Around this time three years ago, I posted about the video game “Metro 2033″, based on the novel by Russian journalist Dmitry Glukhovsky. The sequel (“Last Light”) has just been released, thus prompting this post. The setting of the series is an underground society founded by survivors of a nuclear war that was waged in 2013 (yikes!). They scrape by in the Moscow subway system, which has transformed into an almost Biblical sheol. NewEurasia’s snobbish managing editor Sanjar says, “it’s no War and Peace”. Sure, sure. But speaking as a person who’s probably imbibed way too much post-apocalyptic fiction since childhood, Glukhovsky and his compatriots at 4A Games have made one of the more engrossing scenarios in the genre. The series mixes mysticism, science fiction, and politics in an unusual way. It’s also nice to see some Eurasian sensibilities injected into Western popular culture; we’ve been surely lacking it since the Seventies.

Besides the horrific mutants prowling the ruined surface and the endless subterannean labrynth of tunnels, vents, and pipes, the survivors must also contend with each other. In an obvious satire of both Soviet history and contemporary Russian society, the metro has largely been divided into four major factions — the neo-Nazi Fourth Reich, the neo-Stalinist Red Line, the neo-liberal Hanseatic League (or “Hanza”), and the neo-pagan Polis. Polis is the most intriguing, as it is also the least explored (at least in the games). Insofar that the series is also a deconstruction of modern civilization, Polis represents something of a Camelot, an idyllic last bastion of balance between material and spiritual needs, which also serves as a kind of symbolic capital for the metro. A fifth faction, the Rangers (or “Spartans”), descends directly from the Russian military and is ideologically non-aligned but sort of politically aligned to Polis. The Rangers are on a mission to protect the metro, a loyalty-to-the-whole notion.

There is a surprising connection to Central Asia in the form of of one of the series’ most memorable characters, the mystical Khan Aitmatov. He is sort of a walking, talking, shooting piece of Russian Orientalism, right down the martial badassery, lonely nomadism, and panpsychism:

“Most people believe the Metro to be just tunnels and stations, a lifeless and soulless conglomerate created by human hands alone. [But] the Metro is a living, breathing thing… with a heartbeat and a soul — and a mind.”

Nevertheless, he also serves as a crucial mentor for the main character. In fact, in the original game, he represents one of two philosophical worldviews, the other represented by Hunter, a Ranger. The dualism hinges upon the willingness (Khan) or unwillingness (Hunter) to embrace the unknown. Hunter’s worldview is presented as the empirical one (“If it’s dangerous, kill it”) Khan’s as the spiritual one (“It’s not any more ‘evil’ than, say, fire. It all depends on your point of view”). Hunter’s view has a certain kind of common sense to it, all the more so in the blasted purgatory of the metro. However, if the player adheres to Khan’s view, though, he or shall achieve the better of two possible endings in the game.

“He who is brave and patient enough to peer into the darkness his whole life will be the first to see a flicker of light in it.”

The original novel has spawned an entire literary universe (and unless Glukhovsky and his coterie don’t act quickly to instigate horrific nuclear war, it shall quickly become a uchronic series, too). There are now books examining the metros of several other post-Soviet cities, and even somewhat strangely, a Russian Artic base (I’m not certain about how utility this series would have outside of its setting). Last year, the series finally went West, with a novel exploring the ruined London situation. Rumor has it plans are in the works for Paris, but no word yet on New York, arguably the London and Moscow’s main rival for title of world’s most famous subway system.

Now, if I could get Glukhovsky on the phone, I would certainly offer him my services to write a New York edition. But I would also try to pitch him a Tashkent and, yes, even an Almaty edition. The New York edition would certainly have its own version of Khan, a walking, talking, shooting piece of American Occidentalism, a zany Bahá’í who believes in optimsim, rationalism, and that the apocalypse represents the best chance at unity humanity has ever had — but who also likes whiskey a wee bit too much, not to mention the ladies (shut up Sanjar, it’s obvious who this character’s based upon!) But who knows, maybe Khan has a long lost relative in Uzbekistan or Kazakhstan, too…

In some of my previous posts I have written about different aspects of contemporary national (and nationalistic) discourses and practices in Central Asia that can be easily traced in such things as architecture or food. Today I would like to recapitulate some of the important points from those discussions and to challenge the current mainstream perceptions of the origin, role and function of so-called ‘national values’ in the region.

To start with, I believe that there is no such thing as ‘national values’ for one simple reason that there are no specific human values that are shared exclusively by one nation, whatever it means. If we examine national stereotypes, ascribed to certain nations by the public opinion, e.g. punctual Germans, hospitable Uzbeks, understated English, hierarchical Japanese, polite Thai, practical Americans and boisterous Georgians, we could easily see plenty of opposite examples, e.g. relaxed Germans, unsocial Uzbeks, boastful English and so on. Well, I can hear some people saying, these are exceptions that merely prove the rule. Numerous works have been written to prove that statistically Scandinavians are not worse lovers than Italians and that Americans have a sense of humour, too (I know it’s hard to believe, but it’s true nevertheless). The point is that these so-called national qualities and values have been in most cases determined not by the mysterious ‘national soul’ or ‘mentality’ but by a range of contexts, including geographical, historical, economical and other factors which are inherently changeable.

Looking at the history of Central Asian states, one can only wonder at the enthusiasm of their current leaders, firmly ingrained in large parts of their population, to pursue the old bandwagon of the national state while the rest of the world have by and large recognised the impeding collapse of this modern edifice. Without much ado I would like to assert that this nationalistic zeal is both counter-productive and based on false premises and that Central Asians would do much better if they stop worrying about ‘their’ past achievements and claimed identities and move on thinking about the present and the future in a different way.

First, the very concept of ‘nation’ which has been currently recognised in the region, has dual origins and both are alien to the peoples of the region. The first one, rooted in the European history, links the ethnic origin, the native language, the territory and the self-identification of a certain people – but this is also relatively new invention. True, unlike in the Middle East or Central Asia, some forms of national states have been forming in Europe for centuries, giving us such distinct national cultures and states as German, French, Italian, English, Spanish and so on. Yet one should remember that even Germany and Italy with all their rich culture came to existence only in the 19^th century. The delusion that ethnicity is strongly linked to language, popular at that time, has caused immense confusion between purely linguistic identities (e.g. Semitic, Turkic, Roman etc.) and corresponding ethnic types which recent genetic researches have proven to me more than mixed. However, this very concept served the basis of the Soviet nationality construction programme which envisaged the global Communist state emerging only from a conglomeration of fully-fledged national states. This very concept continues to feed the recent passion for a nationalistic reinvention of history spread across the region.

Uzbek poster propaganding the “friendship of nations”
Title: “Uzbekistan – our common home”

Interestingly, current Central Asian leaders have been also forced to adopt a more recent, one can say, ‘American’ definition of a nation as a group of peoples of different origin, religion and even language bound together only by their loyalty to the state. The cult of independence and of presidents, the anti-Soviet sentiment and the unfriendly and unhealthy political relations between different states of the region are symptoms of the strong desire shared by all the leaders of the states to develop in their citizens a strong feeling of affinity and allegiance to the national state and, particularly, to their top leaders.

The problem is that both concepts are fundamentally alien to the whole Muslim and to the Central Asian world in particular, and both are becoming obsolete not only because of the ‘threat’ of globalisation, but mostly under pressure from a more fragmented, fractured and complex world, which is being reorganised with the help of international travelling and the internet along very different and complex lines and borders.

There were no nations in Central Asia, nor were there any national states with their national languages and clear ethnic distinctions before the Russian imperial invasion and subsequent Soviet re-occupation and there was no need for any. People used to think of themselves and organise themselves in completely different ways. However, as (formerly?) in the Balkans, Rwanda and other areas, people grow increasingly aware of their supposedly common ethnic origin and increasingly hostile to those who subscribed to other, equally mythical, national identity. On the other hand, the concept of nation as a state is compromised first, by confusion with the previous definition and second, by extremely hollow and thin cultural identity offered as a replacement to the old ways. One can be forgiven for not being able to love a newly-formed Motherland which is younger than one’s children and which has only one tangible personification of this love – its president.

Yet, while the world is reinventing itself as a complex assembly of multiple, differently organised and overlapping communities, both the authorities and the people of Central Asia continue to get bogged in the business of ‘restoring’ national traditions desperately trying to merge the pre-national heritage with the modern (and already dated ) political realities. One can only hope that the next generation of local leaders will stop insisting that the mausoleum of Ismail Samani is an inseparable part of the Uzbek cultural heritage or that the Ahmad Hoja Yassavi architectural complex belongs to the Kazakh. And that is not because the former was arguably built by the proto-Tajiks and the latter – by the proto-Uzbeks, but because all these monuments belong to the cultures of the past, long gone and transformed into something quite different, which is very much in progress taking place right in front of our eyes. In other words, it’s high time for Central Asians to acknowledge their common cultural heritage and to move on, trying to forge common cultural links with the rest of the world, which at the moment is slowly disappearing over the horizon into the future which we may never see.

With this cultural virus we are clearly see that if people want to have fun, nothing will stop them. Fighting with Western influence or restrictions on Youtube will not  help the authorities.

Watch out! Central Asia is dancing!
Take a look at our special compilation with best Harlem Shakes from Kazkahstan, Kyrgyzstan, Tajikistam, Turkmenistam and Uzbekistan!

Editor’s note: You can find previous parts here: Part 1, Part 2

In my previous notes on modern Central Asian, in particular, Uzbek architecture I discussed the authentic patterns and basic motives for the demolition of certain kinds of architecture and the newly emerging tastes that dictate the architectural forms meant to replace them. Today I would like to discuss how these complex relations between the past and the present can be condensed in such small and yet highly important architectural forms as statues and sculptures erected in the past 20 or so years across the region. This will require a short introduction to the current context.

In all countries of Central Asiathe ‘glorious past’ of titular nations is undergoing an active and almost complete reconstruction. Serious officials in Kazakhstan are writing books asserting that Kazakh (or at least Turkic) was spoken in the Garden of Eden pointing at the word alma which means ‘apple’ and ‘don’t take!’ Tajik historians are reconstructing the true Aryan racial type; the late Turkmenbashi based his entire cosmology on the claim that the term ‘Turk’ had been invented by the Soviet scholars, while, in fact it was supposed to mean ‘Turkmen’, and so on. Although this process of reinvention of the past is by no means confined toCentral Asia, nowhere in the ex-Soviet states it has reached such a scale and recognition.

All this mythology assumes two mutually excluding things: that a certain nation has been able to retain its physical and spiritual core for centuries if not millennia despite all the wars, migrations, ethnic mix-ups, various linguistic, religious, cultural  and political permutations – and yet this very core requires reinforcement and some extra protection from extinction and a range of enemies: unfriendly neighbouring states, Russian and American neo-colonialists, Islamic fundamentalists, foreign values and so on. With the very concept of a nation completely alien to the Muslim population of the region until some hundred and fifty years ago, ‘the peoples… were acquiring new pasts, and with new pasts came a new and different sense of their own present identity and future aspirations’ (Bernard Lewis).

An obvious starting point for the acquisition of any new past is the figure of a founder or founders of the nation, the ultimate heroic figure. For the Kyrgyz it is their epic hero, Manas, whose statue has recently replaced the female figure of Liberty (which had previously replaced Lenin) on the central square of Bishkek.

The Statue of Liberty, replaced by the manly Manas in a telling gesture indicating the shift away from the liberal illusions of the recent past. Bishkek, Kyrgyzstan (photo: Umida Akhmedova)

In Uzbekistan, Tamerlane was elected for this role and his statues embellish the squares and crossroads of the country, not unlike Ismail Samani’s sculptures in Tajikistan.

Tamerlane is towering above local women looking after flower beds in his native town, Shakhrisabz, Uzbekistan (photo: Alex Ulko)

The statue of Ismail Samani, the legendary founder of the only Aryan state in Central Asia. Dushanbe, Tajikistan (photo: Alex Ulko)

In Turkmenistan, the first president famously followed the pattern set in Turkey by idolising the contemporary founder of the nation rather than his previous reincarnation or prototype – himself.

One of the early statues of Turkmenbashi in front of the Monument of Independence, locally known as ‘the Octopede’. Ashgabat, Turkmenistan (photo: Alex Ulko)

Kazakhstan had started with figures of some obscure khans but then stuck with the gold-plated armour of a warrior, quickly nicknamed Altyn Adam (‘golden man’) and reproduced across the country. In most recent years, however,Kazakhstan andTurkmenistan moved in opposite directions, with alarming symptoms of beautification of the living First President emerging in the former and interesting iconographic diversification in the latter.

Nursultan Nazarbayev’s high relief in the niche of the Kazak Eli, the Monument of Independence of Kazakhstan in Astana (photo: Erik Khisamiev)

‘Three wise men’ from Turkmenistan’s legendary past holding the late Medieval European hourglass over the modern globe at the Inspiration Boulevard. Ashgabat, Turkmenistan (photo: Alex Ulko)

 What is evident however, is that Central Asian authorities don’t really want to restrict themselves with a mere simulation of the mediocre European experience of immortalising their rulers (who can remember a single really memorable statue of any English or French king?). They are aspiring to achieve something altogether more impressive; to replicate and possibly, to overcome far more dashing Soviet efforts to merge a symbolic historic figure with an abstract national idea and to mould this mix in a single, aesthetically captivating image, like the famous Worker and Farmer statue inMoscow or the huge Motherland inVolgograd.

Perhaps, the closest to this monumental synthesis has so far been the notorious revolving golden statue of Turkmenbashi mounted atop a giant tripod (actually quite impressive, especially at night, moved recently to the outskirts of Ashgabat.

The most well-known Ashgabat landmark, ‘the Tripod’ has grown in size after it has been relocated. (photo: Alex Ulko)

Yet sometimes this megalomania is expressed in more abstract, but strikingly similar symbology.

The minarets of this huge mosque named after Turkmenbashi’s Spirituality (or spirit) are decorated with quotations from his Ruhnama (not the Quran) and are 91m high to commemorate the first year of Independence, 1991. Kipchak, Turkmenistan (photo: Alex Ulko)

This column is only a part of the Kazak Eli complex (with Nazarbaev’s statue at its base) erected to commemorate Kazakhstan’s independence and is – surprise, surprise, – 91m high and you already know why. Astana, Kazakhstan (photo: Erik Khisamiev) 

Whether any of the reconstructed pasts and eulogised presents of the current Central Asian states will survive the test of time, remains to be seen. What is beyond doubt, however, is that there will more attempts to achieve the same goal and that some of these will be as monumental and bizarre as the ones which have appeared in the duration of the last 20 years.

Of course, I don’t want to diminish the huge concern the world should have about this situation, but at the same time, I don’t want us captured by illusion either. “Free press” in Kazakhstan has always been a flexible, philosophical concept. As Freedom House (and others) note, “Kazakhstan’s media outlets are privately owned but firmly under the control of major financial groups affiliated with the regime.” In other words, the media is under the control of national elites, and what we on the outside see as “opposition” is frequently just disagreements and feuds between them (not to mention the fact that opposition and independence are not the same concept). This situation includes several of the agencies that have been recently drowned.

We should never forget that few regimes are as skilled at the spectacle of neo-liberalism as Kazakhstan’s. The “opposition” voices that shall survive this tsunami will be those pre-selected/pre-filtered, thereby giving a veneer of modernization to the country. And in the aftermath, they shall all be sounding the same cry as on Kazakhstan’s official new holiday, 1 December, “First President’s Day”, proclaiming: “One Country! One Destiny! One Leader!”

La Biennale di Venezia has for over a century been one of the most prestigious cultural institutions in the world. Ever since its foundation, it has been at the forefront in the research and promotion of new artistic trends. The 55th Venice Biennale will take place from June to November 2013.

The exhibition’s working title “Winter” is inspired by Abay’s poem. This project aims to address and bring a visual reflection on the complexity of the current socio-political context of the Central Asian region by employing the tools of the poetical and metaphorical language.

Artists from or living in Kazakhstan, Kyrgyzstan, Uzbekistan and Tajikistan are invited to propose works that could explore this given context. Young and emergent artists are encouraged to apply.

For more information: http://www.cap2013.net/opencall/
Deadline: 15th of October 2012

A scene from the new Kazakh film, "Myn Bala".

War; triumph; love; romance; empire; defeat; power; loneliness; togetherness; sacrifice; friendship; honour; homeland; youth; freedom; perseverance; legend.

Move over “Borat”! A new – epic, patriotic, heroic, non-offensive, cultural stimulating and historically perfected – film about Kazakhstan has been shot and put up on screen for the world to learn from and enjoy.

Released in Kazakhstan on May 3rd, the state administered Kazakhfilm Studio introduced “Myn Bala: Warriors of the Steppe“, a movie about Kazakhs overthrowing their Mongolian oppressors. The film was made by well-known Kazakh Director Akan Satayev, at an estimated $12 million, and the film brought in $1 million on its first weekend at the box office. The film’s team includes “Central Asia’s leading DoP Khassan Kydyraliyev (“The Light Thief”), script doctor Claire Downs, editors Nicolas Trembasiewicz (“Transporter”) and Christopher Bell (“The Bourne Ultimatum”) and action consultant Teddy Chen (“Bodyguards And Assassins”).” Moreover, the “Myn Bala” Facebook page (supported by 216 ‘Likes’) informs that the film’s leading roles are played by teenage actors of Kazakhstan, who were chosen from 40,000 hopefuls that showed up to auditions spread through out the country.

Much in relation to what these actors likely want to portray about their country on the Big Screen – on March 15th, Radio Free Europe/Radio Liberty (RFE/RL) informed how Kazakh President Nursultan Nazarbaev, who is quoted throughout the patriotic film, called “… on the country’s filmmakers to produce more “patriotic movies.“” Regarding foreign films, RFE/RL quotes Nazarbaev saying:

“”Seldom show the quest for knowledge, genuine friendship, true love, supporting one another, or simply the desire to work for the country, for the homeland.””

It therefore probably won’t make Nazerbaev happy to learn that the movie has been compared to Hollywood pictures: “Steppe Robin Hood” and “Think 300 across the Mongolian Steppe.”

However, much to Nazarbaev’s national Kazakh pleasure, “Myn Bala” indeed incorporates all the characteristics he considers to hold of upmost importance in films.

“Myn Bala is a universal story about the freedom of the human spirit and the struggle against slavery and despotism, as seen through the eyes of young Kazakhs in their teens.”
(“Myn Bala: Warriors of the Steepe,” Facebook Page)

RFE/RL describes the film as:

“With plenty of swashbuckling thrills and spills, it tells the tale of some brave Kazakh youths heroically rising up against their Mongol overlords in the 18th century.”

“Myn Bala” is a story about Sartai (played by famous actor Asylkhan Tolepov), a Kazakh teenager plagued by war, betrayal, love and power along the way of life. Sartai escapes from the occupying Dzhungar Tribe (Mongol Warriors) – which sought to restore the Empire of Genghis Khan (from which the Dzhungars descended). Seeking revenge upon those who attacked and killed his family, Sartai eventually gains support from multitudes of teenage Kazakh boys and together they begin a rebel force against the oppressive occupiers under the group “Myn Bala” – which translates from Kazakh to “a thousands boys” – and liberate their country. Sartai is in love with Zere, and all the while during war, endures the emotion turmoil every teenager experiences. In 1729, they officially enter battle with the Dzhungars at the Battle of Anyrakay (Anyrakay is a mountainous region, north west of the capital “apple” city Almaty). The boys come out victorious and Sartai becomes a Kazakh legend, a symbol of freedom.

The film’s trailer shows Sarati and his crew battling their opponents on horseback and in cold bloodshed. Feature quotes that emerge from various characters in the trailer give a great summary of what’s to be expected in the film:

“”Let the children and old people go!””

““I swear. I swear. I swear.””

“”Don’t come back without a victory.””

“”Only like this can we gain independence.””

“”Sartai, maybe I’ll never see you again, but I will remember this day forever.””

““If we don’t meet again on this earth, we’ll meet in paradise.””

About the culture of cinema – particularly this cinematic feature – Head of Kazakhfilm Ermek Amanshayev (the man often associated with “saving the local film industry in the post-Soviet era”) said:

“”Cinema is a myth-making industry and although we focus on the accuracy of the historical background the main thing for us is the legend – Sartay, the legendary hero.””

Thus, a tremendous amount of time and attention went into making sure the filming, story, costumes and so on were right on target. Art Director of “Myn Bala” Kuat Tleubayev said:

“”We made sure we didn’t have nails for example because they didn’t have nails at that time.””

“”The focus was that nothing should look new, it should look as if it came from that time.”"

In discussing the importance of portraying the integrated culture and history of Kazakhstan, in October 2011, Director Akan Satayev told Reuters:

“”The main thing for me is that the young generation should know the cost that our ancestors paid for our current independence and our freedom.””

Dicussing the importance the film has on Kazakh culture and society, Film Producer Anna Katchko told The Washington Times:

““‘Myn Bala’ is one of those projects which is important to give the country its identity.””

““It’s also a coming-of-age story about falling in love, first fights, losing friends and gaining them again.””

In terms of film popularity being good for tourism, Minister of Tourism and Sport Talgat Yermeghiyayev told BBC:

“”Making films is really important for our image building, for an international audience. I think it’s a good state investment to put money into it. After all, it’s just advertising the country abroad and hopefully attracting people in.””

Moreover, in an interview with BBC, Director Akan Satayev said:

““I think we’ve made a really good movie and I think it’ll appeal to audiences across the world. A great film knows no borders.””

The film knows no borders indeed. EurasiaNet.org informs how the film is leaping over language barriers and succeeding in entertaining culturally consuming the crowds:

“The film’s success is notable since it was shot in Kazakh (with a bit of Mongolian). Films in Kazakh often struggle in a country where only about two-thirds of people speak the language, but the movie (called “Zhauzhurek Myn Bala” in Kazakh, or “The Brave Thousand Children”) is showing in the original language with Russian subtitles in many theaters.”

An undeniable success, the film has made its way international, in more ways than one! Much to Yermeghiyayev’s pleasure, the film has been seen by the world, in film’s most important international festival!

On May 16th, Screen Daily informed that 108 Media, a Toronto, Canada based sales and distribution company, earned international rights to “Myn Bala”. 108 Media’s President Nathaniel Warsh is incredibly proud of the film:

““This is such an ambitious epic with flawless production values, we’re proud to bring the picture to the international marketplace.””

KazTAG also quotes Warsh:

“”This project with big potentials has been made perfectly. We are proud to present it at the world market.”"

The film has made its way to the 65th Cannes Film Festival/Festival De Cannes (2012). “Myn Bala” was set to screen in Cannes on May 17th. Tengrinews.kz reported that the film was to be shown on May 17th, at the “Film Market (the business counterpart of the Cannes Film Festival and one of the largest film markets in the world).” Click here for a picture of “Myn Bala” Producer Aliya Uvalzhanova with Berlin programmer Nikolaj Nikitin. For more photos of the film and the cast, click here.

Moreover, “The Student,” another Kazakh film by Director Darezhan Omirbayev was also included in the Special Screenings at Cannes. On May 21st, KazTAG reported that another one of Kazakhfilm’s productions, “The Student”, was also acquired by the international film distributors at Cannes Film Festival – by the German company Media Luna New Films. About “The Student”, Development Director of Media Luna New Films Alessandro Lombardo said:

“”Student” film really impressed us. We will have honor to present it at the world market.””

Beat that, “Borat”! “Myn Bala” has become an internationally acclaimed film that will have Kazakhs, and those interested in Kazakhstan, tuned in for all the right reasons! Also, given the popularity of “The Student”, it seems this current streak of international Kazakh cinema success is here to stay!

This tagline has been well linked to the comedic and controversial movie Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (Borat), which enlightens the audience on the culture of Kazakhstan (among other things), for a long time.

But, in terms of tourism in 2012, the tables are beginning to turn – some negative attention is turning positive, in terms of plane tickets and passports.

Borat is the infamous movie/ mocumentary/ satire/ comedy wherein Sacha Baron Cohen plays the character of Borat (BORДT) Sagdiyev, a “sexist, homophobic and anti-semitic“ Kazakh journalist who travels through the United States, with the goal of meeting Pamela Anderson. Check out neweurasia’s views on all topics (positive and negative) Boart.

When Borat was released in 2006, the movie was not at all received well in the region, resulting in it being banned not only in Kazakhstan, but also in Russia. Borat’s character has been described as “…a misogynistic, wife-beating Kazakh journalist with a penchant for moustaches…”. The movie was known to be one that, degradingly, “praises Kazakhstan for its superior potassium exports and comparatively clean prostitutes.” While some found/still find the movie entertaining, others feel just the opposite, and nor the movie or the main character Boart have sat well with them. Thus, in 2006, Romanian villagers used to portray fictional peasants in the movie opened a legal case against the movie’s producers. And, in August 2011, a Polish engineer who was called “Borat” at work won a lawsuit for racial slander.

However, with the bad comes the good, and as mentioned before – the tables are turning in terms of the Kazakh government’s acceptance of the movie. Mr. Sagdiyev has recently been doing more good than bad for the economy of Kazakhstan – even Foreign Minister Erzhan Qazykhanov thinks so! He was quoted saying:

“With the release of this film, the number of visas issued by Kazakhstan grew tenfold.”

“I am grateful to ‘Borat’ for helping attract tourists to Kazakhstan.”

In hopes of keeping this bustling 2012 tourism spike growing, to keep the world interested in the culture and country of Kazakhstan, Kazakh Minister of Industry and New Technologies Aset Isekeshev said the country is planning to abolish visa requirements with 34 most developed countries. On April 24th, Trend News informed on – without mention of Borat – tourism figures:

“In 2011 the number of inbound tourists hit 5.6 million and the number of domestic tourists – over 5.3 million people. The volume of services rendered in tourism industry amounted to 74 billion tenge (over $500 million).”

Central Asian Newswire continues with tourism stats:

“The tourism sector accounts for 4 percent of the tiny country’s gross domestic product (GDP), and Nasirdinov believes that the sector can increase its share of the economy to 12 or 15 percent.”

About the spike in tourism, which has also been credited by the unrest in the Arab World, Chairman of the Association of Recreational Facilities of the Issyk-Kul Region Akzholtoy Nasirdinov, was quoted saying:

“We expect a large influx of tourists from Russia, Kazakhstan, and other countries as well as unrest in the Arab world, Africa, the situation in Greece, forcing tourists to choose a safe holiday, and for that Kyrgyzstan is very well suited.”

But, 2012 isn’t the first time this movie has led to an increase in tourism. At the four-day annual World Travel Market tourism industry fair in London in November 2008, AFP News quoted Deputy Chairman in Kazakhstan’s Tourism and Sports Ministry Kenzhebay Satzhanov, saying:

“It was free of charge advertising and lots of people want to come and see our country.”

“The rise (in tourists was) maybe not so huge like we expected but in any case we saw interest.”

And in 2009, neweurasia’s Vicki wrote about a spike in tourism in Kazakhstan, caused by Borat:

“It would be interesting to compare Kazakh tourism numbers in 2007-2009 to those in 2006, the year before the movie came out. As it was, tourism increased by 13% in the second half of 2008 (Russia Today, ENG.) Unfortunately, hard tourism numbers for Kazakhstan are often hard to come by and if at all, are behind gated industry surveys. Of note is the estimate, “Online transactions for air travel are forecast to record double-digit annual growth to 2013.”

So, since tourism in 2012 is flourishing like never before, then the question we all want to know is – what famous places are tourists visiting in Kazakhstan? Has Borat encouraged you to visit Kazakhstan? If so, what locations are your taking your camera to, what restaurants are you eating at, what events are you attending and what are you learning about the true culture of Kazakhstan?

More people going to Kazakhstan means a better cultural understanding of the country and its people. However, though a boost in tourism shows how the movie Borat has had some positive effects, are the long withstanding negative effects Borat has had on Kazakh culture still too outstanding to be ignored?

It seems that all the negative attention hasn’t completely seized, after all.

Ironically, just one month before the headlines of Borat positively increasing tourism in the country hit the World Wide Web, a cultural mishap regarding Kazakh culture – involving Borat, of course – took place. In March 2012, Kazakhstan’s Maria Dmitrenko won first-place at the Grand Prix Chooting Championship in Kuwait. When she won, rather than playing the country’s anthem “My Kazakhstan”, a mock Kazakh anthem popularized by Borat was played. Rightfully so, the team requested a formal apology.

And about the recent Kuwait musical scandal, many questioned if playing the wrong anthem was done on purpose or on accident. But, it soon came to be known that:

“Kazakhstan’s Shooting Sports Federation said on March 26 that if it found out the Kazakh side was responsible for the mishap, it would “punish” those behind the mistake.”

This isn’t the first time the wrong anthem has be incorrectly played for Kazakh sportsmen and sportswomen. Radio Free Europe/Radio Liberty (RFE/RL) informs:

“Foreign Ministry spokesman Ilyas Omarov notes that at the world weightlifting championship in Paris last year, organizers were quick to apologize for playing a former Kazakh anthem by accident. The current affront, he says, is even more serious.”

These most recent cases involving Kazakhstan’s National Anthem are one example that alludes to ‘Yes’ – the long withstanding negative effects Borat has had on the culture of Kazakhstan are still too outstanding to be ignored and overshadowed by a positive spike in tourism.