am a curious person who is interested in what is happening around me, with others. It turns out that I’m interesting! I talk about those whom I love – about my Pushkin, about Eminescu, about Maria Biesha, about others and about myself.

OCA: What projects have you participated in and in which do you plan to participate?
MP: I took part in projects in Chisinau with great pleasure. I also take part in weekly Zoom meetings of Eurasia Creative Guild and also monitor the success of other members of the Guild.

OCA: What would you advise for people who’re just starting their journey of creativity?
MP:I want to thank the Guild that has already opened my eyes to Pushkin, to Eminescu and to Aitmatov at their events, and thank everyone who lives, who, knowing the world themselves, share their creative discoveries!

International media forum

International media forum dedicated to the 25th anniversary of the permanent Neutrality of Turkmenistan and the election of our country as Vice-Chairman of the 75th session of the UN General Assembly was held in Ashgabat

On September 16, 2020, International media forum dedicated to the 25th anniversary of the permanent Neutrality of Turkmenistan and the election of our country as Vice-Chairman of the upcoming 75th session of the United Nations General Assembly was held in the building of the Chamber of Commerce and Industry of Turkmenistan. The session was held in the format of a video conference.

The International media forum was organized by the Turkmen side together with the Asia-Pacific Broadcasting Union (ABU).

The meeting was attended by the heads and representatives of a number of ministries of Turkmenistan, diplomatic missions and representative offices of international organizations accredited in the country, representatives of the national media, heads of authoritative foreign public and television and radio broadcasting organizations, as well as more than 300 correspondents of news agencies from over 65 countries of the world.

The participants especially noted the importance of the next delegation to Turkmenistan of the Vice-Chairmanship of the session of the United Nations General Assembly, where our country has a positive experience. As you know, Turkmenistan took part in the 58th, 62nd, 64th, 68th and 71st sessions as Vice-Chairman.

Delegates from Turkmenistan and foreign countries who spoke during the meeting highlighted the status of the country’s permanent Neutrality, which was recognized by the United Nations by relevant resolutions. In this context, the participants expressed the success and effectiveness of Turkmenistan’s foreign policy pursued under the wise leadership of President Gurbanguly Berdimuhamedov.

In particular, Ibrahim Eren, Acting President of the Asia-Pacific Broadcasting Union (ABU), Director General and Chairman of the Turkish Television and Radio Broadcasting Corporation “TRT”, stated during his speech that from the very beginning Turkmenistan has chosen this political course to promote global peace and stability, and to reinforce the importance of coexistence and sustainable development.

In his speech, Javad Mottaghi, Secretary General of the Asia-Pacific Broadcasting Union (ABU) noted that, being a new phenomenon in international legal practice, Turkmen neutrality became the basis for a new concept of cooperation and preservation of peace on earth.

As part of his speech, Shashi Shekhar Vempati, Chief Executive Officer of the Indian Broadcasting Company Prasar Bharati, underlined that the Neutrality of Turkmenistan is of great importance in the international arena and the policy pursued by the President of Turkmenistan fully coincides with the course of strengthening good neighborliness in the region and around the world.

Nedra Weerasinghe, director of MTV Channel (Ptv) Limited (MBC / MTV) from Sri Lanka, also shared her vision of the peculiar aspects of the positive Neutrality policy and noted that Neutrality will help to consolidate the position of the fairway in International forums that play an important role in protecting values and common interests of humanity.

Emmanuel Dupyi, President of the European Institute for Prospects and Security, paid attention to the important role of the neutral status of Turkmenistan in the region which can become a source of consolidation for the Central Asian countries and a platform for accelerated integration in the region.

During the speech of the Chairman of the National TV and Radio Company of Uzbekistan, A. Khadzhaev, it was noted that this Forum, without a doubt, was one of the important events, designed to reaffirm the aspirations of Turkmenistan to further strengthen stability and peace, socio-economic prosperity, as well as the development of diplomatic relations with the countries of the world and good neighborly relations in the region.

During their speeches, Neda Berger, Chairman of the Turkmen-Austrian Society, B. Amansaryev, Chairman of the State News Agency of Turkmenistan, A. Kakaev, Deputy Chairman of the State Committee of Turkmenistan on Television, Radio Broadcasting and Cinematography and K. Rejepov, editor-in-chief of the newspaper “Turkmenistan” also spoke about the uniqueness of Turkmenistan’s permanent neutrality, its role in promoting international humanitarian cooperation, and it was noted that peacefulness, equality, non-interference in the affairs of other states, non-participation in military blocs, the implementation of mutually beneficial cooperation are integral components of the policy of positive neutrality.

Press service
Ministry of Foreign Affairs of Turkmenistan

OCA PEOPLE: LENAR SHAEKHOV

Lenar (Lenar Shaekhov), a Tatar poet, children’s writer, translator, publicist. Born on 4 October 1982 in the village of Taktalachuk of the Aktanyshsky District of the Republic of Tatarstan (Russia). Graduated from the Menzelinsk Pedagogical College, Department of Tatar Philology and History of Kazan State University, Post Graduate Programme. Chief Editor of the Tatarstan Book House. Author of twenty four books. Member of Union of Writers of the Republic of Tatarstan and Tatar PEN-Center and PEN International, Union of Journalists of Tatarstan and Russia, as well as of International Federation of Journalists (IFJ), and Eurasian Creative Guild (London). Winner of the Musa Jalil Republic’s Award, Abdulla Alish Literary Award (for achievements in children’s literature), the Volga Region Literary Award “NEWBOOK. Volga-2015”, Eurasian International Award. Academician of International Public Academy of Poetry of Omor Sultanov of the Republic of Kyrgyzstan. Candidate of Philological Sciences. Honoured Artist of the Republic of Tatarstan.

OCA: Tell us about yourself and your activity / work?
LS: I am a Tatar poet living in the city of Kazan in the Republic of Tatarstan of the Russian Federation. I am the author of more than twenty books published in several languages: Tatar (Kazan, Naberezhnye Chelny), English (London), Russian (Moscow, Yakutsk), Kirghiz (Bishkek), and Bashkir (Ufa). My work is divided equally between books for children – verses, fairy tales, riddles, and so on – and more adult verses, poems and short stories, alongside tracts based on research. I am a Candidate of Philological Sciences, winner of Tatarstan, Russian, and international awards, and an Honoured Art Worker of the Republic of Tatarstan.

As chief editor at the Tatarstan Book House, I translate poetry from Russian, Bashkir, Kirghiz, Kazakh and other languages, and compile books of Tatar classical literature and encyclopaedias of children’s literature. My whole life has been inseparably connected with books.

OCA: What is “Eurasianism” for you?
LS: “Eurasianism” to me, is the huge literary heritage of the brotherly peoples of the Soviet domain and the Turkic world. The modern Tatars are an intrinsic part of a huge Turkic world, rich in ancient history and culture. Though now divided, we continue to preserve our mother tongues, culture, customs, and national spirit.

OCA: What are your favourite artists?
LS: My work has been inspired by many great writers, including first and foremost, the founder of modern Tatar literature, Gabdoullah Tukay; authors of classical works Derdmend, Gayaz Ishaki, Musa Jalil, Fatih Karim and Amirkhan Yeniki; and Tatarstan’s national poets, Gamil Afzal and Ildar Yuzeyev. I admire the work of Russian classicists Alexander Pushkin, Mikhail Lermontov, Anna Akhmatova and Boris Pasternak, and from further afield, that of Omar Khayyam, Byron Goethe and Heine. With regard to contemporary Tatar literature, I was delighted to discover the work of London- based, Rustam Sulti, whose book of verses titled ‘Mosafir’, (‘Pilgrim’) was published last year. I consider him one of the most genial Tatar poets of our time.

OCA:Have you taken part in the events of the Eurasian Creative Guild (London)?
LS: I have been a member of the Eurasian Creative Guild since 2016 and have participated in every Open Eurasian Book Forum & Literature Festival. I first met Marat Akhmetjanov, festival organiser, founder and Vice Chair of the Guild, and Director of Hertfordshire Press Publishing House, as if by fate in Yakutia, where we were both honoured guests at the international poetry festival ‘The Blessing of the Big Snow’.

I am immensely grateful to Marat-efendi for introducing me to the Guild and for his hard endeavours in sharing our work with the world. Writers cannot afford to hide and linger in the shadows and nor can they afford to be merely wordsmiths. In order to succeed, he or she must also master business skills and be prepared to act as their own literary agent.

OCA:What does the Eurasian Creative Guild mean to you, and how did it affect your creativity / activity?
LS: The Eurasian Creative Guild offers a large union of creative people a means of communication through which creative acquaintances and close friendship develop. The whole world is like one big’ kazan’, or cauldron, bubbling with numerous opportunities for the promotion of one’s art. Creative people cannot withdraw into themselves. In order to thrive, they require a constant stream of new stimuli through exposure to new people, new cultures, new ideas, new sources of inspiration… And that is exactly what the Guild provides.

From a personal perspective, membership of the Guild has helped me stay positive and given me the impetus to develop my work.

OCA:What projects have you participated in and in which do you plan to participate?
LS: In 2017, Hertfordshire Press published a book of my poems entitled “One of You”. Translated into English by Dana Zheteyeva, it included a foreword by David Perry, who was also the editor. To have my work presented in the country of Shakespeare’s birth was beyond my wildest dreams! In the same year, I won second place in the Small Prose category of the Open Eurasian Book Forum & Literature Festival in Stockholm. Then in 2019, in Brussels, I received the Generals for Peace Award for the best work dedicated to the theme of consolidation of peace, friendship and mutual understanding between peoples. As for current projects, I am now preparing my submission for the ninth Open Eurasian Book Forum & Literature Festival in tandem with finalising a draft of ‘Modern Tatar Prose’, for a forthcoming launch in Paris.

I praise the Almighty for granting me such a plenitude of ideas and projects!

OCA: Do you have any personal project that you would like to talk about?
LS: My first children’s book was recently published in Russian by Bichik, Yakutia’s national publishing house. I continue working in this genre and hope that one day, my work will be available in Bashkir, Chuvash, Udmurt, as well as in English. Over the past few years, I have also written many lyrical and philosophical verses, which I want to publish as a new collection.

In addition to writing, I am heavily involved in the Tatarstan Book House which I founded in 2015. We publish works by Kirghiz, Yakut, and Crimean Tatar authors and to date, I have complied over forty books and translated six. In May 2020, I edited and contributed to the translation into Tatar, an ‘Anthology of the Yakut Poetry’, the fifth in a series to appear under the umbrella of ‘Turkic Literature’. Last year, we published ‘Selected Works’ by Alexander Pushkin in our mother tongue and will soon launch a collection of verses by Sergei Yesenin, again in Tatar.

OCA: What would you advise the members of the Guild, who’re just starting their career?
LS: My key advice for new writers is to work hard and keep moving forward. Don’t get discouraged by failures. If you have ideas and something to say, follow your path. Literature enrichens people’s souls, makes their hearts kinder, and broadens their vision. So, grasp your pen tightly and believe me, success will surely follow!

OCA PEOPLE: LARISSA PRODAN

Larissa was born in Uzbekistan, her childhood and youth were spent in Ukraine, Russia, Belarus and Kazakhstan. She graduated from university in Kazakhstan. After receiving her PhD, I taught economics in Central Asian and Caucasus countries. At the moment she lives in the USA. She’s a prose writer. Her historical novel “The Fine Thread of Fate”, translated into English in 2014, became a bestseller in the United States. In 2019, her books were presented at the Moscow International Book Fair.

OCA: Tell me about yourself and your creative work. How did your journey start?
LP: My name is Larissa Prodan. I am a writer. I write under the name: Lara Prodan. I was born and raised in a country – the USSR, that no longer exists on any of the world maps because it was dismembered into fifteen independent republics. Till today, I view USSR as my homeland, because I was born in Uzbekistan, spent my childhood and school years in Ukraine, Russia and Belarus, and graduated university in Kazakhstan. After graduation and receiving my PhD, I taught economics in Central Asian and Caucasus countries. My extended family moved to various parts of the world – Germany, Hungary, Bulgaria, the Czech Republic, and Canada. Today, I live in the USA. I proudly consider myself a citizen of the world.

For most people, the childhood years are the most memorable and personality shaping; throughout life one often returns to them. It is, for this reason, I focus the plots on my books on the Central-Asian part of the world – in countries like Russia, Belarus, Kazakhstan and Ukraine. My characters, however, live in various continents – Europe, America, Asia, and are connected through physical or spiritual bonds.

OCA: Have you taken part in the events of the Eurasian Creative Guild (London)?
LP: I am very fortunate and grateful to be an active member of the Eurasian Creative Guild (London) – an organization that connects creative and interesting people not only in the Eurasian territory but all over the world. The first event that I participated in through the Guild was a Literacy Week in London held in October of 2018. There I presented my new at that time book “Why are we so alike?”, which was published by Hertfordshire Press. I was very impressed by the seriousness, scale, and intellectual agenda of the event, which included the participation of various international writers from countries like Great Britain, Belarus, Russia, Israel, USA and Kazakhstan.

OCA: What does the Eurasian Creative Guild mean to you, and how did it affect your creativity / activity? Did you take part at our Open Eurasian Literary Festival?
LP: For an author, each presentation is a form of an exam before their readers and colleagues. The Guild fosters an environment for creative people to communicate, share ideas, and get to know each other. The Eurasian Open Literacy Festivals that are organized by the Guild plays an important role in bringing writers together from all over the world. For us, writers, these festivals have become a much-anticipated celebration, which we all await and prepare for. Within the framework of the festivals, many competitions take place for writers and poets. The spirit of healthy competition, which these activities create, is important for every creative person. In 2018, I too participated in the short story competition with my children’s book “How the Hedgehog Taught the Fox Manners”, and in 2019 with my story “Smeda”. Both times my pieces were well recognized and made it to the finals. I hope that I, along with all other members of the Guild, will be able to participate in the Open Eurasian Literary Festival in 2020.

OCA: What ECG projects do you plan to participate in?
LP: Today, the whole world is going through an uncertain and difficult time, a time of forced isolation. However, even when isolated and self-guaranteed, the members of the Guild continue to meet through online Zoom conferences. The nature of these conferences includes various subjects and themes that are relevant in today’s world. Unfortunately, the meetings are held at 2 pm Moscow time, which translates to 4 am time in Seattle, USA – which for me causes some difficulty in participating. While I am a relatively passive member of the online conferences, I proactively seek information online on the topics discussed, inclusive of discussions of topics and issues on social blogs.

I think one of the forms of promoting creative art could be reading of the poetry or short stories by the writers during the Zoom meetings. The Eurasian Creative Guild today serves not only as a gathering platform for writers and poets, but also for painters, photographers, filmmakers, and musicians. Such a diverse platform opens doors and provides a collective environment for people of all creative work. In my opinion, the opportunities of creative collaboration are endless – what I mean by that is that filmmakers can partner with writers, photographers and illustrators can support the works of the written form.

OCA: What does the Eurasian Creative Guild mean to you, and how did it affect your creativity / activity?
LP: I would like to speak to the younger generation, who are embarking on a wonderful journey of creative expression. As you know, one in the field is not a warrior. You can, of course, work at your table, write your own work, and periodically admire the works of others. But, if you truly want your work to be noticed and recognized, I recommend belonging to the Eurasian Creative Guild. The Guild will very attentively care for their young talent, and will help open the doors into the creative path forward. It will allow for you to participate in various organized events; inspiring writers, poets, screenwriters, artists, and photographs to only express themselves, but also to promote their creativity, and, most importantly, learn from others and communicate with each other.

OCA PEOPLE: JOHN FARNDON

John is an author, playwright, songwriter and poet, and chairman of the Eurasian Creative Guild. He is the author of over thousand books on many topics, and has been shortlisted for the Young People’s Science Book Prize five times. He is also a translator of literature from Russia and Central Asia. He was joint winner of the European Bank Literary Prize 2019 for the translation of Uzbek writer Hamid Ismailov’s The Devil’s Dance and Finalist for the US PEN Translation Award 2020 for his translation with Olga Nakston of Kazakh author Rollan Seisenbayev’s The Dead Wander in the Desert.
www.johnfarndon.com

OCA: Tell us about yourself and your activity / work?
JF: I earn my living mostly writing non-fiction books and so far I’ve written well over a thousand. I write on just about every topic, and it’s such a pleasure learning new things all the time. But I write especially on science and nature – which is one reason, I’ve become deeply concerned about the ecological and climate crisis the world faces. You cannot write about it and not be aware that we are in deep, deep trouble! But I’m also a poet, playwright and songwriter – and a literary translator. I work entirely from my ancient home with its beautiful roof garden right in the centre of London, but translation gives me a wonderful window on the world. I don’t speak any foreign languages, but collaborating with native speakers has opened up a wealth of literature especially from Russia and Central Asian languages. I feel deeply privileged to have been given the chance to put into English for the first time the works of great writers such as Vladimir Vysotsky and Ravil Bukharaev. Personally, it’s hugely enlightening to learn and understand how writers from such different cultures and faiths think. But I also think that sharing literature and art is one of the best ways of building bridges of understanding and emotion across the world – and making the world richer and kinder for it. That is hugely important right now, with the world so divided and frightened.

OCA:What is “Eurasianism” for you?
JF: I’ve not heard this phrase before, but to be honest, I’m distrustful of blanket terms like this which try to label varied cultures or catch an imaginary wave. But I do think that there is something rather wonderful happening across Eurasia. Ancient Central Asian cultures, so long in the shadows of world consciousness that they were in danger of vanishing, seem to be emerging into the light again; and rightly – they have so much to offer. Yes, there are problems, but it’s no accident that people in the West are beginning to get excited by the history and culture of the ‘Silk Road’, as they call it, even though the view here maybe full of misunderstandings. It’s no accident, I feel, that in the last year Central Asian books have been involved in major literature prizes for the first time – and I was lucky enough to have had a hand in two. First the wonderful Uzbek writer Hamid Ismailov’s The Devil’s Dance, for which I translated the poertry, won the European Bank RD literature prize in 2019. Second, this year the Kazakh writer Rollan Seysenbaev’s epic The Dead Wander in the Desert, which I translated with Olga Nakston, was a finalist for the US PEN Translation Award. So watch this space! I am sure there are more to come.

OCA: What are your favourite artists?
JF: Ah, I have so many! Of course, I love British writers such as Shakespeare and Blake, Dickens and Hopkin, and the wonderful Irish and Scottish writers who also write in English. I could spend months waxing about their merits. They have shaped our culture and given it the richness and depth which the false patriots of Brexit utterly miss. I love our music, too – it’s rich heritage of traditional songs, and the new writers emerging all the time. I am blessed to know such young talents as Zoe Wren, Ayanna Witter-Johnson, Kim Lowings, Flora Curzon and Luke Jackson. You may not have heard of them yet, but you should. But this is a Eurasian magazine, so I will venture further afield! Which playwright could not fall in love with the plays of Chekhov, whose subtle dramas show the deep tragedy and comedy of life in such small details, multum in parvo, or which poet not love Pushkin, with his intoxicating use of language, his romance, passion and vision? But I’ve been lucky enough to discover artists from Central Asia, too. I’ve got to say one of the towering talents is Hamid Ismailov. I am convinced he will be seen as one of the great writers of this century, and his short novel The Dead Lake is true masterpiece. And my favourite painting right now, because I see it all time on my wall, is a large and wonderfully atmospheric painting from 1960 by a Ukrainian artist whose name escapes me of Kiev’s Mariensky Park in winter. Two lovers walk, wind and rainswept into the distance, between the ranks black trees bedded in snow. The dark slushy path with it coloured reflections and the headlights like stars in the gloomy street beyond create a vision of hope. It’s a true masterpiece, worthy of a great gallery, which I am very lucky to possess.

OCA:Have you taken part in the events of the Eurasian Creative Guild (London)?
JF: Yes indeed. They are remarkable events bringing writers and artists from many countries together. It’s so wonderful to see writers from Moldova to Moscow meet and share their work, and to have a chance to share my work too. Remarkably, thanks to the tireless and inspirational efforts of Marat Ahmedjanov, and a new team of incredibly committed and energetic interns, this year – the year the world went Into lockdown – is proving the most dynamic and exciting yet. The calendar is packed with events, and the ECG’s regular zoom meetings, each covering a different topic, are proving absolutely fascinating. We are not cut of at all, but making new connections.

OCA:What does the Eurasian Creative Guild mean to you, and how did it affect your creativity / activity?
JF: The ECG is a very special organization, and it is true privilege to be connected through it to artists across Eurasia. Amazingly, they feel like my family. How extraordinary to say that! And right now, that international kinship seems so, so important as boundaries, physical and emotional, real and imaginary, divide us in such a dangerous way. I am chairman of ECG this year and next, and I feel deeply touched to be in this fortunate position. Being part of ECG has enabled me to work with great poets such as Belarusian Anna Komar and Uzbek Xosiyat Rustamova, amazing painter Alesia Issa and 3D artist Emile Goozairow, and get to know the, work of many more. In one’s own country, one can sometimes feel limited and marginalized. But the international companionship In the ECG show inspire with their wider vision – and it’s that shared and varied artistry and vision that keep me more optimistic about the future in these rather dark times.

OCA:Do you have any personal project that you would like to talk about?
JF: Next year, thanks partly to ECG and Marat, I hope to be bringing to English audiences for the first time the famous Kazakh opera Abai by Latif Khamidi and Akhmet Zhubanov, on a libretto by Mukhtar Auezov. The idea is that we’ll do a compact touring version, with music brilliantly condensed by Australian Warren Wills, to take to the more offbeat venues where younger and more varied audiences go. We have been blessed by the enthusiastic support of the Kazakh embassy in London, and in particular His Excellency Erian Idrissov and Counsellor Dana Masalimova. We were hoping to get it on this year and take it to the Edinburgh Festival amongst other places. But the pandemic means that it will have to be next year now! I’ve also got a musical I wrote, Anya, set mainly in Russia but also in the USA in the decades after the war, which I would love to see staged somewhere in Eurasia, and play about Pushkin. I’m deeply involved in translations too. But like many writers and artists, I can’t help but be stirred by the state of the world. Over the last year, for instance, I’ve been helping create work for the climate activists Extinction Rebellion including a poem with music by Lewis Murphy for mass audience participation, performed across the UK. This kind of work is hugely important to me, and I’d like to see it reach even further

OCA:What projects have you participated in and in which do you plan to participate?
JF: Actually one of the most amazing projects I’ve been involved in was the #Resolution2020 choir projects. The driving force behind it is London theatre director Abbey Wright, and the idea was to get choirs, singers and families around the world to sing their version of the specially written song World on Our Shoulders and make a resolution to solve the climate and ecological crisis. So many ECG members joined in such as Anna Komar and Ilona Vilit in Belarus, and It was truly amazing to see people from most countries in the world, from villages and cities, young and old, come together to contribute versions of amazing power, beauty and commitment. To hear kids singing in harmony and hope, to see brilliant artists employ their talent for the good of the world, to find people who live in situations of strife sing out in unison – this is truly moving and inspirational. Last week, in a completely different vein, I was performing In the first English version (online, of course) of a play created by the amazing Teatr.Doc of Moscow and translated by Alex Thomas about the trial of Chechen human rights activist Oyub Titiev. But of course there’s a host of ECG events, including the creation of the Almanac of Poetry and the Open Eurasia Festival with its amazing array of contests and opportunities for writers and artists across Eurasia.

OCA: What would you wish the members of the Guild, just starting their career?
JF: Luck, inspiration, persistence and happiness – but above all the courage and vision to see and speak the truth. Don’t create what someone tells you create ¬– create what you absolutely need or want to create. That should be a given, unless of course you’re working to commission… 😉 But going your own way doesn’t mean staying in a bubble. Learn your craft from the best, and never stop learning. Learn about the world. And think about your audience. Artistry is sometimes called a gift – and that’s just what art should be: a gift to your audience and the world. Mostly, though, I just wish you support, friendship and love.

OCA PEOPLE: HAMID LARBI

Hamid Larbi is a journalist and poet, born in Algiers, currently lives at Montpellier. He is the author of various essays and poetry collections translated into Spanish, Italian, Russian, Ukrainian, Romanian, Arabic and Serbian languages. He received the journalism award from the Press Circle of Milan for Giornalistàesterain Milan, Italy.He won the Silver Medal at the International Festival of Literature (LIFFT) in Baku (Azerbaijan). He was awarded the International Poetry Contest, Concours International de Poésie, « L’amour de la liberté » from the European Academy of Science, Arts and Letters in France. He also received the commemorative medal of TarasChevchenko and was elected as a member of the academy as well. Member of the Movimieto Poetas del Mundo. He has also participated in various poetry festivals worldwide.

OCA: Tell us about yourself and your activity / work?
HL: I am a journalist and a poet. I was born in Algiers. I lived in Milan for five years. After a long period of uncertainty and worries. Thanks to my meeting many Italian friends in the fields of music, theater, literature, and cinema have allowed me to gain a certain maturity and a real self development.

In 1998, another trip took me towards a new country and a new town Montpellier (France) where I have been working and living ever since. First of all, I have published two political essays and then four poetry essays : “this meadow of words” 2007, « fleeting moments » 2017, « A being without shadow » 2018, « reflexion of the verb » 2019. My poetry work has been published and translated in nine languages. 1995, I was awarded a journalism prize by « Giornalistà estera » at the Milan Press Club. In october 2019, I received a silver medal at the international literature forum (LIFFT) in Baku (Azerbaijan). Finally, I was awarded in January 2018 a price at the International Poetry contest in Paris under patronage of the European Academy sciences arts letters.

OCA: What does poetry mean to you?
HL: When I started writing poetry. My ignorance was high . Ignorance of who I was. Ignorance of the realities of life. Ignorance of what I was going to ask from life… over the years and after many travels and questionings . It appeared to me that I wrote to pull myself out of the confusion, to free myself from certain hindrances, trying to be myself. So, without knowing it, I was getting myself in a long and disturbing adventure of self acknowledgement. I was convinced that poetry is the substance that generates in myself this peacefulness that feeds my dreams. Artistic creativity contributes enormously to my self development but mostly to hope to reach this harmony between my body and mind. Poetry must provoke a kind of escape and dreams. Poems of poetics when they mention the lost civilisations, the unknown worlds, creates this kind of escape outside of reality. The magic of poetry comes from the dialogue between the poet and the pain. Poetry has other functions; it stimulates reflexions of great seriousness, it can also generate awareness, to give notice to tragic human existence. It leads man towards the truth which lights their way by affirming their faith in humanity and their optimistic confidence in the future of man.

OCA: What role should culture have?
HL: I would answer your question with a quote « culture allows a man or a woman to rise above himself or herself. Culture is an aspiration to freedom ». Culture is an open window to the wild world and to be curious. It opens someone’s mind to the new universe either technical, artistic, scientific or historical. The diversity of languages in the world is a great richness. Sharing culture is an extraordinary impulse to break imaginary walls, borders and ideologies of exclusion. Knowledge is the only barrier to obscurity and racism. A woman or a man without culture is a tree without fruits.

OCA: What is “Eurasianism” for you?
HL: Eurasianism is a space where exchange and above all a place of emancipation between different cultures. Culture in its all forms is a vision of a world without borders which reminds us that we belong to the human genre.

OCA: Who are your favorite artists?
HL: I read to surpass myself, to rise up and mostly to love. I discovered these sensations in many writers such as Nicolas Gogol. I was fortunate enough to visit his museum in Poltava (Ukraine), the French writer Margue Marguerite Duras, Ernest Hemingway and Samuel Beckett. I had opportunity to meet also Marsel Salimov a member of Eurasian guild and russian poet Konstantin Kedrov the great specialist of the russian poet Alexandre Pouchkine at the fourth LiFFt Eurasian Literary Festival in Baku (Azerbaijan).

OCA: Have you taken part in the events of the Eurasian Creative Guild (London)?
HL: I took part in the 4th LiFFt Eurasian Literary Festival which was held in Baku from September 30th to October 3rd 2019. I am hoping to be part of 4th Eurasian culture week from October 6th to October 16th 2020 in London and in the 9th literary festival and book forum of November 2020.

OCA: What does the Eurasian Creative Guild mean to you, and how did it affect your creativity / activity?
HL: It is the venue of artistic and literary creation with the writers, poets and artists. It is a showcase for the works of all these artists. The most important thing is to discover the artistic creations of the anglosaxon world. As matter of fact I took part in the « Friends Voices’’ Poetry Almanah » with two poems which were published in English and Russian. I am convinced that the Eurasian Creative Guild can convey these intrinsic values and to be a bridge between two continents.

OCA: Do you have any personal projects that you would like to talk about?
HL: I have already several projects underway this year, a collection of poems « the odyssey of the imaginary ‘’ which will come out in September 2020, this collection will be published in France with calligraphic illustrations in latin. I have an audio CD of 22 poems bound to come out at the end of the year. The copyright will be donated to an association that helps children in Africa. ‘I am’ a mediteranean poet anthology which will be published by Harmattan Edition in 2021.

OCA: What projects have you participated in and in which do you plan to participate?
HL: I participated in several international festivals of poetry and literature in Roumania, Ukraine, Azerbaijan, Morocco, Italy, Mexico and France. I will be present from August 29th to September 5th 2020 at the international poetry festival of Medellin (Colombia). I would certainly be pleased to take part next year at « Open Eurasian Literature Festival ‘’ organized by the Eurasian Creative Guild and hopefully my first novel will be published next year.

OCA: What would you wish the members of the Guild, just starting their career?
HL: This Guild is a big place where people of different artistic, literary synergies meet. It is an international association which promotes values on which it was funded. A great job had been done by the organizers and I think particularly of my friend Marat Akhmedzhanov, who devoted himself to giving birth to many literary forums and artistic events organised every year.

OCA PEOPLE: GARETH STAMP

Gareth is originally from the UK, with Welsh routes and heritage. He originally trained as a designer and then, over thirty years ago, he found his passion for education, both teaching shared ideas and learning new things every day.

He worked in Kazakhstan for nearly nine years in a wide variety of educational settings; from new government initiatives, universities and international schools through to volunteering with young people and adults in the regions and in neighbouring Kyrgyzstan. In 2018 he was awarded a gold medal for his contribution to Design Education in Kazakhstan.

He is a well-respected photographer and writer, documenting his travels and encounters He regularly exhibits his art work, contributes articles to journals and online publications and has recently been able to focus on writing and illustrating children’s books – the first of which will be published in the Summer of 2020.

Following his heart means that he is shortly heading back to the region and new adventures in Uzbekistan, where he is looking forward to meeting new people and hopes to continue to develop and share his experiences.

OCA: Tell us about yourself and your activity / work?
GS: When you are asked to tell people about yourself and what you do it should be easy to answer but as I get older, I find my life has so many facets that there is no simple answer. Technically I am a teacher, which I have been doing all over the world for over thirty years. Initially I trained as a designer – solving problems and developing creative solutions. I suppose that is what I do in my teaching too, only I get to do it with open minded and ingenious young people. I am also a writer, artist and entrepreneur, encouraging other people to develop their own work and ideas. The confidence to do these things only really came about after moving to Central Asia. I felt I could really make a difference and the people’s enthusiasm and positivity was infectious and really got under my skin. I was able to set up my own company and move away from a traditional 9 to 5 existence. With the support of amazing colleagues, I was able to undertake projects training teachers, developing older students, even some acting and voice over work and supporting traditional artists in expanding their work. For the past two years I carried out similar work (on a smaller scale) in India and I am sure that where ever I go, I will focus on helping others. I have grand plans for the future so watch this space!

OCA:What is “Eurasianism” for you?
GS: I have always considered myself as European, but it was only when I moved to Kazakhstan nearly ten years ago that I realised how insular even that label was. Central Asia is an amazing place with stunning landscapes, untapped culture and history and the warmest people. I also found the amazing connections that exist linking east and west. Whether it is the history of nomadic tribes, the artistic culture or agriculture there is so much to link us. Central Asia is almost the common glue that holds it together. I am ashamed to say how little I knew about the region but the more I learnt the more I realised the commonality and the opportunities there are culturally.

OCA: What are your favourite artists?
GS: Art has always been in my blood, I remember winning a drawing competition when I was about five years old and my work being put on the wall at school – its lovely being praised for something I enjoy doing. Through my formal training I studied Art History and visited some of the great museums, but it was coming across artists unexpectedly that have made their biggest mark on me. An exhibition of Japanese Art in London in the 1980s introduced me to print makers, an exhibition of Hundertwasser’s work, Picasso’s paintings done as a child, Raoul Dufy’s amazing theatre work all have their influence, but it is often the little-known book illustrators who have had the most influence. Everyday pictures held in your hand rather than on a gallery wall, the graphic novel or even the familiar ladybird book and also the film poster or vinyl LP cover, these have been the real inspiration to me. I am now able to bring together experiences and techniques in a much more confident and complete manner – it’s only taken me fifty years!

OCA:Have you taken part in the events of the Eurasian Creative Guild (London)?
GS: I always seem to be working or travelling when the London events are on – It is a poor excuse as I follow the extensive calendar of events that ECG deliver and this year I intend to be at a number of the events – I am particularly looking forward to the Literary Festival and the Film festival. That is a promise!

OCA:What does the Eurasian Creative Guild mean to you, and how did it affect your creativity / activity?
GS: The Eurasian Creative Guild has been a great support and encouragement to me in my work. It has also been a great way to meet authors and other creative people in the Central Asian region. In Kazakhstan we regularly held meetings to discuss the work of the group and to share the work of individuals. It also gave me an excuse to read new works when I was asked to proof read translations or to review works. The insight this has given me into the publishing word has spurred me on to analyse my ideas and complete my own works. Getting the novel out of one’s head is the hardest thing but meeting other ECG members has been a real catalyst for me.

OCA:Do you have any personal project that you would like to talk about?
GS: As an artist I have always been fascinated by the link between the visual work and the story that the artist is trying to tell. As I have already mentioned I love the book illustrators bringing works to life and so I decided to produce a number of illustrated children’s books – these are recent, and I have had to put my short stories and the novel on the back burner for the time being. They are all based around the relationship between nature and man and the relationships between different animals. They have been produced during my time in India and have a more ‘tropical’ feel but I hope to continue the series when I move back to Central Asia later in the year. The first one will be published this summer and is about the relationship between an Egret and a Cow! Although I am a teacher, I had to test the books out on a new younger audience, including my nephew in the UK, and I had to rethink what I wanted to get across in the illustrations without destroying the readers own imagination.

OCA:What projects have you participated in and in which do you plan to participate?
GS: Over the coming twelve months I plan to set up an arts centre and gallery where students can come and learn new techniques and display their work. I am also determined to reinstate a number of exhibitions of my own that were cancelled due to the global situation. These include a series of portraits of everyday people I have met in my travels – each has a story to go with it and I am using a number of traditional techniques in a modern way. I also hope to continue writing, there are a number of other children’s books in the pipe line and the ‘novel’ is itching to be released from my mind too!

OCA:What would you wish the members of the Guild, just starting their career?
GS: We are entering a very different world, where I hope that the value of creativity and particularly writing will be seen as more important. The last few months have made people revisit their old record collections, view art in virtual galleries and share their favourite classic books. These people are now looking for their new classic book – an inspiration or a gripping tale that they can share in the future. Now is the perfect time to get your story into print, your film script polished or your art exhibition ready . I know how hard it is to take that leap of faith but with the help and support of the Guild you will find it is not as scary as you think. We are all rethinking our lives and if now is not the time when is?

OCA PEOPLE: ELVIRA SVETLOVA

Elvira Svetlova was born in Russia. She graduated from Pedagogical University. After moving to Almaty, Elvira’s articles were published in many media sources. She also wrote several books. She received the title of Doctor of Creative Sciences and Teachings of the Moscow Academy of Sciences.

OCA: Tell us about yourself and your creative activity/work
ES: I was born in Urals in 1947, my parents lived nearby in the village of Serebryanka, which is located on a river with the same name and flows into the Chusovaya River. After the war, my parents got married and moved to Yekaterinburg. I graduated from school, then a pedagogical institute, specializing in Russian language and literature. I married Alexander and it’s been more than 40 years since we all moved to Almaty. We were working, raising two children. It seems like a usual biography that doesn’t have anything special. But then something happened that changed my life with Alexander dramatically.

Before Perestroika, I worked in the district executive committee and was the Chairman of the Book Lovers Society. This gave me the opportunity to communicate with many interesting people and present their books, organizing creative meetings. Thus, I met Sergey Dudin, who expanded my knowledge about human beings by talking about the energy of humains. I began to develop myself in this direction.

ECG: Do you have any personal project that you would like to talk about?
ES: I began to receive interesting information from the Master and started to share it with people. In Soviet times, no one even heard about the knowledge that Master had given me.

Hundreds of people came to my lectures on human energy. I gave them practical knowledge on how to clean biofield and mind. How to fill yourself with energy from Space by your thoughts. It was very relevant and at the same time unexpected for many people. Besides we made “spiritual missions”: to Asia, Europe, Africa, America, with a specific goal – to see and show people the world is not accessible to everyone. And I shared this knowledge that we brought from our travels in my lectures. During our creative business trips, we visited India, Temples and sacred river Ganges, we walked along the path of Nikolai Konstantinovich and Elena Ivanovna Roerich. I was lucky to get an invitation and meet with Devika Rani, the last representative of their great family. All trips reports are reflected in our books. “What the Mahatmas say”

On November 1, 2008, my husband Alexander passed away. Over the past years he powerfully supported me, he was everywhere with me, our bond grew tremendously that after his death it seemed to me that I would die soon too. I was so sure about this that I even gave our supplies of cereals, vegetables, noodles, and canned food to a large family, which Sasha always helped. Slowly, with the help of my children, I came to my senses. Then Sasha “ordered” me to put myself together and go to work.

I was able to conduct charity lectures again, practical exercises on energy and individual meetings. Which I have done and still do.

But our conversations with Sasha continued and led me to write the book “Life Opened by Death”. This book is, of course, about life in Paradise and much more.
This book is about life on Earth and its significance for the Paradise worlds. This is the first book on the planet that carries such frank knowledge about those worlds in which we will all be, but do not know anything about them.

Today there is also a second book on this subject. It’s called simply “Life in Paradise”, it has many adventures and travels throughout the Universe, which Alexander and his team do in Those Worlds. Currently I am writing the third.

Time dictates its conditions and now I hold webinars for which like-minded people from around the world gather together. They are called “Keys of Happiness.” We try to regain our health by working with the energy of the Earth that the Masters gave us.

As Sasha predicted, a man appeared in my life. Like-minded person. Together with Victor, we wrote a script for Sasha’s book. And now the most important life project for us is to make a film on it, beautiful, optimistic and wise. As with Sasha, Victor and I travel to different countries, we relax and at the same time carry out the instructions of the Masters. There are moments that cannot be realized without human participation.

ECG: What does the Eurasian Creative Guild mean to you, and how has it influenced your creativity?
ES: I’m very glad that I found out about the Eurasian Creative Guild. For me it’s just a gift of fate. Having been to Guild events, I saw many individual personalities who are interesting to communicate with. I believe that the young members of the Guild are very lucky, because they receive support and attention from experienced leaders. I would like to thank Marat Akhmedzhanov and Saniya Seyilkhanova. It remains only to create and grow further.

ECG: What projects have you participated in and in which do you plan to participate?

ES: I’m preparing to publish a new book “Life Opened by Death” in the ECG Book Series. I would like to take part in all festivals and contests that the Guild conducts, especially in the ECG Film Festival.

OCA PEOPLE: ELENA KORNEEVA

Elena graduated from Ryazan State Pedagogical University, Faculty of Natural Sciences and Geography. Elena took part in research expeditions, scientific conferences, won several competitions of poetry and scientific works. She is a laureate of international and all-Russian music competitions of songs for children and teenagers. Her poetry is multifaceted, extending to recitations to music, the composition of lyrics, thematic concerts, and participation in international festivals, forums, and book fairs

OCA: Tell us about your work/ creative work.
EK: I have been the head of the Centre for Creative Development and Human Psycho-physiological Correction in Russia for ten years. My work is not just a job; it is a continuous and exciting creative process. Throughout my 17 years as a practicing psychophysiologist, I have taken a poetic view of the world.
Much to my surprise, my first poem, written as a schoolgirl, won recognition at the regional contest ‘Ecoskaz’ and since then, poetry and I have been inseparable. Forays into other literary genres resulted in the publication of two books of modern prose written in the form of a psychophysiologist’s diary. As a teacher, I work with adults but as a writer, I also cater for young readers who are far more demanding!

Two years ago, I initiated ‘Mastering the Word’; a contest for young Russian poets accompanied by a publication of winning entries, which offers participants an opportunity to communicate their ideas within a poetic sphere and find their readers. I believe that festivals are an essential platform on which writers from different countries can share their work and as a consequence, initiate new collaborations to enrich our creativity.

I collaborate with artists, folk and pop singers, bands and dance groups, and by working with the Ryazan Folk Dance Ensemble ‘Lel’, created a poetry and dance show. My songs have won prizes at various contests and forums and performed by children’s bands and cultural luminaries. I do my best to preserve classical forms of poetry whilst adding a modern outlook through the application of computer technologies.

OCA: What are your favorite artists?
EK: There are many prominent authors in the world of modern poetry with whom I am united by friendship and their creative support of me, but I would like to mention in particular, Natalia Ivanovna Harlampyeva, Elena Vasilyevna Sleptsova, Alexander Nawrotsky, Igor Pototsky, Tatyana Zhitkova, Karina Rashitovna Sarsenova, Kakhaber Onashvily, Alexander Ivanovich Timokhin. More than cultural figures and poets, I count them all as my close friends and mentors.

OCA: What is ‘Eurasianess’ for you?
EK: Friendship also played a part in my joining the Eurasian Creative Guild since it was through my friend Marat Akhmedzhanov, that I entered this diverse community of creative people. The Guild provides me with a much-needed opportunity to communicate with both creative people and scientists. I am inspired by the Guild’s ingenious approaches to contemporary issues affecting the creative sphere and equally, by its ongoing programme of up to date projects, discussions, festivals and contests.

OCA: Have you participated in The Eurasian Creative Guild (London) events?
EK: The first event in which I participated was the Open Eurasia competition in 2017, from which I emerged a prizewinner. I then attended the Eurasian Creative Forum II which focused on the theme: ‘Modern Eurasia: Synthesis of Science and Art’, and was announced a golden laureate of the Eurasian International Prize for a significant contribution to the preservation and development of sciences and arts of modern Eurasia.

OCA: What does The Eurasian Creative Guild mean to you, how has it told on your work/ creative work?
EK: Quality is of great importance in any sphere, and participation in any international event or project, requires special attention, a high level of responsibility and self-possession. Being a member of The Eurasian Creative Guild contributes to my personal growth and development of professionalism in my creative work.

OCA: Do you have a personal project you would like to tell us about?
EK: I instigated, and have been managing the ongoing international project ‘In the Same Language’ for seven years. It currently represents renowned modern poets from countries throughout the world including Russia, Poland, Belarus, Ukraine, the UK, Italy, Bulgaria, Latvia, Lithuania and Kazakhstan. I am responsible for the compilation of the annual almanac. Free of charge to contributors, each edition has a different design and is dedicated to a specific topic. Entries submitted in the poets’ native languages are translated and published in Russian, thus promoting the Russian language and providing access by Russian readers to authentic modern poetry from overseas.

OCA: In which projects have you participated and in which are you planning to participate?
EK: As far as ECG is concerned, I have recently supported Timur Akhmedzhanov’s project involving the publication of ‘Elish and the Wicker Tale’, in addition to contributing to the poetry almanac ‘Friends Voices’.

OCA: What would you wish to the members of the Guild who have just started their creative career?
EK: I would like to wish anyone embarking on a creative career, a constant stream of self-improvement, confidence, honing of their craft, love for their art, creative inspiration, mutual support, and in these unstable times, good health and good luck.

OCA PEOPLE: ELENA BOSLER-GUSEVA

Elena is a founder and director of a ‘Premium Group’ company in Kyrgyzstan, a member of the Eurasian Creative Guild, a recent chairman of the Expert Council in the category of “Translation”. Hobbies: literature (writing articles, children’s stories, poems, dubbing texts), foreign languages (individual teaching, drawing up progressive training programs, consulting), painting, travel.

OCA: Please tell us about yourself and your creative work.
EBG: Over the past 18 years I got to work in many organisations. My career started in the international French organization ACTED which I joined as an intern during my second year of university studies. And this was the place where I acquired my first experience and practical skills while studying at the Faculty of translation. This was a very busy period of my life. I traveled a lot and participated in joint projects with SDC, OBSE, UNDP, UNICEF, Red Cross, Red Crescent and so forth. In 2005, I received a diploma with honours and two days later went to Jalal-Abad (in the south of Kyrgyzstan), where I found out what it was like to work with refugees (from Uzbekistan). And it wasn’t a movie! The mission was accomplished, and I came back to Bishkek. After I got married and gave birth to my son, I completed a mini-version of MBA course and started working at the University of Central Asia. This was the next stage of my professional development: from a director assistant in the School of Professional and Continuing Education to a publication specialist.

For this relatively short period of time I was working with artisans in various projects, was an OXUS accountant in Bishkek, a French, English and Russian teacher for foreigners, was editing tutorials for the Youth Development Institute under the GIZ project, was creating work programs, guides and tests for various educational projects, was the director of “Alliance Française” in Bishkek, was editing the materials of the Walker story project, correcting publications in the “Neformat” photo school, working closely with the Polish magazine “Polonus” in Kyrgyzstan, and correcting it for the 50th anniversary of the founding of the first Catholic parish in Kyrgyzstan “Memoirs of the Prelate Mikhail Koehler” (the first rector of the Roman Catholic community in Bishkek), translated from German language.

OCA: Do you have any particular personal project that you want to tell us about?
EBG: Currently I have my own company. Together with my husband, we develop touristic destinations by offering exclusive tours to Central Asia, and trade with a number of international companies. As tea lovers, I actively develop this market. Tea in an integral part of the cultures and people’s lives in our region. Within the “Ethno tea” project we work with the best tea producers around the world and in particular, import tea from highland plantations of Rwanda.

My long-term love for the French language and France resulted in a cooperation with one of the world’s manufacturers of a natural French soap. Two times a year I personally take part in fairs where I really enjoy wrapping gifts and seeing happy customers.

I still keep working on charity projects. I guess, my first experience makes itself felt. I’ve been thinking about creating a ‘Children village’ which will include a kindergarten and a school. This is going to be a massive project.
OCA: What does “Eurasianism” mean to you?
EBG: For me it’s a “planet” of unique people.

OCA: Have you participated in any of the Eurasian Creative Guild (London) events? Which projects have you already joined and which projects do you plan to join?
EBG: In 2008, I met Anastasiya Li and Marat Akhmejanov for the first time and wrote my first article on a koumiss for Discovery Central Asia. Then, I wrote a lot of other different articles for DCA, “Horizons”, travel guides. There were also different interesting projects in the Eurasian Creative Guild and the first Literature Festival in Bishkek. And this is where I acquired editing skills, enhanced my translation skills and got the experience of socialising with creative people, which was quite useful for my translation and editorial skills workshop for interns at the Guild in Bishkek. I’ve been an active member of the Guild since it’s foundation till today.

One of the most important joint projects for me was Megan Verner’s book “This depends on me: 7 ways to make your life better”. Apart from translating the book of this ambitious girl, I also learnt to see life differently.

In 2018 I wrote a short story called “An unusual message from the peaks of the Tien Shan” for the literary collection “Thread 2”. This story is about 2 leopard cub brothers who addressed their message to people living in cities. I was inspired by one of my students – Suraya who at that time worked on a project about protection of leopards in Kyrgyzstan. And the mom of those two little leopard cubs – Heroine – a female leopard, who really lives in Tien-Shan mountains. Why a ‘Heroine’? Because she brought two lovely cubs in an already big leopard family. This year I plan to continue writing this story.

OCA: What does Eurasian Creative Guild mean to you and how did it influence your creative work?
EBG: It’s like a big family for me. We all are so different (translators, proofreaders, writers, artists, musicians, directors, artists …), but this is what makes it special. We all, the members of the Guild, are like glasses in a kaleidoscope, creating a single and unique image that changes every time but never ceases to amaze and delight us with its versatility. We often complement each other. Some write, others edit and translate, another group composes music, others play it on stage, and others embed all these into canvas for centuries.

OCA: What would you wish for those members of the Guild who just have just started their creative journey?
EBG: It’s never too late to become the one you want to be. Every person is unique in his or her own way. And everyone can find their own favourite activity. Don’t bury your talents but develop them. Some people consider art as a hobby. But I don’t really agree with that. If you take it seriously, you can transform your favourite activity into your lifetime work which will bring benefits to other people and society in general and will become a good source of revenue. Don’t neglect the opportunities!

OCA PEOPLE: MICHAEL DANIEL SAGATIS

Michael Daniel is a British independent researcher, composer and filmmaker with Baltic & Slavic roots. He created an intergenerational memory project “Józefa’s Letters” that’s been widely exhibited throughout the Eurasian space. In 2019, he made and co-scored the documentary short film “Józefa’s Letters” which has received 9 official film festival selections. Visit: https://vimeo.com/michaelsagatis

OCA: Tell us about yourself and your activity / work
MDS: I am an independent researcher, filmmaker and composer born and raised in the UK with Slavic and Celtic roots. I have recently finished making a short documentary film about intergenerational memory, Józefa’s Letters, which has received 9 film festival selections including for best original score. As a communicator and presenter, I’ve travelled extensively to present a series of exhibitions and talks in museums and cultural centres in the Eurasian space.

OCA: What is “Eurasianism” for you?
MDS: I see ‘Eurasianism’ as describing the exciting formation of a modern identity based on the sharing of rich, historic cultures among diverse ethnicities. As the result of intense political change that’s barely one generation old, Eurasianism positively embraces the vibrant intensity of globalised possibility, whilst respectfully acknowledging the sensitive legacies of a turbulent past. As a burgeoning artistic movement, Eurasianism is creating a mosaic of intellectuals and artists that current generations can be inspired by to learn how the past, connected to the present, is shaping the future.

OCA: Who are your favorite artists?
MDS: I am fascinated by how the artist Erbol Meldibekov continuously finds inspired ways using mediums of sculpture, photography and mixed media to powerfully depict the dialogue between past and present through social and political realities. The pianist, Khatia Buniatishvili exemplifies the fusion that produces prodigious musical skill with an enthralling visual performance. When reading to relax, the writings of Khalil Gilbran remain a comforting source of profound wisdom and deep philosophy expressed through wonderful sketches of word imagery. As a self-taught musician, I learned from the Beatles, so I am a certified Beatlemaniac!

OCA: Have you taken part in the events of the Eurasian Creative Guild (London)?
MDS: During this period of quarantine due to the Covid-19 pandemic, I have enjoyed taking part in the Guilds online meetings where we have shared opinions and creative responses to topics from the life of Shakespeare to the inspiration of Nature. These events have displayed the spirit of the Guild to remain connected in these challenging times.

OCA: What does the Eurasian Creative Guild mean to you, and how did it affect your
Creativity / activity?
MDS: I joined the Guild to broaden my understanding of the Eurasian creative space by exploring opportunities that could contribute to existing creative projects and co-operate with new ones. As a dynamic multi-national forum, the ECG connects members from varied backgrounds who are positively motivated to participate in cultural exchange and the promotion of personal and professional development. Through the activities of the Guild, I have discovered inspiring projects, fascinating books and connected with people from around the Eurasian space.

OCA: Do you have any personal project that you would like to talk about?
MDS: Since 2017, I have travelled and lived in Eurasia, presenting a multimedia auto-ethnographic project, Józefa’s Letters, which has been widely reported by local and national press in Russia, Ukraine, Kazakhstan, Lithuania and Belarus.

I have now returned to the UK with impressions and experiences that underline the success resulting from the joint efforts of many countries who have helped recover the hitherto lost identity of an ancestor and allowed for the better understanding of the Eurasian and European history that connects the fates between generations of family members.

I’m currently preparing a pitch for the Baltic Sea Co-Financing forum of international documentary projects that will powerfully tell the full story as a feature documentary. I’m also writing a transformational non-fiction title where historical narratives are introduced by a series of real and related characters, who each have a striking story that connects how the creation of ancestral trauma, its echo and subsequent healing, is accomplished by descendants determined to understand the events that have shaped and defined their family history.

OCA: What projects have you participated in and in which do you plan to participate?
MDS: Last year I was honoured to be part of a delegation from the Moscow School of Civic Education that attended the ‘Sapere Aude’ forum on Freedom of Speech, Media and Society held at Oxford University. As part of the celebrations marking 150-years since the founding of the city of Aktobe, I participated in the TEDx Aktobe event alongside inspirational local Kazakh artists, personalities and entrepreneurs. In October, I was invited to present my research and collection of historical artefacts at a conference held at Nazarbayev University, Nur-Sultan City. In March this year, I was invited to Minsk to attend the premiere of my film following its selection at the Minsk ‘Unfiltered’ Film Festival.

I have proudly supported the Guild’s crowd-funded project to change the established human worldview of Autism by creating a graphic novel based on the children’s book, Elish and the Wicker Tales by Kamran Slayer. I wish this important project every success!

I am currently submitting a film to the Guild’s Eurasian Film Festival and I have also entered the Top 25 Eurasian Artworks 2020 photography competition.

OCA: What would you wish the members of the Guild, just starting their career?
MDS: Read, research and reach out to those who have expertise you can learn from and experience that may also be able to help your projects develop. Travel as much as possible to let real experiences colour your impressions, challenge your assumptions and inspire your imagination!

OCA PEOPLE: MARGARITA MIKHAILOVA

Born in Russia, Margarita began her studies as a pianist and choral conductor in St Petersburg Academy of Art. Since 2002 she has worked in Norway and gradually extended her repertoire from classical and romantic composers to contemporary music. After completing her Master Degree in Choral Conducting at the Norwegian Academy of Music Margarita worked with leading Norwegian vocal ensembles, such as : Norwegian Soloist Choir and Kristiansand Vocal Ensemble. She achieved critical acclaim performing Russian Orthodox Church music and modern Scandinavian repertoire.

In June 2017 she graduated from the Royal Birmingham Conservatoire — MMus, Orchestral Conducting. Margarita is currently working as a Visiting Tutor at the Conservatoire and as a freelance conductor.
During her studies in the UK she worked with various professional orchestras, such as The London Mozart Players, Philhamonisches Kammerorchester Berlin, Danub Orchestra(Budapest, Hungary), Amber Sound Symphony Orchestra( Liepaja, Latvia), Estonian National Youth Orchestra (Tallinn, Estonia), St Petersburg Chamber Philharmonic and the BBC Concert Orchestra.

Margarita has conducted a few contemporary music premieres both in Norway and the UK.

OCA: Tell us about yourself and your activity / work
MM: I was born and grew up in the northern part of Russia – often called the Russian North. For almost all of my life since the start of the millennium I have spent abroad – both in Norway and the UK.

I always found the fact that the place where you’re born influences the person you become a very fascinating one.

Seeing various cultures around the world, learning three new languages and becoming quite a multicultural person, I always save the warmest place in my heart for my hometown of Arkhangelsk. With its famous wooden architecture, bone and wood carving traditions, the long, cold and dark winter nights and the cordial hospitality of Pomor people.

OCA: Do you have any personal projects that you would like to talk about?
MM: Paradoxically, music was not my biggest passion when I was a kid. Just like the millions of other girls at the time, I dreamed about becoming a dancer. Anyhow, I chose ‘conducting’ for my main studies when I was 15 and I have never regretted it.

Conducting took me on an endless journey of an unbelievably wide range of music. I often get questions on whether I compose my own music. Strangely enough, I have never found this exciting. It is much more interesting for me to get into other composer’s musical ideas, to understand the message of their music, to use my fantasy and imagination to become “the composer’s advocate”. Furthermore, I love to inspire and motivate my musicians. A conductor is certainly a visual kind leader. Great conductors are those who share their leading glory with the musicians, those who trust them and immediately invite them to take the limelight. Without the orchestra, the conductor is nothing.

OCA: What is “Eurasianism” for you?
MM: I would like to leave out the geopolitical definition of “Eurasianism”. Everyone knows that Eurasianism as an ideological and philosophical movement originally developed in 1920th. I think many of us read something from Nikolay Trybetzkoy, Georgii Florovsky or Nikolay Berdyaev who were first key leaders of Eurasianism. At least I did.

My personal interest in Eurasia lies firstly in a cultural aspect. I perceive Eurasian as a cradleland for many civilizations. A place where our ethnic routes first met a thousand years ago. Nowadays many of us feel a strong requirement to develop and use multicultural links and integration as a global goal, but not as a political tool. Different cultural and religious heritages have always been a part of my native interest. To meet new people, exchange and support one another’s innovative ideas – what can be better for an artist than that: whether you are a writer, poet, musician, painter, architect or a filmmaker. Together our creative vision for the future is stronger and more fruitful.

OCA: Who are your favorite artists?
MM: This question always makes me feel embarrassed. The reason is that I have never favoured any particular art figure of any time. Even those who I admire greatly. I want to stay culturally open minded and make new “art discoveries” during my life.

OCA: Have you taken part in the events of the Eurasian Creative Guild (London)?
MM: I am looking forward to organising the first symphony orchestra performance under the Eurasian Cultural Week in London in October 2019. In March I came with the idea to the president of the Guild and I really hope we will be able to realise it.

Such performance involves lots of preparation which is happening at the moment. I decided to call the concert, “New Eurasian Wave” as my idea is to reveal and present music of composers who are connected to the Eurasian region. Composers from Armenia, Kuwait and Kazakhstan are already on the list of the concert program.

This initiative gave me a brilliant opportunity to present a new young orchestra in London working under the organisation ‘Harmony: Action through the Art’. I believe that together we will create a memorable event for the guests of Eurasian Cultural Week, composers and musicians – as well as everyone else involved. Furthermore, we aim to improve the first concert to a permanent concert program for the future events of ECG.

OCA: What would you wish the members of the Guild, just starting their career?
MM: Find your individual voice and stay in harmony with yourself.

OCA PEOPLE: GULNARA KAPANOVA

Gulnara is a stage movement researcher, professional ballerina – leading soloist of the Kazakhstan Opera House, master of arts (choreography), certified specialist in functional anatomy. Author of documentaries about classical ballet, founder of the “Gift” award for graduates of the Almaty Choreographic School named after Seleznev. Author of a number of scientific articles from the book “Modern Competencies of a Ballet Dancer”.

OCA: Tell us about yourself and your activity / work
GK: Up until recently, I was a leading solo ballet dancer at the State Opera House and now teach at the choreographic school and train dancers at the Academy of Arts. My professional life in the theatre and as a teacher coupled with personal experience, led to a desire to write a book on the mastery of ballet. Being on stage and working behind the scenes gave me a unique opportunity to capture in photographs and video, a professional ballet environment, and as commented by my journalist husband, produce an independent creative genre. Love for ballet is the basis of my creative life. And of course, the “Giving” award, which I have been presenting for ten years, to the most gifted graduates in our school, has a very special place in my heart. In my view, any means of increasing self-esteem and self-confidence is as valuable as any material support.

OCA: What is “Eurasianism” for you?
GK: For me, ‘Eurasianism’ is not only a geopolitical, but also a philosophical issue and from my perspective as someone associated with choreography, offers a sense of belonging to two great civilizations: settled and nomadic, western and eastern … It is something that finds expression across the board; from material things to appearance and mentality, and of course, dance. The intersections, collisions of these powerful cultural streams help us to rise upwards and by looking at the world beyond, identify commonalities whilst emphasizing something special in oneself and others. In a truly choreographic art, there are no countries and continents, nationalities and languages, where people understand each other without the use of words.

OCA: What are your favourite artists?
GK: Everyone has their guiding stars. For me, these are Olzhas Suleimenov with his famous aphorism “to elevate the steppe without lowering the mountains”, and Chingiz Aitmatov with his extremely “naked” prose. I so greatly admire the magical realism of Gabriel Garcia Marquez’s ‘One Hundred Years of Solitude’. I consider Sylvia Guillem the greatest ballerina of our time for her astonishing ability to demonstrate the true spirit of dance, and cite my mentor Lyudmila Rudakova, as a role model of how to teach and communicate with students.

OCA: Have you taken part in the events of the Eurasian Creative Guild (London)?
GK: I participate in events organised by the Eurasian Creative Guild (London) whenever time allows. As one of the very few representatives of my profession, communicating with creative people is always an incentive for development and offers me an opportunity to expand my interests, knowledge and horizons. My husband and son are also members of the Guild, so together, we are a fully-fledged ‘Eurasian’ creative family!

OCA: What does the Eurasian Creative Guild mean to you, and how did it affect your
creativity / activity?
GK: As for me, the Eurasian Creative Guild, is primarily a means through which I can develop and expose my work on a completely new and different level. It enabled me to first publish my book as part of the Guild’s ‘academic’ series and then present it in London and Cambridge; something I never imagined would happen! It is just one example of how the organisation can offer creative people, especially those living so far away in Eurasia, the chance to realise their dreams. In ballet and opera, the audience expresses their appreciation of performers’ skills and dedication with exclamations of “bravo!” and following suit and with sincere thanks, I say: “Bravo, Eurasian Creative Guild!”

OCA: Do you have any personal project that you would like to talk about?
GK: My projects are related to choreography. Together with my husband and like-minded people, I have been nurturing the idea of creating an international choreographic portal: ‘Ballet Eurasia’. It is an ambitious project for which we have been collecting material for several years. I also have many plans related to photography and video projects that reveal the identity of the dancers in unexpected ways, and am considering the creation of special ballet gymnastics and distance- learning in a number of disciplines. I shall continue writing articles and books which I would love to translate into English and this year, with the help of the Guild, hope to publish the English translation of my book “Professional Competence of a Ballet Dancer”. In addition, I would love to participate in the festival of documentaries and photo exhibitions as part of the annual meetings of the Eurasian Creative Guild.

OCA: What would you advise the members of the Guild, who’re just starting their career?
GK: The Eurasian Creative Guild is a magical place where ABILITIES CONNECT WITH OPPORTUNITIES!

I would therefore advise creative newcomers not to spend their time in vain and instead, follow the road paved by Marat Akhmetzhanov – a great enthusiast and tireless traveller This path will lead to new horizons and help you find yourself. Just like the Ballet, the Guild can provide you with a magnificent stage on an international level, and what you show on it depends on you! Don’t miss your chance!

OCA PEOPLE: NURYM TAIBEK

Nurym is a mathematician, business manager, ideologue of general prosperity (through natural market / ‘Islamic’ economic system), scholar of philosophy of religion, theologian, author of scientific works, articles in the press and interviews with major media, blogger, translator.

He is an author of dozens of scientific publications on philosophy of religion, appeared in the media dozens of times (TV, press, radio, including BBC). Expert in simultaneous and written translation, incl. for Baker & McKenzie, Editor-in-Chief WSJ Canada, USAID, etc. He also has a journalist experience with: MTA Intl, CaspioNet, BBC Radio Kazakh Service (1997), translations from Businessweek.

OCA: Tell us about yourself and your activity / work?
NT: My main activities are spiritual ministry and spiritual enlightenment. I propagate something people have forgotten and are moving away from and suffering as a result. Today, one has little time to adapt to one difficulty, when another one befalls one. The peoples of the world are tired of the compounding problems, but they cannot (or are unwilling to) understand that every problem is solved when one starts with oneself, i.e. starts to thank the Creator for the life given, the way He expects from us. Exactly this way and not otherwise.

OCA: What is “Eurasianism” for you?
NT: Eurasia is the territory where the greatest ever spiritual prosperity is to take place – the 1000-year spiritual and, as its result, worldly prosperity – after the current period of severe global upheavals, the culmination of which is expected in 2021-2022.

The golden era of mankind is predicted in the Bible, the Qur’an and the traditions. Mirza Ghulam Ahmad, the Messiah-Mahdi and the founder of 200 million-strong Ahmadiyya Muslim Community, predicted all this in detail, coming true with 100% accuracy.

Back in 1905 (when all this seemed unthinkable), he prophesied of the WWI and the sad end of tsarism.

He also predicted rise in natural disasters, epidemics and military conflicts (including 3 World Wars), as well as an upsurge in the number of victims from all of these. Most of the survivors would admit their guilt, repent, live righteously and prosper.

Jesus, Muhammad and all previous prophets (peace be upon them all) predicted about him in depth, up to his name (Ahmad, or Paracletes in the Greek Bible) and his birthplace (Kada in India, a shortened popular name of his native village of Qadian). He belonged to the expanded Mughal dynasty and became the crown of the religious efforts of this dynasty and the greatest saintly scholar of our time.

OCA: Who are your favorite artists?
NT: All the spiritual teachers of mankind. It is the books and traditions they brought that are the most living, life-giving and most interesting sources of knowledge and satisfaction of curiosity. They cover all possible areas of knowledge. In the documents they left, other people introduced interpolations that can be calculated and eliminated purely logically. Secular scientists have already accomplished this task by 90%, too.

OCA: Have you taken part in the events of the Eurasian Creative Guild (London)?
NT: Yes, since 2013: in all Book Forums, except for one; and in all events in London.

OCA: What does the Eurasian Creative Guild mean to you, and how did it affect your creativity?
NT: ECG is a wonderful platform, it is a model of the future Eurasia, where everyone is heard. It has helped me to realize my potential further.

OCA: Do you have any personal project that you would like to talk about?
NT: In 2018, I completed the Russian translation of the greatest contemporary treatise – “Revelation, Rationality, Knowledge and Truth” and presented it at the ECG Book Forum 2018.

OCA: What projects have you participated in and in which do you plan to participate?
NT: I participated in almost all Book Forums as well as in the Academic Series: my PhD monograph on topical issues of modern Islamic studies was published by Cambridge International Press in 2018. Its title is Love for All, Hatred for None – the Raison d’Être of Ahmadi Muslims. Also, I took part in the crowdfunding project Elish and the Wicker Tale. I plan to participate in other projects like Zoom meetings starting Autumn 2020.

OCA: What would you wish the members of the Guild, just starting their career?
NT: Go for it!

OCA PEOPLE: Emil Guzairov

Emil Guzairov was born in Russia. He’s engaged in graphics, painting, architecture, graphic design, and book engineering. He designs interiors and private houses. He also draws illustrations, designs and publishes in limited editions author’s books in the genre “Artist’s Book” and “Book Art”. He came up with unusual book designs and non-standard stylistic solutions. He writes stories, fairy tales and adventure stories. Written and directed by several animated films

OCA Magazine: Tell us about yourself and your creative activity/work

Emil Guzairov: My speciality is architecture, so I’m used to thinking in terms of shapes, spatial categories and storylines. Architectural design just like any artistic action implies a lot of creativity and desire to express an idea through a particular object. In this sense all forms of arts have common principles of the development of new ideas and similar methods designing creative objects.

EG:I have worked in different areas of arts. I moved from architectural design towards animation and for many years was filming auter animated movies at the “Kyrgyztelefilm” studio in Bishkek in the 90s. Animation like any film industry is a very fascinating activity, full of mysteries, insights and creative findings. Of course, it’s impossible to avoid long searches, mistakes and disappointments as in any other kind of work.

At the same time, I worked a lot in the sphere of painting and graphic design. I spent many years working with advertising and visual graphics in the television industry.

OCA : Do you have any personal project that you would like to talk about?

EG: We never know where our destiny will bring us – later on I worked as an art director in the publishing company in Moscow. I did graphic design, 3D graphics and book illustrations. Gradually, I became interested in the artistic side of a book. During the past 10 years I’ve been doing research in the sphere of artist books, copyright books, miniature publications and book engineering. I develop unusual book constructions such as rope up, folding out, microbook and I call it “book architecture” which is similar to architectural design.

Besides, I write adventure novels, stories and tales. Some of my works with my own drawings are available in limited edition, generally from 3 to 10 copies, and I try to create unique books with an auteur construction and unusual design. I don’t need a publisher or typography. I do all by myself: write, draw, print, cut and put together. I only need a reader and a viewer.

I paint and then write texts for my paintings, such as stories and tales. I called this method reverse illustration.

OCA :Who are your favorite artists?

EG: I get inspiration from Alexander Pushkin, Edgar Allan Poe, William Shakespeare, Agathon Bokeh and create books based on the works of classics. I’ve recently created a series of books – a collection of poems named “Prophet”. Actually, many Russian poets have compositions with the same name. We all know poems of Pushkin, Lermontov and Nekrasov with the same name. By my request, a talented contemporary British poet John Farndon made fantastic translations of several poems in English, and now I’m doing a series of books united with a common theme of “Prophet”.

OCA : What style do you paint in? What influenced your style?

EG:Frankly speaking, I don’t like everything that I do because sometimes I change a font, proportions, binding, size or design. This can be referred to as perfectionism, but I definitely know that each book as well as drawing or sculpture already in its inception has its unique scale, appearance and style.

OCA : Have you taken part in the events of the Eurasian Creative Guild (London)?

EG: We also know from the history of art how important are the patron, trustee, collector and connoisseur. There have always been philanthropists who supported artists in their difficult, delicate and emotional labour. And now I see the Eurasian Creative Guild which creates an environment for development, cooperation and inspiration.

For an artist in any sphere, whether he is an actor, poet, designer or musician, it is important for him to be heard, seen and understood. This is because an artist works for people by creating their own unique pieces of art. And I think that it is a very important task to help him to reach the audience and communicate his creative ideas.

I’m really happy about the variety of literary, art and film contests and events organised and held by the Guild. It is important for me to participate and to show my works, but I also want to see the works of other people. I want to meet like-minded people, but it is important not to ignore critique and to perceive it in a right way. This can be learnt through joint creativity, trips, discussions and equal participation in the art processes in different genres.

OCA : What is “Eurasianism” for you?

EG: Europe and Asia are a wonderful combination, a sea of opportunities and mountains of achievements. A friendship and respect between creative people holds a powerful potential of interpenetration. I think we should learn from each other, develop together so that we can skillfully avoid all the obstacles that threaten artists in today’s dynamic pace of life. I hope that the Eurasian Creative Guild and the creative approach of its managers will further develop interesting art projects that will support the world of art.

I think that we need to search for new, or maybe forgotten old forms of creative interaction. It is crucial that a Maecenas can find his own artist, and that a viewer can find his own exhibition or concert. We need auctions, crowdfunding platforms, online meetings and creative festivals.

OCA : What does the Eurasian Creative Guild mean to you, and how has it influenced your creativity?

EG: The kind help provided by the Eurasian Creative Guild was and still remarkable,I joined the Guild during the festival in Stockholm in 2017 and in Brussels in 2019. I can see how important these meetings among creative people and their cooperation are. Every nation has its own unique quality and texture manifestations in art. The intersection of cultures and ethnic groups leads to mutual enrichment and interesting cooperation.

OCA PEOPLE: STEPHEN M. BLAND

Stephen M. Bland is a freelance journalist, award-winning author, researcher and editor specialising in post-Soviet territories. His book on Central Asia was released in 2016, and he is currently putting the finishing touches to a book about the Caucasus. www.stephenmbland.com

OCA: Tell us about yourself and your work
SMB: My name is Stephen M. Bland; I’m a freelance journalist, author, researcher and editor specialising in Central Asia and the Caucasus. I first became interested in Central Asia when I visited the region on a whim in 2012. At the time, I was working on a novel based on the history of Laos, but within a few days of arriving in Kyrgyzstan, this project was shelved, and I fell in love with Central Asia. I spent the next three years travelling there as often as I could, the end result of which was my book, Does it Yurt? Travels in Central Asia or How I Came to Love the Stans, a mix of travel, history and reportage exploring the rich heritage, politic landscape and the stories of the people and places of these fascinating lands.

Writing about post-Soviet space, I found there was an appetite for articles on these countries which are often under-represented in the Western media. Back in 2012, Kyrgyzstan was the first former Soviet Republic I visited, now I’ve been to all of them multiple times, penning pieces ranging from history and travel to news stories and investigative reporting on environmental issues, oligarchs and financial crime. It became my niche. Now, in addition to writing about the region, I also research and edit reports on and books by authors from these countries, which can be rewarding in itself.

OCA: What is it that draws you to post-Soviet territories and what are you working on now?
SMB: I find the diversity, the pace of change and the way these nations are looking to forge their identities, which were submerged for so long, fascinating. Lingering spectres from Soviet times continue to clash against the pressures of modernity as each of these unique lands attempts to shape itself in the twenty-first century, often by delving into its past. As the actor Volodymyr Zelenskiy, who played the president in a Ukrainian TV comedy before becoming president of the country in a landslide victory despite having announced no policies said: ‘in post-Soviet countries… everything is possible.’

I’m currently working on a book about the Caucasus, which serves as a prime example. Since the collapse of the USSR, the three traumatised nations and three breakaway republics that make up Transcaucasia have seen three inter-regional wars, at least two – arguably more – dictators, two revolutions, two coup d’états and one civil war. Despite being a small region, the Caucasus are incredibly diverse, and from the culturally Persian desert towns of Southern Azerbaijan to the remote mountain communities of Georgia, local traditions and superstitions remain deeply ingrained. In Baku, for example, people still pray at a shrine dedicated to the purportedly supernatural Mir Mövsüm, a man more commonly known as the “Meat Lord” and said to have been born without bones. In Georgia, meanwhile, as the likely birthplace of wine and the nation with the largest diversity of wine in the world, the tradition of the tamada – the toastmaster at feasts – dates back to time immemorial.

Attitudes to the Soviet-era are also interesting. When officials attempted to remove a statue of “Uncle Joe” from outside the Stalin Museum in his hometown of Gori in 2010, they met with stiff resistance. So, besides its physical manifestations, in certain aspects the USSR continues to endure in hearts and minds.

OCA: What does the Eurasian Creative Guild mean to you?
SMB: At a time when many governments seem intent on exacerbating divisions, the ECG is important as a body bringing together people from across Europe and Asia. It is a space in which to share cultural heritage and expand our understanding. It also serves as a vehicle for making contacts with others working in a broad range of arts, and for that it should be applauded.

OCA PEOPLE: LAURENT MARGADANT

Laurent has been working in the banking industry. He worked in the accountancy of a private aviation company and I have worked for the TPG Transport Publics Genevois, a State Company for public transport in Geneva twenty years as Manager of the Trolleybus Operations. He has been passionate about Central Asia since 2007, with many trips and many friends in this region. This place has become a very important part of his life. Central Asia makes his heart beat faster and which gives sunshine to his life.

OCA: Tell us about yourself and your activity/work?
LM: I am a Swiss citizen and I’m in love with aviation, travel and people. After a short banking career, I joined the world of transport, first in aviation and for several years in the world of public transport. I am currently the head of the trolleybus department in Geneva. I build projects related to vehicle renewals and the creation of new lines. I am committed to modernizing this environmentally friendly mode of transportation. I like my activity that has a social role in society.
OCA: What is Eurasianism for you?
LM: It is the fact of creating a common dynamic inside this region of the world that is distinguished by a strong creativity, a high quality of work, and a history of legend. This can be applied in all areas of activities.

OCA: Who are your favourite artists?
LM: I’m a great fan of Uzbek pop music and clips, it is an original mix of modern music that refers to everyday Central Asia life, a unique style, like Lola Yuldasheva, Ziyoda or others nice voices.

OCA: Have you taken part in the events or the Eurasian Creative Guild (London) ?
LM: I participated in all meetings in Geneva with a lot of pleasure, I was able to exchange with other members on various topics, and we kept in touch.

OCA: What does the Eurasian Creative Guild mean to you, and how did it affect your creativity / activity?
LM: It is a pleasure to share my passion for this region with others and see that we all share the same goal, to enhance this beautiful region.

OCA: Do you have any personal projects that you would like to talk about?
LM: My dreams are to participate as a volunteer in a public transport development project in this region, improving performance by maintaining the human quality and tradition of hospitality. To share all my experience of my country with these regions, it’s a project full of colours and happiness. I’m open for an interesting company.

OCA: What projects have you participated in and in which do you plan to participate?
LM: I’m already full of emotion to have been able to participate in the launch of the book “Shahidka/Munabiya” written by Kazat Akmatov and wrote a little preface with my heart. I’m always ready to commit to anything that could enhance this region.

OCA: What would you wish to the members of the Guild, just starting?
LM: I hope to feel the same happiness of being together and sharing to share all the love we have for these regions.

OCA: How the passion for this region arrived?
LM: The chance of life and my passion for travel led me to discover Tashkent 15 years ago. I immediately felt energy and a sense of immediate well-being; I felt I had found my place. Then I travelled to Kazakhstan, Kyrgyzstan, where I met some great Peoples, who all became more than friends, they are all my second family.

OCA PEOPLE #36  WWW.OCAMAGAZINE.COM

From Disney to Almaty. Interview with Max Howard

Max Howard is a famous Disney producer, who has produced numerous bestsellers such as “Who
Framed Roger Rabbit”, “Saving Santa’, “The Little Mermaid”, “Aladdin”, “Beauty and the Beast”, and
“The Lion King”. He recently visited Kazakhstan for the “Almaty film festival” and gave a series of master classes. OCA therefore took the opportunity to speak to Max about his experience of work as a producer and his impressions of Kazakhstan.

OCA: Max, your master class at the “Almaty Film Festival” last summer was fantastic, it gave new
generations a lot of useful information about how to become a successful producer. What were your
impressions of Kazakhstan and the festival itself?
Max Howard: I really liked how enthusiastic people were at the master classes. I see many
opportunities for the development of animation in Kazakhstan and central Asia, since the state really
supports this structure. I see a lot of potential in Kazakhstan, especially the energy of Almaty and its
inhabitants. As a producer, I am interested in the local culture, I find it very original and interesting. I am hoping to find an interesting bright story for a film set in Kazakhstan that i can bring to the international entertainment market.
OCA: Do you still work for “Disney”?
MH: No, I’m working for myself now. In the animation industry there are a lot of new technologies.
These days everything depends on the talent of those who understand and engage in high technologies in the production of animation.
OCA: Last year a Kazakh film, “Tomiris”, about a famous Asian queen-conqueror, won many prizes and even was included into nominations for a “Golden Globe” movie award. The historical film, “Tomiris” is dedicated to the events of the sixth century B.C. and tells the life story of the great queen of the steppe – the legendary Tomiris. Did you watch that movie and what’s your opinion as a producer about it?
MH: I did not see the film unfortunately, I only know that Akan Satayev (the film director) made it. I
watched the trailer, though, and must admit that it intrigued me and I was really impressed. I believe
that Kazakh women are so interesting, this role of the female leader is very new and intriguing for the
world market in the film industry. Kazakh culture is fortunate to have such a colourful woman leader as Tomiris. I can see the character in many Kazakh women’s faces. The biggest mistake that I made was that i could only visit the festival for 3 days and this is my sadness.
OCA: We hear you may have co-operated with the legendary Steven Spielberg. What was that like?
MH: You know, Bugs Bunny and Mickey Mouse are issues of competition between the studios, it was a revolution because they combined animation and live actors for the first time. Steven is a great
professional, it was a pleasure to work with him.
OCA: What were your impressions of Almaty from your brief time at the festival?
MH: I very much liked the festival and the people of Kazakhstan. I’ve been to the big Almaty lake, and I was really impressed by it. Almaty is a big city, it’s a former capital of Kazakhstan full of nice hospitable people. I loved the people of Almaty actually. I did two workshops during the festival. There were many young professionals in the industry at the festival, and I was thrilled to see that they were full of enthusiasm.

OCA: In Kazakhstan there are great possibilities for new movies and a lot of governmental support,
which gives young generations a great opportunity to shoot exciting movies. Did you get any proposals for future cooperation with Kazakhstan?
MH: Yes, I was given a proposal to work here, I love the energy of Kazakhstani people, so definitely I will come back here next year. I’m eager to work with local co-members and co-productions here. Also
because of the beautiful mountains, Almaty is surrounded by the Zailiysky Alatau mountains, I have
figured out a potential new location for my future films.

WWW.OCAMAGAZINE.COM   SUMMER 2020 Interview by Julia Katsman

OCA PEOPLE: ELENA BEZRUKOVA

Business coach and owner of the “Elena Bezrukova Center” aimed at training and consulting,she is also practicing psychology. Her work experience over 26 years. More than 5000 specialists have been trained by her programm and now they successfully apply learned knowledge. Education: pedagogical, economic, psychological. Elena Bezrukova has Kazakh and international certificates for conducting training and consulting programs.

ECG: Tell us about yourself and your activity / work?
EB: My name is Bezrukova Elena Arkadevna,from Almaty (Kazakhstan). My main profession is as a business coach in the restaurant business, personnel management, personality development, I lead more than 50 copyright educational programs. I am a candidate of psychological sciences,I am exploring the possibilities of human self-realization. Grafelvist, writer, member ECG Advisory Board, Chairman of the Expert Council of Business Trainers. For 13 years of work in my training and consulting company, I wrote 30 teaching books, two of which are published in London. Creativity for me is a way to get energy, space of self-realization, source of inspiration, the ability to share with peopleone’s vision of life.

ECG: What is “Eurasianism” for you?
EB: Eurasianism is a territorial, mental, emotional community that seeks beyond state borders. Eurasianism is a phenomenon that develops people’s desire to a better community.

ECG: What are your favorite artists?
EB: These are my contemporaries, friends who, in addition to creative work, carry the idea unification through an open mind and heart.

Gulsifat Shahidi is a famous Eurasian writer. It is especially interesting to read Gulsifat works after communicating with this sunny, smiling woman. Gulsifat’s books give rise to interest and love for her homeland – Tajikistan, and here is an example of how creates a sense of community within Eurasianism.

Oksana Zhukova – creates trust in people of a difficult profession – journalists. Everything to what Oksana touches, begins to show its beauty and attractiveness, lightness
and security.

Nick Rowan – destroys the myth of the cold and stiff English. Smiling, sociability, listening ability – arouses trust and respect for his books and social activities.
Marat Akhmedzhanov – for me is an example of erudition and curiosity for life, tolerance and positive resilience.

ECG: Have you taken part in the events of the Eurasian Creative Guild?
EB: Yes, in almost all literary festivals organized by Hertfordshire Press and ECG: in Bishkek, in London, in Thailand, in Belgium. Our company was co-organizer of the literary festival in Almaty in 2013, in Stockholm Antonina Schuster represented us, author of Lines of Life. In 2018, I was lucky to be in Minsk at events organized by Belbrand.

My company participated in exhibitions in Astana, Bishkek, London in 2018-2919, Almaty in my city, I strive to be at all the meetings of the guild.

ECG: What the Eurasian Creative Guild means to you, and how it influenced. Your creativity / activity?
EB: For me it’s a stream that takes me out of my beloved Almaty, my beloved business business coaching in the world of creativity, communication with wonderful people. This is an occasion for amazing travels in which I represent my country where I am met with funny adventures. The guild is not a “window to Europe”, but hundreds of roads through which to go.

ECG: Do you have any personal project that you would like to talk about?
EB: My favorite project – Projective graphics – these are lines created on the mental impulse having the properties to manifest various images and conditions. They have common nature with primitive art and calligraphy of the Old Slavic alphabet.

For projective graphics, I got copyright in 2017 at the International Patent Office in Berlin. Helping me in this ECG, Academy of Ambitious Artists, with direct participation of Evgenia Lomakina – consultant and appraiser of subjects art.

There is still a debate in the professional community about whether ‘grapelles’ are art, or more relate to psychology. Art critics Tikhomirova Valentina and Zhumagulova Maria conducted research on the topic of projective graphics, recognized in the world specialist in the evaluation of art Elizabeth Malinovskaya gave a positive appreciation of my work. Famous artists Lydia Drozdova, Igor Gushchin, Marlan Nysanbaev, Alesya Shaher support my work.

The ‘grapelles’ give the most important assessment to ‘graphelvs’, they say that ‘graphelvs’ develop spatial and multidimensional vision, imagination, uplift, make the space lighter and brighter.

I have a series of paintings called “The reverse side of the portrait”, which I presented during the fashion week last year. And some designer dresses that I plan to show on one of the activities of the Guild.

Another project is miniatures for paintings. Art has become now much closer to people thanks to the Internet and social networks, and the number of buyers of paintings are not increasing, visual culture is still weak in the post-Soviet space.

Therefore, I had a desire to write literary sketches on behalf of the viewer, which so that the picture could get a speech and become closer and more understandable to the inexperienced viewer.

I wrote the first miniature for the work of the Circus, Marlan Nysanbayev, now Ambassador Guild. In 2018, I published a catalog with miniatures for the Literary festival in Thailand. In 2019, I became a laureate of two literary works.

OCA PEOPLE: ANATOLY SKARGHIN

Anatoly Skarghin was born in Kyrgyzstan, worked in the system of the Ministry of Internal Affairs. In 1995 went out on pension from the Ministry of Internal Affairs — deputy minister’s position. He is the president of the International Public Association “Generals of the World – for Peace,” the Police Major General.

ECG: Tell us about yourself and your activity/work
AS: I am the president of the International Public Association “Generals of the World – for Peace,” the Police Major General Anatoly Skarghin. I was born in the Kyrgyz Republic and through most of my life, I have devoted myself to serving in the internal affairs authorities where I rose to the rank of general. My career was forming in a very difficult time and in an extremely sensitive region. Kyrgyzstan, the former republic of the collapsed Soviet Union, stood at the junction of Europe and Asia and was always densely inhabited by many peoples with different cultures, mentalities and religions. In 2011, I established the International Public Association “Generals of the World – for Peace,” a progressive movement of peacekeepers with an open career structure, a single electronic platform, a charitable foundation and a complex of national missions. It has become a relevant and effective tool for promotion of the philosophy of Peace, the ideology of universal harmony and the rejection of violence.

ECG: What is Eurasianism for you?
AS: For me, Eurasianism is not just geography, it is a civilization with a big and unique history – tragic, but great. This is the cradle of hundreds of cultures, the birthplace of a huge Eurasian family with a bright and difficult fate and, of course, a great future. Eurasianism unites yesterday, today, and tomorrow. It’s a unique code in each of us.

ECG: Who are your favorite artists?
AS: Becoming older, we always look for answers to difficult questions in art, so we grow, we learn art, life, and we change. Naturally, our favourites and choices change too. Today, I like to read Brian Tracy, Robert Kiyosaki, Joe Dyspenza, and I am absorbing their practice in personal growth, I am passionate about books that help me grow and develop. I love to read Mother Teresa, Mahatma Gandhi.

ECG: Have you taken part in the events of the Eurasian Creative Guild (London)?
AS: We participated and helped to organize many ECG events in Bishkek and Alma-Ata. Their attractive format gives a unique opportunity for talented and creative authors to declare themselves, their work and creative research. Poets, writers from more than 30 countries participated in such events. I do hope that our flag is now remembered by many people, today it is recognized throughout the world since it had visited the North Pole, the highest point in Europe, Elbrus Peak, and with the Russian-American space crew it flew around the Earth more than 5500 times on the International Space Station.

ECG: What does the Eurasian Creative Guild mean to you, and how did it affect your creativity/activity?
AS: For me, ECG is a platform for those who are advanced and relevant, constructive and caring, creative and looking. This is an opportunity to share ideas, to get acquainted with creative technology, to present your own. The opportunity to ask a question or get an answer, to inspire your project or be fascinated by someone else’s. The ECG is the anticipation of new opportunities, exciting meetings; this is the potential for creative integration.
ECG: Do you have any personal project that you would like to talk about?
AS: Yes, I have several personal projects, and our participants help me in their implementation, but I would like to talk about one of them. It is called the Bell of Peace. In 1981, the UN General Assembly established the International Day of Peace. Once a year on the day of the spring equinox, the installed bell signalled the time of a general ceasefire and refusal of violence. We decided to give this initiative a new impetus, and now we promote it as part of our movement, accompanied by new creative solutions. According to the plan of founders of “General of the World – for Peace”, such Bells of Peace should be installed in the cities all over the world where our NATIONAL SECTIONS are represented. Such bells can become landmark places for holding various events, including solemn, official, private events, etc., the main thing is that such an event or action must not contradict the peaceful theme and purpose of the BELL OF PEACE.

ECG: What projects have you participated in and in which do you plan to participate?
AS: We are building bridges of friendship in science, business, art, medicine – we participate in educational, sports events, forums, discussion platforms and any other events of our Association, and we help children’s camps and schools. Corners of Peace, lessons in friendship and harmony, the Veterans Alley are some of our successful projects. The spiritual and moral education of the youth, propaganda of Peace and interethnic harmony in the modern world require new approaches, new formats. We are passionate about finding effective creative solutions to achieve the goal. The involvement of the younger generation in the digital, virtual world – the Internet, give us new challenges, and we are trying to make our content understandable to all generations.

Expanding the audience, finding creative like-minded people and new ideas – that is what I and my team want from a new project, that is why we are ready to share our experience and potential, to demonstrate our creative achievements.

ECG: What would you advise the members of the Guild, who’re just starting their career?
AS: I wish the new members of the Guild to be creative and open, to be able to accept any constructive dialogue and bring out something new – fascinating or thought-provoking because all and any experience makes our creative potential greater. And which is the most important, I wish them peace, harmony and a sea full of love.

OCA PEOPLE: ANASTASIA FOX

Founder of CIC ” Communities Art of Life”
Humanitarian, NLP Master practitioner certificate Coach, Public speaker, Well-being Mentor / Coach, Performed in NHS High-security hospitals – art therapist.
Farmer Olympic athlete – the Moscow Olympic Game 1980
Survivor of severe child abuse and domestic violence

I was born in Latvia into the times during the Soviet Union occupation. Family values in my family were really strange due to my mother’s traumatic experiences in the 2nd world Wartime after the war. End of the 60is and beginning of the 70is in Latvia were the deepest and most depressing family lives as there weren’t family values we are now thinking about. Become one of the youngest Olympic team members in Moscow Olympics, finish Craftsmanship College in Latvia, Student Neuroscience in Moscow, Economic in St Petersburg and Trading techniques in Stockholm. When Latvia took independence from the Soviet Union I worked with several projects, one of informative tourism Catalogue “Via Baltic”, developed 37 workshops in all Baltic states to teach us art and craft techniques for individual conchas and subconscious mind development and art /craft stalls.

2005 I moved into the UK and started all my life from the point of zero. As most of the people then migrate hee without any English language, worked first 3 years several paces the same time in catering sector most of the time 16h in a day, then move in to care sector when soon start working in NHS high-security mental health hospitals, and I loved the work I did until 2016 had a major mental and physical breakdown due to several life situations and I was locked in “bed band” nearly for 3yeas as my body movement occurred really limited.

ECG: Tell us about yourself and your activity/work?
AF: As a former Olympian, I will never forget the 1980 Moscow Olympic Games finals closing ceremony, where I saw and experienced thousands of people in the arena from all over the world as well as millions of viewers watching from their Television.

This feeling of union ship will always remain inside me as this has now become my passion and desire in working hard to create peaceful and united communities living together in support of one another and embracing cultures and differences to learn from each other.

Just as from my former world of Olympics where everybody has the same emotions and feelings, no matter the background, skin colour, country or the origin.

Over the years I have done a lot of travelling around the world, living in countries with a completely different political system, lifestyles, cultures, beliefs, and religions. This experience gives me a clear indication that every culture has the knowledge, experience, and expertise of life to live in their unique ways based on their culture and heritage.

I try to embrace one another and educate ourselves to be more understanding and respectful of our communities and the people we live amongst as a unity. If united, we stand the stronger we will be as a society. And as a big surprise, I was awarded the Annual Award as Community Organisation of the year 2019

ECG: What is “Eurasianism” for you?
AF: From a geographical point of view is an amazing continent as so rich cultural and historical heritage, and this is why I individually do not see this as a continent, Eurasianism is as a movement to support, embrace, promote any culture and nation, create art for next-generation and appreciate the historical heritage, network to Inspire each other, unique platform to display your knowledge, art, experience, including making friends and collaborations between many cultures and individuals, Place where no geographic boundaries and unlimited opportunities.

ECG: What are your favourite artists?
AF: The challenging question in some way. Anyone in some stages of stage thy life values and perspectives change and test or art also assist, artforms changing. In childhood, I love most of the classic Russian poets and performing artists, over the years I discover a lot of Asia and thy art forms, the same time is so many new Artists hues have great work so may I will give you some shortlist of it :
music – Tchaikovsky, Raimods Pauls,
literature – Aleksandr Puskin, Janis Rainis, Rudolfs Blaumanis
painter – Janis Pauljuks, Leonard D’vinchy

Each and everyone makes some different influences in my life and different my lifetime or stages and will be a long list of another artist. The artists I mentioned give me the basic understandings and values in my life. For a moment and time, I do like Lady Gaga as her personality and message to the world much to my personal views.

ECG: Have you taken part in the events of the Eurasian Creative Guild (London)?
AF: I was invited for a meeting in Birmingham where I found out about the organisation and took this unique opportunity to tuck part of it.

ECG: What does the Eurasian Creative Guild mean to you, and how did it affect your creativity/activity?
AF: Several years working with multicultural communities I was approached to write a book about my life and experiences, sharing the story. Now I start my first book which I plan to launch in September 2020. In this unprecedented time with COVID19 lockdown, I find the best time to do so. I wish this book will be as a tribute to a many Soviet time human lives how these times influence to individual life stories without any political or propaganda influences, I hope this will give some real insight to life we can talk then but is a big part of the history of many people

ECG: Do you have any personal project that you would like to talk about?
AF: This year became interesting due to COVID19 global pandemic. I planned to develop performing, music and dance multicultural festivals in the UK to embrace acknowledgement of so many fantastic cultures in the UK society and help to integrate into it too. Now, most of it is exposed or cancelled. At least this gives me so much learning to use new technologies and another way to do so. Interesting things happened that I am re-engaged with the Latvian community where I have to support the community through social media platform Tauta. For the moment I work to develop my social media platform “Anastasia’s Art of Life”. This project’s main purpose is to share different individuals’ life stories/ experiences from many walks of life. Mental health is a big topic and huge demands for support and understanding the issues why 75% of the population in the UK suffer from mental health and what causes the illness. Scientifically it is approved that open conversation is the first step to tackle these problems. The same time is proving that music and any artform also bring huge part for individuals in recovery processes for people hues suffer from mental health therefore after lockdown I will continue all projects and events and I love to collaborate with all Eurasian Creative Guild members and welcome to take part on all these events to share your amazing creativity.

ECG: What projects have you participated in and in which do you plan to participate?
AF: First I wish to publish my book and may take part in your competition in Literature but not sure this will be this year. But I love to open new projects with ECG and expand other artforms in the organisation, therefor I hope our work together will bring many fantastic projects and opportunities to all

ECG: What would you wish the members of the Guild, just starting their career?
AF: 1st, I think most important to anyone who wishes to achieve any goals is known, what they want to achieve. Without knowing where you want to go, you can not find a way to get there. 2nd, whit out step out of your comfort zone you newer achieve real your potential as there no failure is learning curve. 3rd, if you always do the same thing you will always achieve the same results, this can be a good thing as to can polish the skills you need, however, can be bad things, if you see the results isn’t what you wish to reach. We all need to assess time to time: what we have, want we want, and what we do. and from that make a decision and take action.

ARMENIA’S ANCIENT ZORATS KARER STONES

The two provinces in the south of Armenia, Vayots Dzor and Syunik, are a spectacular strip of land at the very bottom of the Caucasus. The highway that runs through them, between the towns of Yeraskh and Meghri, passes over the mountains that separate the disputed territory of Nagorno-Karabakh in the east from the Azeri enclave of Nakhchivan to the west.

The journey is breath-taking, and takes in some of Armenia’s cultural treasures: the monasteries of Noravank and Tatev and the wine-making town of Areni are all on the road to Meghri.

The most unusual place in Syunik province is the Zorats Karer stone formation, near the settlement of Sisian – 223 giant boulders that are described, inevitably, as the ‘Armenian Stonehenge’. But unlike the stones in Wiltshire, Zorats Karer still stands in the middle of wild nature: you can wander between the rocks, touch and photograph them.
The boulders are more rugged than those at Stonehenge – covered in moss, shoulder-height or smaller, and scattered over the hilltop above the canyon that rises from the Dar river.

For all that travellers have always been free to explore Zorats Karer, no-one knows for sure what these stones really are. In the last 20 years archaeologists from Germany have discovered tombs from the Bronze and Iron Ages underneath the site. Armenian researchers have studied the small holes that have been made in some of the rocks, and revealed an astronomical observatory that charts the movement of the sun, moon and stars.

Zorats Karer means “Army Stones” in Armenian; but they are also known as Carahunge – the Speaking Stones, for the whistling sound that carries through the site when strong winds blow through their holes. It’s estimated that the rocks were placed 7,500 years ago. This means that at the time that Stonehenge was created, the army stones had already been standing in Sisian for over two thousand years.

At one edge of the site there is a visitor centre in a roomy wooden shack, where you can buy books about Carahunge in several languages, and sip potent Armenian coffee while you browse.

Zorats Karer can easily be included into a Silk Road itinerary. Armenia has open borders with Georgia to the north and Iran to the south. You can arrive in Yerevan by road or overnight train from Tbilisi: from there, Sisian is a 200km drive, past Mount Ararat and Khor Virap monastery, as well as Noravank, Areni and Tatev. Zorats Karer is one of the last places before Meghri, on the Iranian border.

Jonathan Campion has travelled and worked in Eurasia for 15 years. He writes about Central Asia, the Caucasus and Russia at jonathancampion.com.

IN WHICH COUNTRY WOULD YOU RATHER GET MARRIED?

In the modern world the idea of “how a wedding should look like” has changed and yet all we want for this day is for it to be perfect and remarkable. It does not matter what your nationality is or where you are from because in any county a bride and groom are extremely excited on this day. But how does a wedding in Central Asia and the USA compare?

THE WEDDING IN CENTRAL ASIA

The official process begins only after the young couple get a marriage license from the head of the family and elders. It is important to mention that the direct acquaintance of the future newlyweds often happens only on the day of the wedding ceremony. The process of selecting a partner is something the child’s parents begin immediately after his/her birth. The relatives might come into the house of the bride’s son for negotiations, the results of which set the price of the bride. As a rule, the price of dowry is entirely based on the level of material wealth of the groom’s parents. Then goes the official introduction of the groom and bride. On that day, the girl should give their parents a white scarf symbolizing purity and faithfulness. If for any reason the groom or the bride refuses to marry, they have to pay a substantial fine the the family of the bride or groom respectively.

Today, wedding receptions are commonly held in hotels and restaurants, but they can also be in family homes or church halls. Eurasian and American weddings generally include the families of the couple, relatives, friends and even congregational members of the church where the wedding is held. During the celebration there will be speeches and toasts. Any wedding has food, drinks and music to celebrate. Usually the preparation takes 6 months. Preparation for the wedding reception includes making foods like curry puffs, sausage rolls, cream puffs, sambal (spicy paste), ham sandwiches and sugee cakes (made from a mix of semolina, flour and ground almonds).
The main decoration of any wedding ceremony is, of course, the costumes. The most expensive and luxurious wedding element is the bride’s dress, called saukele. A hat made of velvet is quite expensive, followed by the decoration of precious or semi-precious stones, velor, beads and so on.

There is also a well-known and old tradition called bride kidnapping. In Central Asia, bride kidnapping exists in Kyrgyzstan, Kazakhstan, Turkmenistan, and Uzbekistan. But what does it mean? It all starts when the young man abducts a woman by force, often accompanied by friends or male relatives. They take her to his family home, where she is kept in a room until the man’s female relatives convince her to put on the scarf of a married woman as a sign of acceptance. Sometimes, if the woman resists the persuasion and maintains her wish to return home, her relatives try to convince her to agree to the marriage. But nowadays it is unlikely to see this old tradition being used.

The last element of this wonderful celebration is the day for thanksgiving after the wedding. Some couples may attend mass together in their wedding finery. They may also visit people who had assisted with the wedding preparations to express their gratitude and visit older relatives to express their respect. Wedding gifts are usually delivered to the bride’s home the day before the wedding. In recent times, they are given during the reception. Traditionally, gifts or silver were given but it is now common to give cash.

THE WEEDING IN THE UNITED STATES
OF AMERICA

When it comes to weddings in America lots of people think of classic-stereotype weddings which they have seen in movies. Some of the rituals are true, some of them not. For instance, there is the superstition that the groom should not see the bride in her wedding gown before the wedding. People believe that this can be capable of bringing bad luck to the couple who does the opposite. Another example might be the bridal bouquet. This old tradition of carrying a bouquet of flowers used to signify the emotions of the bride during the wedding. Also cutting the cake represents the first activity the married couple does together then they feed each other with a small bite of cake. Along with other traditions goes another one – most brides prefer to wear their old family jewellery as a symbol of being proud of their family. A very popular thing in America is when the bride and groom step on a wine glass to remind everyone that love is fragile and easily destroyed, but no matter what has happened in the past, love can and will always find a way. Last but not least is of course throwing rice- guests would throw grains at the newlyweds to ensure prosperity of the marriage.

If we take a close look at the clothes it is usually the bride who adorns a white gown. Other guests should refrain from wearing white dresses or outfits so as not to ‘steal the thunder’ from the bride. Most weddings in the United States traditionally follow the white wedding type. Wedding gifts are most commonly sent to the bride’s or host’s home before the wedding day.

Usually an American wedding has three parts. First one is when the bride and groom have their own bachelor’s party and a bridal shower. Second one is the wedding itself. Before the ceremony the couple sends invitations to the wedding guests, usually one to two months before the special day. A wedding ceremony may take place anywhere, but often a church, courthouse, or outdoor venue. In general, this will involve the guests and the bridal party including the couple, the groomsmen, bridesmaids, best man, maid of honour, flower girl and ring bearer. And the wedding reception starts after a couple say their vows to each other. After the official part goes celebration- drinks, snacks, or a full meal are served. Often, best men and maids of honour will toast newlyweds with personal thoughts, stories, and well-wishes. The last one after the wedding, the bride and groom traditionally leave for their honeymoon which could last for a few days or even weeks.

In conclusion I would like to mention that even though this amazing celebration of love is held with differences and similarities in Eurasia and the USA the main idea is still the same- it is the beginning of a new family. From the bride tossing her bouquet and wearing something old, new, borrowed, and blue, in America to the bride wearing boots with high heels, national headdress, ornaments made of feathers owl, a traditional embroidered robe- chopon in Central Asia. It is a part of the culture to have their own traditions which makes it unique and fascinating!

www.ocamagazine.com #34 summer 2020 text by Bozhena Krasnogir

OCA PEOPLE – The brightest representatives of the creative intelligentsia of Eurasia on the pages of the British magazine

Welcome to this edition of OCA magazine. OCA is one of the world’s few truly international magazines, focusing on a host of people and events from countries across Eurasia. And thank goodness for it! International communication always mattered but right now it seems absolutely vital at a time when the pandemic means so many of us are locked down in our homes, or at least our home countries. But being locked down need not, and must not, mean we close our eyes and ears to the rest of the world. Indeed, with the world beset by so many crises – not just the pandemic, but the climate and ecological crisis, political divisions and economic hardship – it is more important than ever to stay in touch and share ideas and friendship, and build bridges of understanding. That way, maybe, we can begin to move forward together.

We may not be able to meet new people in person right now, of course, but this issue introduces you to 15 leading artists, 17 writers, 3 performing artists and 5 public figures from many different countries with an in-depth interview. As current chairman of the Eurasian Creative Guild (ECG), which is doing amazing work bringing creatives from across Eurasia together, I have been lucky enough to meet many of these people, and there’s a terrific range of work and ideas on show. Each one of these guest interviewees has something unique to offer. It’s quite a remarkable array.

OCA Magazine’s special edition, “OCA People”, which solely aims to celebrate, remember and disseminate the names and great achievements of those whose lives have influenced and changed the Eurasian region, and who continue to do so today, We want to showcase the very best of what the region has to offer and hope that this will bring renewed interest to the region, its people and their continued efforts to bring about a better world. Inside this issue, you will find the candid interviews of painters and poets, artists and architects, writers and musicians, among others. In these times of great division, it can be hard to remember that great diversity exists among our populations and is recognised and beneficial for our society.

So please, join OCA’s international community and read on! And if you’re not already a member of ECG, OCA Magazine urges you to join and help us build bonds of creativity and friendship across Eurasia. We hope you enjoy this special issue and congratulate those who have made the cut. No doubt the coming years will bring many more names to that list. And of course, it could be you!

For further information please contact: bozhena@ocamagazine.com

Khojaly – A Tragic Artistic Inspiration

February 1992 saw the single worst atrocity committed during the Nagorno-Karabakh conflict. The Khojaly Massacre took the lives of 613 civilians. The death toll included 106 women, 63 children and 70 elderly people.

Despite this tragedy, and many other instances of unimaginable brutality, Azerbaijan always looks for peaceful resolution of this unresolved conflict. This has been demonstrated by the recent establishment of the Platform for Peace, an Azerbaijani initiative that brings together members of Azerbaijani and Armenian civil society in an attempt to increase understanding on a human level. The same premise was the catalyst for the annual Khojaly Peace Prize for Art; an initiative of the Justice for Khojaly campaign, under the auspices of The European Azerbaijan Society (TEAS), which seeks to represent the horrors of the tragedy through art. Launched in 2016, and now in its second year, this prize continues to channel the creativity of art students living in the UK.

The prizes were awarded on 22nd February amidst the historic surroundings of the Strangers’ Dining Room in the House of Commons before a gathering of over 100 multinational Londoners. Selected from over 70 entrants, the judging panel for the art prize comprised the Hon Baroness Sayeeda Warsi; Baroness Zahida Manzoor; Bob Blackman MP and Chair of the Azerbaijan All-Party Parliamentary Group (APPG); Sabina Rakcheyeva, Cultural Advisor for TEAS; and Lionel Zetter, Director of TEAS.

Jack Pegoraro, Director of TEAS London, commented: “During the Armenian–Azerbaijani conflict, all ethnic Azerbaijanis were either killed or forced to flee Nagorno-Karabakh and the seven surrounding regions. One of the defining moments was on 26th February when 613 unarmed civilians – men, women and children – were killed by invading Armenian forces. It is now the 25th anniversary of this tragedy, and no one has been brought to justice. The purpose of events like today is to commemorate the victims and to ensure that such tragedies never recur.”

Baroness Zahida Manzoor, host of the event, stated: “I was one of the judges of the competition. During my visit to Azerbaijan, with some other members of the Azerbaijani All-Party Parliamentary Group, I was very privileged to meet some of the internally displaced persons (IDPs) from the Nagorno-Karabakh region. It was terrible to hear some of their very sad stories. Despite the terror they had experienced, there was hope, love and harmony. They were seeking peace and resolution for the future. I was deeply moved and touched by those experiences. Hosting this event is very meaningful – it is about the future of humanity. When we see such atrocities around the world, we must speak up and share our thoughts. By speaking with one voice, we can address those issues with which we don’t agree.”

She further commented, “all these paintings show some element of hope. In some, you can see the peace and love. In others, you can see eyes that are full of despair and sadness. In others, there are wings of the dove of peace, as we all share the same humanity and seek to move forward. It has been very difficult to decide on the winners of the Khojaly Peace Prize for Art, but all the paintings spoke of the need for resolution and peace.”

Baroness Sayeeda Warsi announced the prize winners. First prize was taken by British-born Louisa Marriott, a student at the Norwich University of the Arts, for her painting Tranquillity of Movement. In her acceptance speech, she commented: “My art is very political, and I want it to push towards change and positively affect the world. My painting commemorates the 63 children who died in Khojaly, but their faces are those of today’s refugees. Hopefully it will help us become more compassionate to the plight of refugees.”

Despite the passing of four UN Security Council resolutions against the invasion, Armenia continues to occupy Nagorno-Karabakh and seven surrounding regions to this day. Currently nearly 20 per cent of Azerbaijani territory remains occupied, and approximately one million refugees and internally displaced persons (IDPs) are spread across Azerbaijan. The evening was dedicated to the memory of the Khojaly victims and those Azerbaijanis who have only one wish – to return to their homes and lands.

Khojaly Peace Prize for Art 2017

First Prize – Tranquillity of Movement by Louisa Marriott

Second Prize – In The Morning by Tae Eun Ahn

Third Prize – Don’t Be Submerged by Ming Ying

Highly commended – Please Don’t Call Me Refugee by Katie Shevlin

WWW.OCAMAGAZINE.COM #25 SPRING 2017

VASILY KOREN – A NEW NAME OF GLORY FOR BELARUS

www.ocamagazine.com #35 summer 2020 text & photos by Mikhail Rybakov

Vasily Koren, is still a little-known name in Belarus, but for the first time this name, significant for the Belarusian historical and cultural heritage, has begun to be heard on the streets and in the media in Belarus.

In January 2020 in the State Museum of History of Belarusian Literature, in the framework of the project “Returning Forgotten Names”, opened a unique exhibition, “The Bible for the People of 1692-1696 by Vasily Koren”. For the first time in Belarus, reconstructed sheets of the first engraved Bible for the people that Belarusian woodcarver Vasily Koren created in the 17th century, were presented to the general public.

Reconstructed sheets of the Book of Genesis and the Book of the Apocalypse were provided to the museum by the President of the Academy of Folk Art of Russia (Moscow), Viktor Penzin, who spent ten years on their restoration using a method of reconstruction based on the original model.

Vasily Koren was born around 1640 in the town of Dubrovno (now a city in the Vitebsk region). In 1691 he settled in Moscow in the Meshchansky settlement. Here, between 1692-1696 he engraved and printed the Bible in paintings similar to the Western Bibles of the Poor. It included a series of painted prints with captions for stories from the Book of Genesis and the Apocalypse.

Koren’s technique combines the influence of the Catholic and Protestant illustrated Bibles (in particular, the Piscator’s Bible), the icon-painting tradition and the aesthetics of the popular print that appeared at that time, and is deeply original in character. Due to the presence of non-canonical images of God (in the illustrations for the Six-Day appearing in the form of an angel), the circulation of the Bible of Koren (about a thousand copies) was withdrawn and almost completely destroyed.

The only partially surviving copy of the book (36 sheets) is a 17th-century original, which is today stored in the Rare Book Department of the State Public Library in St. Petersburg. The authorship of Koren is indicated by the personal signature of the carver.

Currently reconstructed by the famous Moscow graphic artist, Viktor Penzin, the Bible by Vasily Koren (in posters) is available in only a few museums around the world: in the Vatican, Mexico, Madrid, in Russia – in the Hermitage and the Tretyakov Gallery. Copies of the Bible were handed to Pope John Paul II, Exarch of Belarus Filaret, Patriarch Kirill.

A deep historical contribution of Belarusian masters to the culture of Russia, is confirmed by historians and art historians alike. Belarusian masters worked on decorating the Faceted Chamber of the Moscow Kremlin, worked in the Armory, Golden and Silver Chambers, in the monasteries and palaces of Moscow and the surrounding area, creating amazingly beautiful creations, which are now included in the list of highly artistic works of architecture and art, are part of national treasures of Russia.

The Bible for the people in pictures (modeled after the “Western” ones) was cut by Vasily Koren on wooden boards and printed in Moscow in 1692-1696, where he worked with other prominent Belarusian artists taken to Moscow. Its special value is that in its cultural significance for the Slavic writing, spiritual and historical-cultural heritage of the Belarusian people, it is comparable to the level of heritage of Francisk Skorina and Simeon of Polotsk.

The Bible for the people of Vasily Koren is quite distinctive. He created the first engraved book in Russia, a “Block book”, created from coloured engravings with captions for stories from the Book of Genesis and the Apocalypse. It consists of 36 sheets of engravings dedicated to the creation and end of the world, the structure of the universe, the relationship of God, the devil and man.

In various hypotheses the creation of the book is considered as a textbook for senior officials (possibly from the royal family) or as a “book on the road” for the army and immigrants for the “Azov campaigns” of Peter the Great. These are not the only versions, which, like the others, can be defended or refuted with a certain degree of probability.

A narrow circle of specialists, who studied the history of engraving and Russian popular print, was previously aware of the carver Vasily Koren. One such philologist, art critic, and best specialists in Russia in the field of Russian folk art and Russian engraving, is academician of the Russian Academy of Folk Art Antonina Sakovich, who discovered and documented the Belarusian origin of the master.

In general, the Koren’s Bible has become an interesting example of the transformation of the ideas of East and West through the prism of perception of the world by Belarusian masters of that time. It is very symbolic that after hundreds of years she returned to her creator’s homeland to glorify the skill and innovation of the Belarusian people, to emphasize its historical significance to those who are now trying to declare the supposedly “youth and artificiality” of the Belarusian people as such, their lack of historical traditions and the past. The history of such examples proves just the opposite, that many other nations built their art and cultural traditions on the basis of the creative ideas of Belarusian masters and the actions of extraordinary personalities of Belarusian origin.

Unfortunately, access to the original Koren Bible is now somewhat difficult. The museum where the original is stored did not respond to letters and requetss for co-operation. Nevertheless, on the basis of studies and copies of drawings that have come down to us from the collections of Dmitry Alexandrovich Rovinsky, a senator, a well-known collector and publisher of Russian prints, portraits, folk paintings (1824-1895), as well as the reconstruction of the Koren Bible, authored by Victor Petrovich Penzin, a researcher , a graphic artist, President of the Academy of Folk Art of Russia, we managed to see this masterpiece, which should be the property of many, and not just hide in the depths and silence of the departments of a rare book.

The reconstructed Koren Bible, consisting of all 36 sheets, printed from wooden forms and hand-painted (as it was in the original), was released in 1991, 100 years after the publication of the Atlas “Russian Folk Pictures” by D.Rovinsky, which speaks of the enduring cultural significance of the publication.

The Bible, which has been fully restored, has been accepted for storage at the funds of the State Hermitage Museum (St. Petersburg, 1989). It is stored in the collection of Russian graphics of Thyssen-Bornemisza in Madrid (Spain, 1990). The Bible of Koren was exhibited in the Cathedral of Christ the Savior (Moscow, 2016). At the request of the Russian Orthodox Church, a copy of the reconstructed Koren’s Bible was made and presented to Patriarch of Moscow and All Russia Kirill. Exhibitions were held in the Ivan Fedorov Museum of the Kiev Pechersk Lavra (Ukraine, 1989), the Pushkin Museum (Moscow, 1997), at the State Tretyakov Gallery (Moscow, 2016) and many others.

Since the reconstruction Koren’s Bible has been exhibited at 116 world exhibition venues, the last of which were museums of the Belarusian cities Dubrovno and Vitebsk (2019). In 2020 the exhibition was held at the State Museum of History of Belarusian Literature in the capital of the Republic of Belarus – Minsk.

We hope that the Bible for the people of Vasily Koren will take its place of honour among other pearls of art that have glorified the talented Belarusian people for centuries, and we still have many discoveries and unknown pages ahead for the pride and glory of Belarus.
Mikhail Rybakov, Director of the State Museum of history of Belarusian literature (Minsk, Belarus).

MUSIC WITHOUT BORDERS

The Tariverdiev International Organ Competition is one of the world’s largest organ contests. For organists, it has the same significance in Russia as the Tchaikovsky competition does for pianists and violinists. Outstanding organists from a number of countries have been on the competition’s panel on several occasions, including Martin Haselböck, Michel Chapuis, Jean Guillou, Thierry Escaich. Winners of the competition are now among the world’s leading organists: Jean-Baptiste Dupont (head organist at Bordeaux Cathedral), Baptiste-Florian Marie-Ouvrard (head organist at St Eustache, Paris), Iveta Apkalna (organist of Elbphilharmonic, Hamburg), Lada Labzina (head organist of Zaryadie Concert Hall, Moscow).

Over the 20 years of its existence, the competition achieved a special standing with organ professionals. Thierry Escaich, head of the panel at the 8th competition, said, “The musicians that took part in the competition showed a high level of performing skill in every round. Participants in the Mikael Tariverdiev International Organ Competition greatly surpass those taking part in other contests. The very friendly environment at the competition is also important.”

Held biennially, the competition spans three continents. The semifinals and finals are held in the city of Kaliningrad, previously known as Konigsberg. The first round consists of three stages, held in Lawrence (Kansas, USA), Hamburg (Germany), and Moscow (Russia). The competition is accompanied by the Organ+ festival, featuring international stars of organ performance.

Vera Tariverdieva, Art-Director of the competition:

Let me introduce this Angel, international Organ Angel. It was manufactured in Kaliningrad. Then it travels to Moscow, Then flies over the ocean to Kansas. Then Angel goes back to Moscow, then to Hamburg for the first European round. Then again to Moscow and finally flies to Kaliningrad, where the second and third rounds of Mikael Tariverdiev International competition be held and Jury decides with whom and where this International Organ Angel has to go.
Mikael Tariverdiev is a composer whose music is popular with several generations of the Russians. The popularity came from his very successful music for films. He has done music for 132 films. But his operas, vocal cycles, symphonic and organ pieces remind virtually unknown, since some of them was never performed in his life time.

24 years back when Mikael Tariverdiev left us, I started thinking how should I live to make part of his music known. I am sure that this music carries a message which is of great importance for men and women all over the world. I am sure they need it. And I invented the competition. It became my life and my vocation. And it never stopped to be my dream.

The competition is made not only of Mikael Tariverdiev’s music but also of the new names of talented individuals, created a musical brotherhood of sorts. It exists above all barriers, sometimes in spite of them.

The 12th Mikael Tariverdiev International Organ Competition will be held in 2021.
It will be held in Hamburg (April, 19-24), Lawrence, Kansas (April, 29-May,1), Moscow (August, 28-31), Kaliningrad (September, 3-9). Winfried Bönig will lead the Jury Panel in Kaliningrad.

Last year I started my speech to present the Organ Angel in Lawrence at the North-American round of the competition with the following quotation:
‘Do you like Americans?’
‘I don’t.’
‘And Germans?’
‘I don’t.’
‘How about the Russians?’
‘Who likes them?!’
‘Then who do you like?’
‘I like my friends.’

I repeat this once more: I love my friends. All those who join in the competition and decide to be a part of the philosophy of Mikael Tariverdiev are friends.

ART UNITES

www.ocamagazine.com #35 summer 2020 text and photos by Pavel Podzorov pavelspne@tut.by

The modern world is complex and diverse, it is full of opposing trends. Never before our earth has been subjected to such political and physical overloads. Never before has man taken from nature so many resources and never been so vulnerable to the power that he himself created.

Taking into account the events happening in the world at this moment, the most important role in uniting all people, regardless of nationality, colour and country of residence is culture and art. A common culture is the main thing that s able to bring people together in spite of all the ideological and social inequalities. We are united by art, which is eternal. We feel connected by the beauty of the music, classic movies and great books.

Art was created by people back in the Middle Paleolithic era. Even then, people painted. Over time, it began to be appreciated – that was the way art was born. Art is also associated with games, rituals, ceremonies, and martial arts. Artworks create a person who can enjoy beauty. Due to its diversity, art combines itself in all forms of social activity and knowledge through which a person can express his/her attitude to reality.

American actor and musician, Hollywood star – Stephen Seagal has been known in Russia since the days of the USSR. A whole generation has grown in films with his participation. This is the reason why many young people in Russia (and other countries) became interested in martial arts. Martial arts are part of self-defence systems; it was developed mainly to conduct hand-to-hand combat. Currently it is practiced in many countries around the world in the form of sports exercises that aim at physical and spiritual improvement.

Steven Seagal was born on April 10, 1952 in Lansing, the capital of Michigan (USA), in the family of a mathematics teacher. According to some reports, his parents came to America from Russia, or rather, modern Belarus (Bobruisk at that time was on the territory of the Russian Empire). At the age of seven he began to practice karate, at the age of 15 – aikido, when he was 17 he moved to Japan to study with the masters of martial art. In 1975, he became the first American to open his own aikido school in this country (he developed his own style of hard aikido). In 1977 he was recognised as one of the best masters in Japan, in 1982 he became a master of oriental martial arts (aikijin).

In 1984, Seagal came back to the United States. In 1988, at the age of 36, he starred in the Hollywood action movie “Above the Law” as a policeman who knows aikido art. In subsequent movies, Seagal was working not only as an actor, but also as a co-author of the scripts and co-producer and director of battle scenes. By 2018, he had played about 50 roles in which he demonstrated martial arts skills.

Steven Seagal is also a musician. Together with the band Thunderbox, he released two albums – Mojo Priest (2005) and Songs From The Crystal Cave (2006). In total, he has performed about 130 reggae songs.
In the early 2010s, Seagal worked as a deputy sheriff in Texas, New Mexico and Louisiana. He is actively involved in charitable activities around the world: he supports environmental programs, organizations to fight HIV / AIDS and animal welfare, participates in projects aimed at helping starving and sick children, provides assistance to Tibetan monasteries, and donates to religious organisations.

Stephen Seagal has been to Russia several times and in recent years has strengthened his ties to the country. So, in May 2013, he visited Chechnya where he met with the head of the republic, Ramzan Kadyrov. In June of that year, he also visited the city of Beslan (North Ossetia), where he laid flowers on the graves of those killed during the 2004 terrorist attack. He has been seen in Red Square at the May 9th parade celebrating 70 years. And in 2016 Russian President, Vladimir Putin, gave him a Russian passport.

In April, Stephen Seagal was appointed special representative of the Russian Foreign Ministry for Russian-American humanitarian relations. Seagal commented on his appointment, “I have always tried to do my best to help Russian-American relations become better. I have been working tirelessly on this for many years informally, and now I am sincerely grateful for the opportunity to do this officially.”

In 2018, under the leadership of Seagal, the First International Aikido Festival was held in Moscow. The festival was organized by the Aikido Federation of Russia. The event was attended by more than 100 masters from 17 countries: Russia, Kazakhstan, the DPR, Belarus, USA, Azerbaijan, Belgium, the Czech Republic, Finland, France, Iran, Italy, Israel, Japan, Mexico, Norway and Poland. Within the framework of the Festival, a scientific and practical conference was held dedicated to martial arts bringing people together, in the name of peace and security.
At the opening ceremony the First Deputy Head of the Presidential Administration of Russia Sergey Kiriyenko gave his speech. Representatives of the Ministry of Sports, Roscosmos Corporation, honoured athletes also made welcoming speeches to the organisers and participants.

Participants, including this author, were able to ask Seagal questions directly. Most interesting was his response to the question: “What is the meaning of life?” For him, every day you need to become better than you were yesterday to develop and improve yourself. The practice of martial arts is a great way to do this.

This small example shows that martial arts, as well as art and culture in general, have no borders and nationalities.

IS IT IN OUR BLOOD? OR SWEAT?

www.ocamagazine #35 summer 2020 text by Tara Pandeya

Dance is an integral part of life in Central Asia; it can be seen both in rural settings and on the proscenium stage, from highly developed virtuosic classical styles to nuanced and subtle folk-dance forms. Western audiences might be surprised to learn that Central Asia has an ancient and classical music and dance tradition, like ballet: Shashmaqam (meaning the ‘sixth maqam’ in Persian). This classical tradition was patronised in the multi-ethnic royal courts of Bukhara and Samarkand by the emirs, much like ballet was patronized in the French court of King Louis XIV. Dance is more than just recreational movement and sound: it acts as a barometer of the cultural and social health of a community. It is also a facilitator in many important cultural functions such as rites of passage and seasonal celebrations. The performing arts are elevated to the status of ‘record keeper’, generating unique cultural messages and act as a living link to environments inside the minds and hearts of people, throughout time and space.

As a foreigner who has been passionately researching, studying, practicing, seeking out and performing traditional and ethno-contemporary dance forms from the region of Central Asia for nearly two decades, I often hear the phrase ‘it is in your blood’, following my performances or after a social dance gathering. Audience members often say ‘you must have some “Uzbek, Tajik, Afghan, Uyghur or Persian” blood in you to be able to dance the way you do!’ Although, the statement is made with the intention of being a compliment, it also sheds light on the way our society devalues dance and dancers as skilled and disciplined working practitioners. The reality is that behind every presentation of dance, as in any other form of art, exists hours of thoughtful intention, creation, discipline, practice and dedication. Not everyone may appreciate all of the arts; some people enjoy only music or fine arts, others may enjoy literature, poetry or dance. But one thing we can all appreciate is the thorough craftsmanship behind any artform.

It is certainly true that some people are born with natural talents or propensities towards given practices. For example, interpreting music, sculpting clay, crafting sentences, or moving with seamless grace. But when a naturally talented artist couples their abilities with deliberate and sustained practice the results are undeniably noticeable.

One example of this includes one of my dance teachers, Zaragol Iskandarova, a revered and iconic dancer who came from the Pamir Mountains of Badakhshan, Tajikistan. When asked about dance, she said she ‘would become sick without 2 or more hours of dance practice per day’. Another example of this type of artistic discipline comes from the famed doira master Abbos Kosimov from Tashkent, Uzbekistan. When I performed in Abbos’ jubilee concert this February 2020, I sat in on 5 to 8 hour rehearsals with him and his musicians. He mentioned in a rehearsal one day that he would practice alone 6-7 hours a day as a young doira artist. Abbos is a virtuoso of the doira and his artistic work habit and dedication, in the form of daily practice, remains unwavering today. I myself, a second-generation dancer, have practiced a minimum of 2 hours a day daily for decades and during periods of creation for new productions rehearsals can go from 5-9 hours a day. Countless examples of this dedicated work ethic in the performing arts include respected living dance artists such as Mamura Ergasheva, Qodir Momenov, Farohat Saidova, Malika Kalondarova, Dilafruz Jabarova, Narziddin Shermatov, Zeynab Farzada, and so many others. This is by no means an exhaustive list, but the nuanced work of these master artists is clearly reflected in the hours and decades of practice that they have invested into their art making.

Why then is dance as an art form often marginalised and not appreciated as an intellectual act, requiring great discipline and intentionality? As humans we do not possess a disembodied consciousness, free from our physical bodies. We are living, moving creatures with embedded intelligence that extends throughout our entire bodies. The fundamental perception of the body being inferior to the brain is an age-old prejudice which, has deeply affected how we view our bodies. This mind-body disconnect also contributes to societal stigmas surrounding dance as an art form, as the canvas of the dancer’s body is used to create art. How we view our bodies in relationship to our brains affects how we think about ourselves and also how we think about thinking itself.

Neuroscientist Antonio Damassio clearly elucidates this ancient “mind-body problem” through his proven research, explaining that our bodies can instinctually sense emotion and external threats five to ten times faster than the conscious brain can perceive. Our bodies are always communicating with us, even before our brains realise what is going on. But how should this research affect our perception of the dancer? By paying attention to our bodies, acknowledging movement as an intellectual act and normalizing taking care of the health of our bodies, we can help transform our view of dance. From a purely innate social activity to a high art requiring rigorous dedication, physical force, emotion and intellect.

There is a large disparity between how dance is used for art, propaganda and cultural events and the actual treatment of working dance artists. I believe we can change our thinking by giving greater respect and education to our respective performed heritages. In this era of heightened xenophobia, it is crucial to reveal intersecting points in our shared histories, to help remove the fear of ‘otherness.’ If dance practitioners are not recognised as actors of intangible heritage,
vital pieces of our humanity and collective history will be lost. When dance forms like those of Central Asia remain unseen and marginalised, we in turn are deprived of vital pieces of cultural inheritance.

Clichés associating contemporary, innovative and progressive attributes with the West, versus traditional, stagnant and nationalistic qualities with the East, limit opportunities for an artist’s individual expression and self-definition. Some might be surprised to know that some of the most celebrated contemporary dance artists and choreographic minds of the 20th century have origins from Central Asia and Caucasia. For example, Robert Joffery of the famed Joffery Ballet Company is a choreographer of half-Afghan parentage, George Balanchine, the Founder
and Director of the New York City Ballet, was of Georgian parentage, the ballet virtuoso Rudolf Nureyev was of Tartar heritage, and ballet superstar Tamara Toumanova was of Armenian-Georgian parentage.

Inspiration for one of the most controversial and famed ballets, the ‘Rite of Spring’ by Vaslav Nijinsky, drew inspiration from ethnographic sketches of dancers from the Central Asian steppe and paintings by Nicholas Roerich. Nijinsky mined for the avant-garde in the antiquity of Central Asian dance imagery, regalia and imaged movement vocabulary to produce this iconic choreography, which was restaged by dance choreographer Pina Bausch, one of the most celebrated contemporary choreographers in the world.

Is the work of iconic dance artists purely in their blood or is it in their labouring bodies? Much sweat, blood and creative thought was devoted to roduce these masterpieces, which are recognized and performed around the world today. As Dr. Kealinohomoku writes in her article
“An Anthropologist Looks at Ballet as a Form of Ethnic Dance”: “The ethnicity of ballet is revealed also in the kinds of flora and fauna which appear regularly. Horses and swans are esteemed fauna…..”

In contrast, animals native to Central Asia are pantomimed in Central Asian dance forms reflecting creatures such as the jerboa, the bulbul, crows and snakes. Kealinohomoku continues: “In ballet, grains, roses, and lilies are suitable flora, but we would not likely find much call for taro, yams, coconuts, acorns, or squash blossoms.” The comparable flora to Central Asia, might include poppies, tulips and staple food items such as grapes, apples, osh (pilov) and non. Kealinohomoku adds: “economic pursuits are reflected in the roles played in ballet such as spinners, foresters, soldiers, even factory workers, sailors, and filling station attendants. However, we would not expect to find pottery makers, canoe builders, grain pounders, llama herders, giraffe stalkers, or slash and burn agriculturists! The question is not whether ballet reflects its own heritage. The question is why we seem to need to believe that ballet has somehow become acultural. Why are we afraid to call it an ethnic form?”

I invite you, particularly communities of the Central Asian diaspora, to examine the lenses we use to filter the stories and histories we are told about performing artists. The spectrum through which our world dance heritage has been communicated, both on the world stage and in the field of academia, must be rebalanced and expanded. It starts with you – how will you contribute to a renewed perception and reorientation of your own enduring culture and it’s performed heritage?

Support dance artists and keep in mind the next time you watch an ephemeral art form, the hours of sweat that were shed to create these fleeting moments of nuanced beauty.

ArtMedia Tour: We are Together

A project organised by the international team of the ‘ArtMedia’ online magazine, and the ‘Moskovskiy Komsomolets’ newspaper, held an event to promote Crimea abroad. The media project took place in Crimea on October 16th-19th. As part of the project, there was a mini media tour, a musical performance, and a vernissage. Writers of the ‘ArtMedia’ online magazine invited the characters of their articles – famous artists, actors and musicians from all over the world – to introduce them to the peninsula.

A walking tour of the Genoese Fortress in Sudak and Small Jerusalem in Yevpatoria was a highlight of the media project. Guests met with staff of the Nikitsky Botanical Garden, who told them about the most distinguished plants, imported from different parts of the world, and about those named after famous people and historical figures from different countries.

The vernissage presented the product of an international collaboration (England – Crimea, Dresden – Crimea, Paris – Crimea, Ischia – Crimea, Apeldoorn – Crimea), at the Palmira Palace hotel. Local writers, as well as writers from other countries, presented subject of topics which have united them.

A concert was held were guests were entertained with songs in Russian, Dutch and French. Sölvi Fannar Viðarsson, who is an actor, writer, poet, multi-sport athlete, and photographer participated in the ArtMedia tour. Alona Svintsova, a Dutch actress from Russia, journalist, and social activist based in Apeldoorn also joined the tour. She is a member of UNICEF Nederland, director of teh charity “Happy World” and teaches unique classes for children based on Russian stories and tales. Katja Westerhoff, an artist from Apeldoorn visited the peninsula for the first time. She fell in love with Russia, and decided to be baptised and take a Russian name, Ekaterina. Katja was excited therefore to see Crimea and capture its beauty.

Alexei Altynbayev, the author of “Parisian Etudes”, a press officer of the well-known public figure – the former mayor of the 16th arrondissement of Paris, Georges Mesmin, introduced his, and the former mayor’s art works as well. Georges Mesmin was not be able to come to Crimea due to his age – he is turning 90 in November – although he visited Crimea in the past.

Oksana Zhukova, the executive editor of “ArtMedia” said, “The international team consisting of journalists from Crimea, London, Paris, Athens, Apledoorn, Dresden, Bristol, St. Petersburg and Tumen have worked tremendously hard with ArtMedia online magazine. We are trying to have more collaborative projects together. Quite often Crimea becomes the main location of the events we organise in collaboration with our foreign team. We are always searching for the topics which unite us: nature, beauty, art, history. The sanctions cannot pull us apart.”

ARARAT DREAMS

Every time I have approached the Mountain: from our side, so majestic and eternally snowy,
surrounded by fertile lands; from that alienated side, so desperately meager and rocky, with placers
of gigantic volcanic stones and ashes, whipped by horses’; hooves into powder, I looked at the top
with eyes, by which only a child can look at mother and father – from below, delighted,
unconditionally loving and dissolving. I approached its sole in the afternoon, when the rays of the sun glided along the snowy peak, knocking out sparks. I approached its sole at night when the top was showered with stars, and it seemed to me that this was a solid canvas along which there was only one single road to the sky. I saw it at dawn when it changes every second as if trying on an outfit in which it will enter the day. I saw it at sunset – deep, velvety, enveloping. I saw the Mountain when it was not even visible. you are standing at the sole, but the Mountains are not, it’s just that it’s not in a mood today and an amazing thing is that not every guest-traveler reveals her best face.

I kissed its stone soles and cried when it was painful and hard for me when it seemed that there was
nowhere to go but to the top, to where, there is less air but a lighter and more enlightened soul, a
cleaner and clearer mind, and people are stronger and more reliable.
In this Mountain there is a nerve – powerful, tow-shaped, it is woven into roots that go deep into the
very heart of the earth, and being filled with energy there, carry it throughout the massive body,
sharing it generously with stone, water, air, man, horse, dog… with everything that becomes
somehow involved in it. For its long, more than three millionth century, it stood one step below
God, but did not move away from man, and remained the Shelter of the Ark, salvation. And we are
going to the top and ask the Mountain for permission to get on the step below God. Perhaps this is
impudent, but why not, if the Mountain lets itself in, gives the best experiences, “windows” in often
severe weather, and then for a long time or never let you go, because a spiritual contact is made
between you and the Mountain. The Mountain becomes your personal altar, on which you carry a
heavy and painful burden, but more often reach the top weightless and radiant, because for three
days of the way to the summit you changed your mind, comprehended, weighed, laid out, left, threw
away.
Man’s life is like this Mountain. Before it was born, the bowels of the earth turned, twisted, burned.
The mountain grew from millennium to millennium, from stone to stone, layered. And then it was
again twisted, burned, and Little Mountain, a cub appeared nearby, – so fragile, but wayward. They
are separated and connected by a gorge, they hold each other, hand in hand. A striking phenomenon
is that there is not a single ridge around the mountains, they are two – Big and Small, unequal loners,
and only on the other side of the border, are visible the four peaks of the body, which, according to
legend, were the sisters of the Mountain, but they quarreled and parted. It is said that once the height
of a foreign sister reached seven thousand, but a powerful explosion occurred, which proves us a
huge, more than two-kilometer crater and a vast territory of several tens of kilometers, the so-called
volcanic belt.

So many times I have approached the Mountain when it was impossible to approach because at its
feet there were feuds, intrigues, battles, blood was spilled and the government of the invaders,
entering the struggle with the dominant population, finds the opportunity to make climbing difficult
for everyone else, or even closes the Mountain. Then I approach the Mountain in dreams – frequent
and long, often continuing from night to night. These are dreams filled with longing and pain;
dreams returning to the first-born, to the first steps on land, to the love of all things, living things,
the love that breathes life into everything that surrounds us. Existential experiences turn dreams into
reality, and then everything turns into a mortal life: I am not me, I am much older, stronger, more
powerful, my legs, like roots, they go deep into the earth and merge with that vein that nourishes the
Mountain.
I will remember for a long time how at the time, when the Mountain was closed for us, at the hour
of oblivion I was going to it in some decrepit wagon. The cart creaked, moaned, threatening to fall
apart at any moment. The horse, dropping its head, barely trudged, reconciled with fate. The
catastrophic impoverishment of the region, and not a single living soul. The impressions of places
left by life are the most depressing – as if driving through a rocky field in which every stone is a
head. Are you afraid to look around so as not to meet a frozen look, but your lips are praying, your
lips are asking: “Mountain, take up these souls, free them from stone shackles, from bloody tears,
give them the right to become your angels, which certainly will not sit idle – they will turn into
wings for those who are exhausted along the way, whose will to live has dried up, like the sources in
this region, who have lost support and do not believe that they can go. Mountain, take and lift up
these souls, set them free until a raven has flown up who does not care what to sit on and what to
peck … Mountain, take, exalt … “;
I was leaving for the mountainous region from the steppe region, where my father and mother
remained in a deplorable state: they did not want to, they did not want to let their child go far away.
I drove through the autumn with its rustling, then slushy roads. I went through the winter, and the
wind threw snowballs at me, shook the wagon from side to side, and it creaked, but trudged. I went
through the spring, this spring was without birds, but filled with the clink of streams, sometimes
turning into violent spring rivers that demolish all the obstacles along the way, playfully, drag giant
stones; it turns out that my old horse can swim, and the decrepit wagon can go by ship.
I went through the summer – sultry, lifeless, dusty. I went until on the horizon, in the strip of the
outgoing day, I saw Mountain. Its slopes glistened with brown, sometimes black oxide, and the
snowy peak was redistributed in the sunset rays. The joy that gripped my soul made me light,
weightless. Turns out I can fly! But why am I so calm in this, perhaps, still alien place? Tactile
sensations deeply buried in my memory: no, I don’t fly, I stand in the arms of my father and mother,
who in turn are firmly rooted in the firmament: I close my eyes, freeze, I feel the roughness of the
earth, but no, not the earth, but the parental hands, hardened by hard peasant labor, but warm with
their rough and dry heat. Everything native came together in one place and gave rise to a new one,
peace, and life, harmony, and hope, faith, and will.

WWW.OCAMAGAZINE.COM   text by Elena Shuvaeva-Petrosyan; Translated by Maria Petrosyan

POSTOIEV’S GREAT COMET JOURNEY: TASHKENT TO SÃO PAULO

Arrest, prison, GULag, suffering, and death – all are images that come to mind when we think of the Stalin era Great Purges of the 1930s. Solzhenitsyn’s GULag Archipelago and the memoirs of survivors document this period of a government’s war against its own people in heart-wrenching detail. It was a war fought so successfully that the government had to withdraw the Soviet census of 1937 to cover up the obvious loss of life by unnatural means.

Along with tragedy, the Great Purges produced some improbable stories of survival. One of the most improbable of these is the case of Alexander Ivanovich Postoiev , astronomer and one-time director of the Tashkent Astronomical Observatory who would go on to long career in Brazil.

Born on 26 February 1900 in the village of Osovets, in what is now Ukraine, Postoiev joined his life to the stars when his father woke him one night to see the Great Comet of 1910. Friends recount how the memory of that night sustained Postoiev through the calamitous decades to come.

Postoiev entered Kharkov University in 1917, but the Civil War cut short his studies. In the 1920s he resumed his education at Leningrad State University and continued with graduate study at the Leningrad Astronomical Institute.

In 1928 Postoiev joined the staff of the Tashkent Astronomical Observatory (TAO). The observatory had come into existence in 1873 as part of the Turkestan Military Topographic Department. The Russian Empire’s new conquests in Central Asia had not yet been mapped in detail, and the Russian military needed trained geodesists to carry out this work.

Postoiev rose quickly to become assistant director in 1930 and director in 1935. In 1936 he was elected a member of the International Astronomical Union (IAU).

When the Great Purges unfolded, along with the first show trials in 1936, astronomy was not exempt. More than two dozen astronomers were arrested in 1936-37, some 20 percent of all astronomers working in the Soviet Union at that time. The arrests centered on Pulkovo Observatory and the Leningrad Astronomical Institute, but the Purges also fell hard on Tashkent. Out of nine astronomers on the TAO staff in 1935, six vanished without explanation in 1936.

Postoiev was one of the first to be arrested. It happened in February 1936 while he was on a trip to Leningrad. Handed a five-year sentence, he spent one year in prison before being sent to a camp in Vorkuta. There he was lucky to serve as head of a meteorological station rather than being sent to hard labor, and this luck led to his early release in 1939. As was often true, those arrested early during the Great Purges tended to receive shorter sentences and had better chances for survival.

Released from Vorkuta, Postoiev found his lucky star had faded. Typical for those released from the GULag, he was not allowed to return to Tashkent or settle in any other major city. He went instead to Ukraine and obtained a part-time teaching position in Poltava.

When Soviet and Western astronomers met at Copenhagen in 1946 to discuss the future of the IAU, the Soviet delegation deleted Postoiev’s name from its list with the remark, “He went west with the Germans.”

Indeed, the German army occupied Poltava early in World War II. Postoiev and his family lived through two years of hunger and uncertainty, but in 1943 they seized their chance. As the German army began its retreat, Postoiev escaped as a common laborer taking his wife and seventeen-year-old son with him. The end of World War II left the Postoiev family as displaced persons (DPs) in the American zone of Germany.

Postoiev may have escaped the Soviet Union, but his troubles followed him. The lot of DPs was not a happy one. The British and American governments had agreed to Soviet demands that displaced Soviet citizens be repatriated, by force if necessary, and DPs did everything they could to avoid this fate. They knew that if they did return, it would be for a long prison term if they were lucky, for a firing squad if they were not.

Enter Harlow Shapley, director of Harvard College Observatory (HCO), an astrophysicist of world fame and a well-known humanitarian. After the Great Purges unfolded in the Soviet Union, Shapley spent years trying to learn the fate of Soviet colleagues who had disappeared without a trace. As Nazi Germany extended its grip over Europe, Shapley devoted much of his energy to spiriting Jewish astronomers to safety.

With fear of repatriation in the background, Postoiev wrote to Shapley describing his plight and saying, “I shall never abandon the hope for a better future and return to my science, but now I am ready to take any job, be it humblest in any part of the world in a free country.”

Between 1945 and 1950, Postoiev held several positions in in the International Refugee Organization under the UN Relief and Rehabilitation Administration (UNRRA). The director of the camp where Postoiev was detained wrote to the Tolstoy Foundation in New York and urged that a position be found for him: “The family, in our opinion, would be an asset to any American community and is capable of rapidly adjusting to American standards.”
Although Shapley, the Tolstoy Foundation, and others worked hard to bring Postoiev and his family to the US, their plans never quite succeeded. Finally, after many years of attempts, in November 1948, Shapley found funds to create a position for Postoiev at HCO. It seemed Postoiev’s odyssey had ended at last, but when he and his family applied for immigrant visas in 1949, they were turned down without explanation.

We will never know why Postoiev’s visa was denied, but the chronology offers hints. Anti-Communist paranoia was beginning to sweep across the United States, and Shapley had earned enemies in Washington. Or it could be that the interviewing U.S. Consul saw Postoiev as a Soviet agent? If so, the ironic tragedy of Postoiev’s life was complete, convicted without trial in the Soviet Union and now labeled a Communist by the United States.

Postoiev’s final letters to Shapley were full of foreboding, but his lucky star was about to return. It was Brazil that came to the rescue, offering to relocate Postoiev and his family. They arrived in Brazil in January 1952. Within a month, Postoiev was offered a position at the Instituto Astronômico e Geofísico (IAG) of the Universidade de São Paulo.

Postoiev went on to a long and fruitful career in Brazil. In 1953 he restarted the publication of Brazil’s Astronomical Yearbook that had not appeared since 1938, and he brought positional astronomy at IAG up to international levels. He was re-elected as a Brazilian representative to the IAU and travelled internationally on behalf of his adoptive country. Grateful to Brazil but not wanting to abandon his roots, he accepted Brazilian citizenship only in 1969.

Alexander Postoiev died in 1977 after a long illness. The odyssey was over. Stalin’s Great Purges of the 1930s had, unwittingly, given Brazil one of its brightest stars. Alexander Postoiev’s unwavering childhood memory of the Great Comet of 1910 sustained him through the greatest calamities of the twentieth century. It had brought him to a land where he could fulfill his childhood dream.

The author wishes to acknowledge the assistance of Drs. O. T. Matsuura and P. M. Dos Santos in reviewing this work and for permission from them and from Alexander Postoiev’s son Vadim Postoiev for use of family photos.

For further reading about Alexander Postoiev and Soviet astronomy during the Great Purges –

P. M. Dos Santos and O. T. Matsuura, The Astronomer Alexander I. Postoiev (1900-1976), Astronomical and Astrophysical Transactions 17, 1998, pp. 263-279

П. М. Дос Сантус, О. Т. Мацуура, Обсерватория имени русского астронома в далекой Бразилии. К 100-летию со дня рождения Александра Ивановича Постоева (1900-1976), Историко-астрономические исследования 26, 2001 pp. 190-214

R. McCutcheon, D. DeVorkin, S. Dick, L. Doggett, and R. Doel, Astronomy under the Soviets, Journal of the History of Astronomy 26, Part 4, November 1995

R. McCutcheon, The 1936-37 Purge of Soviet Astronomers, Slavic Review 50, No. 1 (Spring 1991), pp. 100-117

R. McCutcheon, Stalin’s Purge of Soviet Astronomers, Sky and Telescope, October 1989, pp. 352-357

Robyn Alice McCutcheon is a retired Foreign Service Officer who served in Washington, Astana, Bucharest, Moscow, and Tashkent. Although Ms. McCutcheon was employed by the U.S. Department of State, the views expressed in this article are strictly her own and do not necessarily represent the views of the Department of State or the U.S. Government.

text by Robyn Alice McCutcheon

Baku in call to strengthen humanitarian development

“The expansion and further development of international humanitarian cooperation is the key factor in an effective response to contemporary challenges and threats, and enables the accessibility and expanded application of contemporary management and production technologies, ensuring the well-being of present and future generations.”

Taken from the final declaration of the fourth Baku International Humanitarian Forum on October 3rd, this statement was part of a document adopted as a result of the two-day forum which brought together more 500 guests from over 60 countries.

“We recognize that the Baku Humanitarian Forum, traditionally held on the initiative of Azerbaijan, constitutes an important contribution to the development of multiculturalism, based on humanitarian practice as the basic value of the post-modern era,” the document concluded.

The event’s participants noted that a range of countries, including Azerbaijan, have achieved significant progress in recent years in the planning and management of sustainable development, which has been reflected in the figures and reports of international organizations.

“We pay special attention to the need for further development of international cooperation to transform society from a society of consumption into a humanitarian society of consumption on the basis of sensible sufficiency, as well as to achieve a way of life that meets the demands of ecological civilization,” the document noted.

The participants of the forum also recognised the importance of the application of nano and biotechnologies, based on the latest scientific achievements, and the convergence of contemporary and traditional technologies to ensure food and medicinal security, raise the quality of life and achieve the human potential for longevity.

“We acknowledge that the development of human potential through the integration of the latest knowledge and skills, including interdisciplinary, in a program of continuing education, as well as the expansion of cooperation in this sphere, are the key humanitarian components of sustainable development,” the declaration stressed.

The participants of the fourth Baku International Humanitarian Forum also called on various national and international structures specializing in humanitarian development to systematically hold forums, conferences and roundtables aimed at creating an atmosphere of tolerance and mutual respect within which to resolve contemporary local and global challenges.

“We note the need for such forums to be held annually and express our profound gratitude to the President and government of Azerbaijan, the Heydar Aliyev Foundation and all the organizers of the Baku International Humanitarian Forum for holding this major, productive event,” the document said. “We consider it necessary to pass this declaration and to make use of it to strengthen cooperation in humanitarian development.”

Initiated in 2010 by President Aliyev and former Russian President Dmitry Medvedev, the Baku International Humanitarian Forum is a high-profile global scientific and political platform for tackling the challenges facing humanity in the 21st century, holding dialogue, discussions and an exchange of views on a wide range of issues related to humanitarian cooperation.

Ernst Theodor Wilhelm Hoffmann: Artist, Composer, Writer

A creator of the Nutcracker. An adult fairy tale’s author.

The development of the Romanticism in Russian literature (1800-1820) is inextricably linked with the disenchantment in rational basis of the Enlightenment and the search for idealism, to make the world a better place, which is reflected in the works of two European authors: Walter Scott and Ernst Theodor Wilhelm Hoffmann.

The premise of Romanticism, namely, the historical genre, penetrated in Russian literature through the reflection of the Walter Scott works. The heroes of Romanticism yearn for their ideals. The interest in the historical and folk themes, love of the motherland, nature, ballads run like a golden thread through the works of the foremost Russian poets and writers like Vasily Zhukovsky, Alexander Pushkin and Michael Lermontov. The late period of Romanticism in Western Europe, in its turn, was full of pessimism and tragedy. It was called – “the malady of the age”. The heroes of the novels were wrapped up in despair. The idealism was lost forever in favor of evil. The writers searched for the answers in art. The theme of “horrible mystery world” was especially reflected in the works of the German writer, Ernst Theodor Wilhelm Hoffman, who became an antagonist of evil and mediocrity.

Hoffmann-Artist

Hoffman was born in Königsberg ( Kaliningrad) in 1776, where he had been living his early life for 20 years. Hoffman’s father was an attorney and wanted his son to follow his trade. The atmosphere at home, where his father having drunk to excess and his mother having had a meltdown, influenced the character formation of sensible Hoffmann.

Feeling the atmosphere of the house so leaden, young Hoffmann tried to escape from that world, filled with scandal, reproaches and falseness. Having created a protected zone for his imagination, Hoffmann secluded himself from the reality through his heroes. Even after having finished university on father’s orders, he didn’t lose interest in art, music and literature.

Working as a court reporter, Hoffmann was writing letters and drafting sketches to his paintings during the Court sessions. Often, instead of signing to letters, he drafted his portrait. Most of his drawings were caricatures of town folks people, where Hoffmann tried to chastise them. One time, he presented through water-color drawing the egoism and sated with pleasure the official Stephen von Stengel. Another time, the subject of his ironical scrutiny became the owner of a huge antique collection and a monastery canonic Georg Ster. Once during the dancing party, he decided to spread the caricatures to put a satirical spin on society. The cartoon style of sketching created many enemies around Hoffmann. Along with that, Hoffmann painted serious portraits. The portrait of a doctor from Bamberg, made by gouache painting; the portrait of the family Kunz; the portraits of actors and also some drawings to his literary works.

Hoffmann- composer

Almost everyone who likes ballet or has ever been in The Royal Ballet, heard about the ballet “The Nutcracker” by Peter Tchaikovsky. Perhaps, one knows that the ballet was loosely based on the story, written by Ernst Theodor Wilhelm Hoffmann.

Besides the Nutcracker, the vivid image of the literary characters came to fruition in the libretto or mis-en-scène to “The Kreislerian” by R.Schumann, “The Flying Dutchman” by R. Wagner, “Giselle” by A. Adam, “Cadillac” by P.Hindemith, “Coppelia/ The Girl With The Enamel Eyes” by L.Delibes.

Hoffmann himself liked music more than anything in his life, and dreamed of dedicating his life to music. He even took his name after Amadeus Mozart and since 1805 (as he was 29 years old) had been called Ernst Amadeus Wilhelm Hoffman.

Hoffmann perfectly played the piano, pipe organ and violin. Had a nice voice and was an orchestral conductor. Composed sonata and church music.

His first steps as a composer, he made in 1799 (23 years old) and wrote a three act Singspiel “Die Maske” (Mask). Later in 1804 he firstly signed his sheet music “Die lustigen Musikanten” ( Merry musicians) Amadeus Hoffmann. In 1804 he moved to the homeward of Frederic Chopin, Warsaw, Poland and devoted himself utterly to music. He wrote several operas and songs. The most famous of his operas “Undine” he finished in 1815. Waltz, sonatas, operas, symphonies, overture, rondo, church music- Hoffmann wrote a lot, but music didn’t put food on the table. And he had to earn money in any manner whatsoever.

Hoffmann-writer

The first novel Hoffmann wrote to earn his keep. He lost the job in the Court and couldn’t continue as a composer. He was 33 years old. It was published in the General Music Newspaper. All written stories and novels of Hoffmann can be called “after dark”. Even if the plot contains a daily atmosphere, penetrated with a sunny spirit of Italy. Hoffmann is a writer of a darkness mind, deep shadows and mysticism. Hoffmann was an idealist and through the heroes of his books tried to restore people from drawbacks and sins. He struggled against narrow -mindedness and tried to awaken a child through his adult fairy tales with an aim to lift the veil on idealism.

The stories of Hoffmann are full of satire and allegory with a double plot- real and fantastic.

In the Little Zaches/ Great Zinnober, for example, E.T.A. Hoffman satirized philistinism. He took Mickey out of a petty bourgeoisie where every ugly man, having money, was seen as someone particular, handsome and talented. In such a way, Hoffman shows his disgust to the society, holding in reverence everyone with a title and money.

The allegorical example of Hoffman’s novel can be seen in the Life and Opinion of Tomcat Murr. In that novel Hoffmann’s tomcat was taken as the protoplast. By means of the allegory, he described the voluptuousness and vanity of the society.

Sarcastic and satirical Hoffmann was a favorite writer of Fyodor Dostoevsky. Dostoyevsky, who was an old hand at describing human nature and sins, read all novels of Hoffmann several times in the translation and the original. Under his inspiration, Dostoevsky wrote his famous short novel “The Double”. Hoffmann had also a great impact on the works of Edgard Poe and Howard Phillips Lovecraft. He was very beloved by Nikolai Gogol and Alexander Pushkin.

Nowadays, Hoffmann is still very cherished in Russia. His works continue influencing a lot of the contemporary authors and artists. In 2019 he issued a book “The Russian circle of Hoffmann”. This book is being crosscut with Hoffmann’s heroes, works or even his own personality. Since 2016 there has been a literary competition “Russian Hoffmann”, where every author and poet may participate. In 2022 is going to be a big celebration in Russia and especially in Kaliningrad, a native city of Hoffmann, to mark a 200-year Anniversary year of the writer, composer and artist’s death.

It is a pity that for all its talk about the museum of Hoffmann, there is the only one in Russia. And it is not even a museum in the sense that it does not have its own building. This kind of exhibition, which can be visited or seen in Kaliningrad is mostly about Hoffmann and his heroes, where the admired artists present their works. There is nothing left in Russia after Hoffmann, except the stone, identifying the French street 25, where Hoffmann used to live before.

The Hoffmann’s exhibition contractor and the arts curator of the Historical Museum in Kaliningrad, Pokladova Valentina, says that in 2021 is planned to issue a new catalogue about Hoffmann. The works of Hoffmann are so beloved, that his heroes continue to live. The Russian theatre director from Sankt Petersburg Robert Sturua stages performances in different Russian cities, based upon the books by Hoffmann. Valentina Pokladova emphasizes that the exhibition, dedicated to Hoffmann, has been organized for the first time in 2006 and contains various paintings, made by artists from Russia, Germany, USA, Lithuania and Belarus. She says that it is planned to realize one more project and erect a monument of Hoffmann near the historical museum. Who knows, maybe after the 200-year Anniversary year of the Hoffmann’s death, he will have finally decided to build a museum, dedicated to his legacy.

WWW.OCAMAGAZINE.COM text by Tatiana Smorodina

FROM MASSACHUSETTS TO TASHKENT: A CAREER IN INTERNATIONAL AFFAIRS

WWW.OCAMAGAZINE.COM  OCA#35  SUMMER 2020 Interview with Michael Schena recorded by Saniya Seilkhanova

Growing up in Plymouth, Massachusetts and later studying at Louisiana State University (LSU) in Baton Rouge, Louisiana, where he pursued a degree in International Affairs, Michael Schena decided to pursue a career that would allow him travel and work. A regular visitor to the countries of Central Asia, Schena, had been able to develop wider co-operation between the United States and the Central Asian countries while also enjoying the culture and traditions on offer. Open Central Asia Magazine took time to find out more and what Schena thinks of future directions in such co-operation.

OCA Magazine: What was it that led you to consider pursuing such a career path?

Michael Schena: Two of my Professors who were also mentors suggested I consider looking at the Foreign Service Exam and internships with the State Department. Those Professors were Dr. William Clark, a former Soviet specialist and Dr. Benjamin Martin a European History specialist. While at LSU I had my first major work outside the US experience. I served as an English teacher at a school in Shaoxing, PRC in 2005. As luck would have it I was accepted into a State Department internship program in 2006. From the internship I was hired in 2007 as a Foreign Affairs Officer.

OCA: You have wide experience in working with Central Asian countries. What was your first impression when you came to this region for the first time?

MS: The first my first of many visits to the region was to Kazakhstan, the US Embassy asked me to come out. I was already in the middle of a short-term assignment in Budapest, Hungary, so I had to work with our local staff to try to get a visa from the Kazakh embassy there – that was an interesting experience. From there when my assignment ended in Budapest instead of heading back to the US I got on a flight from Frankfurt to Astana (now Nur-Sultan). I still remember when I landed it was snowing so hard and it looked like the snow was snowing upward from the ground. I remember thinking to myself what have I gotten myself into? It was great experience with lots of accomplishments and was the first of many trips to the region.

OCA: Did you experience a culture shock?

MS: Not much, I am hard to culture shock, I went from living in Massachusetts to living in Louisiana, that’s about as different states as you can get, so Kazakhstan, yes the -40 degrees cold weather was something else but fortunately I bought heavy winter clothing in Budapest and a big fur Ushanka and I was fine in the weather.

OCA: What features did you notice in Uzbekistan that differ from other countries in Central Asia?

MS: Uzbekistan Is definitely much more urban while still holding on to its agrarian economy. Uzbekistan has the most amazing nuts and fruit. The watermelons there were incredible. They are this dark maroon inside and so full of flavour. I have never seen that anywhere else. The Uzbek people are also very approachable, welcoming and warm. If I needed any help with anything someone would always attempt to help even as I struggled through my limited Russian language skills. Literature and culture: I loved the traditional dances I was able to see a few. I also found it absolutely amazing that Samarkand was the centre of so much discovery and learning in the ancient world, from making major progress in Algebra to having one of the first major telescopes. I always heard about these inventions, but rarely are they attributed to Uzbekistan – when people think of this coming from Muslim scholars they think Iraq or the Arabian Peninsula.

OCA: Based on your previous experience working on projects of co-operation between the U.S and CA countries, what are the main spheres of economic or trade cooperation between the countries?

MS: My greatest accomplishment with Uzbekistan was the finalisation, approval and signing of the 2010 U.S. – Uzbekistan Science and technology Agreement. Although I no longer work on that portfolio I still see occasional updates about its success. This area, educational exchange, cooperative science and possible commercialisation of science could be an area ripe for development between our countries.

In 2012, I was invited to speak at a trade and foreign investment conference held in Tashkent, and even President Karimov addressed this event as a priority for the country. At that conference, I presented on a program the United States helped establish in Chile, called Start Up Chile where the government gives a grant to entrepreneurs from all over the world to come to Chile and build their business in Chile. I thought this was a good model and could be utilised by the government for a relatively small cost. One problem was that Uzbekistan did not at the time have diplomatic relations with Chile, so I helped connect people from the Uzbek Ministry with counterparts in Chile. That was a second major career high point for me connecting two countries that did not have formal relations to discuss on areas of mutual benefit.

Other areas that will remain important are exports, imports, oil and gas, security, counter terrorism, counter-narcotics, more FDI in the country. More barriers to FDI need to be removed -for example, there is a GM-Daewoo plant in Uzbekistan that can’t keep up with demand just within Uzbekistan, never mind the opportunities of selling throughout Central Asia and the broader CIS countries, but this plant has been unable to expand its operations due to limits on taking cash out of the country to get the supplies needed to expand.

OCA: What priorities do you think The United States could develop more with the Central Asian Countries?

MS: The US needs to find ways to continue to expand co-operation and economic linkages beyond the security sector. Both Uzbekistan and Kyrgyzstan have been vital parts in the War in Afghanistan and are key players in the Northern Distribution Network. The NDN should be utilised going forward as another way to ship goods into and out of the region.

OCA: Based on recent events in the world due to the pandemic, how has your work changed? And what obstacles have you faced?

MS: For me the biggest obstacle is that I am a people person – I do much better work with people in the same room than over video conferencing or endless back and forth e-mails. I believe this will go on for a few more weeks then hopefully I can return to the main building for work.

WE SHOULD BE HELD ACCOUNTABLE FOR THE QUALITY

In 2021 the L.N. Gumilyov ENU celebrates a quarter of a century since its birth.

The young and promising university was founded on 23 May 1996 by merging two well-known universities – Akmola Civil Engineering Institute and Akmola Pedagogical Institute.

The first intake of students amounted no more than 1000 people. The university was in the midst of a historic mission. Today the university provides new priorities for training the professional elite of Kazakhstan society and has consolidated its position as a leading educational and scientific centre, also known abroad.

In 2012 ENU was awarded Best Service Company (Gold Standard). The university was among the top 400 according to the QS World University Rankings. ENU was one of the first Kazakh universities to such international ranking, opening the way for other national universities on the road towards international recognition.
In addition, ENU became the only CIS university in the top 50 developing universities, which opened no longer than half a century ago. According to QS World University Rankings Top 50 Under 50 the L.N. Gumilyov ENU was ranked number 38, ahead of hundreds of universities around the world.

It is pleasing that Kazakhstan’s quality is gaining recognition. Over the decades, the university has been aiming for recognition as one of the top three classical Kazakhstan universities under various versions of national Credit-Rating agencies: IAAR (Independent agency for accreditation and rating) and IQAA (Independent Agency for Quality Assurance in Education). Certainly this is a quality indicator of educational services, science, lecturers’ professionalism and general teamwork.

The L.N. Gumilyov ENU sits in the heart of Eurasia and the capital of Kazakhstan. Since its establishment it has attracted the attention of progressive and young people. We are chosen by the owners of state education grants, lapel badge “Altyn Belgi”, winners of republican and international academic competition, children with achievements in sports, culture, and art.

The number of students increases from year to year. Within the last five years alone the amount has grown by 42%. Overall, 20,000 people currently study at ENU. Educational activities are taken in 242 educational areas, and the figures are increasing.

In the framework of the state program “Digital Kazakhstan” experimental education programmes have been developed, among them IT-management, IT auditing, environmental audit, computational linguistics and digital forensics.

Positioning the ENU on the international stage is ensured through the Eurasian Association of Universities, Association of Asian Universities, Turkic Inter-University Union (brings together university of Azerbaijan, Kazakhstan, Kyrgyzstan, Uzbekistan, Turkey and Turkmenistan), UNAI (The United Nations Academic Impact is an initiative that aligns institutions in supporting and contributing to the realization of United Nations goals and mandates).

Major efforts are being undertaking by the Council of chancellors of Kazakh universities and Scientific and Educational Consortium of Belarusian and Kazakh Universities.

The ENU is also a party to the IREG, the Regional Network for Education and Training in Nuclear Technology (STAR-NET), CIS Net-University, SCO University, Turkic Inter-University Union, Scientific and Educational Consortium of Belarusian and Kazakh Universities.

ENU’s international cooperation is based on 400 agreements with universities and research organizations in 50 countries. The Cooperation Framework – academic mobility, internships for masters degree students, joint scientific research, cooperation within Erasmus+ and etc.

Within the framework of academic mobility under bilateral agreements, ENU receives and sends students to and from Europe, USA, Asia and CIS.

An important area for international cooperation has been the establishment of the Cultural Education Centres in Belarus, China, Turkey, Iran. Further Centres are envisaged in India, Romania, South Korea and Lithuania.

On 6 October 2017, the annual ceremony “Springer Nature Awards” were convened by the National Centre of Science and Technology Evaluation, together with international publishing house, Springer, which acknowledged the most published authors and organisations from Kazakhstan and countries of Central Asia. ENU was awarded recognition in the following categories: “Top Springer Organization”, “Top Springer Author”, “Young Scientist Award”.

At the present time 16 scientific journals are published in the L.N. Gumilyov ENU: “Eurasian Mathematical Journal”, “Eurasian Journal of Mathematical and Computer Applications”, “Problems of engineering drawings and vocational education” and “The L.N. Gumilyov ENU’s Herald”, most of whom belong to the list of publications recommended by Ministry of Education and Science of the Republic of Kazakhstan.
Scientist, the winner of “Top Springer Author” Ratbay Myrzakulov, holds the record in Kazakhstan for the number of articles in journals published by one author during a year. The list also includes the names of the dozens of other scientists from the L.N. Gumilyov ENU.
An important indicator of scientific impact is the level of the citation index of publications. For the past five years the average citations of our scientists have represented about 3,05. The rate exceeds the national average by more than 2,5 times.

Significant scientific advances of academic teaching staff are confirmed by the results of competitions for personal awards in the field of science, public scientific grants for young scientists, and those who have made outstanding contributions to science and technology.The union of ENU’s young scientists is “The best Council of Young Scientists”.

L.N. Gumilyov ENU is one of the first Kazakh universities to implement skill enhancement for academic teaching staff in the international arena – in top foreign universities in USA, United Kingdom, Japan and other counties.

There is also the Centre of distance education technologies. In order to make accessible materials and automating the educational process, Moodle was launched, which ensures students’ access to learning and control materials for all type of sessions. A portal of mass open online courses was initiated. This portal and the courses are available on it provide the flexibility in education, learner accessibility and mobility.

The task of the media and information literacy programme of students and lecturers is also in focus. Workshops and trainings on using the resources of the Internet, database presentations and individual consultations are being organised to achieve this task.

Diplomas of L.N. Gumilyov ENU with personal template have been issued since 2019. Currently the university has 20 dissertation councils for awarding PhD.
The university holds first place, by number of publications in journals, with databases run by Thomson Reuters, Web of Science, Scopus and Sci Dire impact-factor.
As part of the transition to research university rank, the scientific school has placed special emphasis on creation the necessary conditions for the science of our staff. This has certainly affected the facilities and resources, providing the necessary base for international scientific co-operation, which formalizes the creation of scientific and educational consortium world research centres and universities. Part of this has entailed opening branch offices of the L.N. Gumilyov ENU in foreign countries. Step by step over the years the university has been granted status of the leading university of the republic and today is proud to put quality mark, guarantees and assurances on its diplomas.

Today a new strategy of the ENU for the following years is being formulated according to education and science state program of the Republic of Kazakhstan.
ENU’s staff have been working on the future development of the university. This is closely related to contemporary realities and future global processes, to stay ahead of the curve. Most importantly our desire is that qualified specialists graduate with a great deal of knowledge that will benefit them throughout life, guide them and point towards the right decisions.

10 Questions with Malika Sharipova, a founder and director of CARE CSR

Interview with Malika Sharipova

Malika Sharipova is a founder and director of CARE CSR. She is a CSR and sustainability specialist holding two MSc degrees in Social Responsibility and Sustainability (Aston Business School, UK) and in Management (KEDGE Business School, France) with international experience. Striving to advocate sustainable and responsible practices among businesses in Central Asia and particularly in Uzbekistan, she has spent the last five years conducting research on Corporate Social Responsibility in Uzbekistan and Europe.

Could you please tell me about your background and what brought you to this industry?

I am a Corporate Social Responsibility (CSR) specialist with a Masters degree in Social Responsibility and Sustainability from an Aston Business School, UK. It was one of the first courses in the world at that time which focused on training CSR and sustainability specialists. It is pertinent to mention that 2014-2015 – years when I studied there, Birmingham has been ranked as the most sustainable city in the world. I was lucky that my studies included close interaction with local businesses and city administration by participating in Birmingham “Thrive”. This participation provided me with a unique opportunity to learn from the best practice. It was a platform, uniting practitioners and academia on topics such as CSR, responsible business, corporate governance and sustainability. Of course, my studies at KEDGE Business School, France and the University of World Economy and Diplomacy, Uzbekistan widened my knowledge and skills and helped me to become who I am now.

After years of studying and working in the European countries and Pakistan, I have decided to return to my home country in 2019 and establish a CSR consultancy. I truly believe that it is high time to enter these emerging markets of the region as many countries in Central Asia are opening up to the world and waiting to be explored by global businesses. As more and more companies in the world are supporting values, such as no forced and child labor, environmental protection and ethical business and trying to make a positive impact in the emerging markets, there is a growing demand for responsible and sustainable partners and supply chains. Some local companies have recognized this trend and are looking for ways to adapt to new realities and become more transparent and responsible, many more companies are yet to understand the benefits of CSR practices.

Please tell us more about your company/products/services?

Central Asia Responsible Environment and Corporate Social Responsibility (CARE CSR) is an international consultancy established to bring world-class sustainable business practice to global supply chains.

CARE CSR is established to help businesses in Central Asia to develop and apply appropriate strategies for environmental sustainability and social responsibility. CARE CSR works with organisations at any stage of the sustainability journey, without judgment, helping to transform their businesses for positive impact on People, Planet and Profit. Sustainable business practices are fundamental to long-term success in global markets. We advise organisations, giving them the tools, they need to develop winning strategies, embed responsible practices into their everyday operations, reduce their ecological footprints and communicate effectively with all stakeholders.

CARE CSR also conducts materiality analysis for companies, develops relevant CSR and sustainability strategies, offers bespoke CSR training packages designed to embed CSR practices throughout the organisations and helps to produce CSR (non- financial/sustainability) reports.

What obstacles have you faced during COVID-19? And how are you planning to overcome it?

CSR consultancy services have faced many obstacles and challenges during COVID-19 as they are closely linked to the state of other businesses. Many businesses in Central Asian countries have ceased their operations due to quarantine and feel insecure about their future. Besides during financial hardships many local companies tend to look at CSR efforts and expenditures as something redundant or not vital. The aim of CARE CSR is to communicate and provide evidence that CSR provides opportunities to overcome challenges linked to COVID-19. Companies could work on improving their standard operating procedures to streamline them with responsible principles, low activity periods could be used to train personnel. Improving transparency, conducting business more responsibly, turning them green and communicating it effectively could make companies stand out among their peers. Overall, it is well-acknowledged that CSR could serve as an essential instrument to overcome difficult times.

We are trying to retain existing partners and reach out to new customers to communicate those benefits but without face to face interactions this has become a challenge itself. That is why we are focusing on working online, doing online studies and surveys, interacting with international organizations and clients to promote CSR practices in Uzbekistan using new tools such as video calls.

Which industries will be more profitable once pandemic is over ?

COVID-19 has accelerated the development of information technology (IT) and artificial intelligence (AI), many people work from home, online conferencing tools such as ZOOM, Hangouts meet, Slack and others are becoming an integral part of work and life. Online shops and grocery retailers received another boost during quarantine times. For instance, Amazon is planning to recruit more employees to cope with a surge in online orders. Robotic automation and AI programs will soon be replacing humans to achieve long-term resilience and sustainability in production.

Personal protective equipment (PPE) producers will be blooming as the demand for such health products will rise. We can see that several companies have turned their hand or retooled to produce PPEs, disinfectants, ventilators and other medical equipment. Of course, we also have to mention the soaring demand in the pharmaceutical industry.

Based on your experience, how should an organisation adapt to external changes and risks?

The sustainability and the development of the organisations depend on many factors including readiness to changes according to the surrounding environment, open mindedness of the management and the ability to meet the internal and external demands. It is also pertinent to mention the importance of risk management, conducting regular risk assessment, developing relevant risk prevention strategies and interaction with all stakeholders. For all these tasks relevant CSR strategies might provide viable solutions.

What motivates you to keep going despite obstacles and uncertainties?

Well, it depends on how you see obstacles and uncertainties. The best way to overcome difficulties is to see them as opportunities to adapt and improve. Changes bring new ideas, open new horizons. For Central Asia, for example, global pandemic has demonstrated that the countries of the world are very connected. Many regional countries relied heavily on export of raw materials, while distance played an important role. All counties of the region are landlocked which makes export and import procedures more expensive, the new type of coronavirus made it even worse. Plunge in oil and gas prices has removed the financial cushion for the countries. COVID-19 also intensified the competition for investment as during the financial resources prefer to weather the financial uncertainties in more economically advanced harbors. To improve their attractiveness, many economies need to embrace changes and common rules of open and responsible business.

Traditional markets, retails, restaurants, constructions – all have ceased their activities. Many people expect that the governments should help them and be more accountable and transparent when it comes to public expenditures. These factors have increased the need for economic and social reforms in Central Asia and forced many governments to adapt to new realities. In some ways, the pandemic became a blessing in disguise. These are the changes, which motivate me, keep me awake at night. It is high time for our team to promote responsible business practices, to help to raise awareness on environmental and social issues.

In your opinion, what are the main factors of growth and development?

Today everyone and everything is interconnected, globalisation links companies, industries and people from all over the world. This creates an opportunity for companies both in western and developing countries, helping them to advance their economies and communication by widening their export and import geography. Globalisation also urges companies to grow and develop to be able to meet the modern and constantly changing demands. It is never important to strive for innovative ideas to be able to survive among global competitors. Technological boom and environmental challenges are also factors for the growth.

But among all the main factors of growth and development I would single out the improvement of human capital. In any high or low times, having skilled and dedicated staff can help to achieve impressive results.

How important is it for your organisation to cooperate with organisations from other Eurasian countries? Do you think that international cooperation is important for business?

Organizations from other Eurasian countries in the field of CSR are working in a similar situation as CARE CSR. Learning best practices from each other could help to improve the ways to solve analogous challenges.

Besides, the countries of Eurasia are the major business partners of Uzbekistan and other Central Asian countries. Many companies in the region are linked through production chains. Working together to improve openness and responsibility could increase their chances of integrating into the global economy.

Of course, international cooperation is important more or less for many businesses. In Uzbekistan, the government has prioritized foreign investment, tourism, export, IT and innovative technologies. This vision has been enshrined into the development strategy of the country for 2017-2021. To achieve the set goals organizations, public or private, need international cooperation.

Does your corporation have any partners from Western countries, such as the United Kingdom?

Organizations from the Western countries play an important role in promoting CSR in Central Asia. Business entities of the advanced economies serve as role models, which define current rules of doing business. If they are inclined to follow CSR strategies and demand similar practices from their Central Asian counterparts then the need for services increases. For instance, local textile producers are showing their interest in meeting some global standards and acquiring international social and environmental certificates/audit systems, producing non-financial reports.

I recently completed a project with GIZ on assessing CSR needs in Uzbekistan and currently looking forward to working with our European colleagues to promote CSR practices among textile producers.

CARE CSR has a team member from the United Kingdom who is an experienced consultant specialising in sustainability, green technologies and circular economy. Our aim is to unite professionals from the Western and Central Asian countries to promote jointly responsible business practices. We would be very interested in cooperation with UK partners in order to become a bridge or a convenient platform facilitating trade, investment and sustainable development among the European and Central Asia countries.

What advice would you like to give to our readers?

Rapid global economic development is causing damage to the world climate, environment and biodiversity, with serious ramifications for people and societies across the globe. Nowhere are the effects of this unsustainable development felt more keenly than in the emerging markets of Central Asia where the exploitation of commercial opportunity in cotton and textiles has had such devastating effects on the environment of the Aral Sea and the peoples who relied on it for their livelihoods.

As we all wake up to the dire consequences of irresponsible human behavior in the face of COVID-19, I would call all the businesses to start developing environmentally friendly strategies and having their share in solving societal issues.

The ‘Silk Road’ Exposed: Why it was never a single road, had little to do with silk, and rarely set about linking East with West

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