From February 22 to March 14 a unique exhibition “Japanese dolls” is held at the Kyrgyz National Museum of Fine Arts named after G. Aitiev. Organizer of the event is the Japanese Embassy in the Kyrgyz Republic.
The working process on a monument to the People’s Artist of the USSR, a movie actor and artist Suimenkul Chokmorov is going at full drive in the capital of Kyrgyzstan. It is planned to open the monument this fall for the 75th anniversary of the deceased artist. Work on the future monument is going already the third year in a rented room of one of the Bishkek schools.
Regional forestry inspectors walk through a rehabilitated gold mine near Terek Sai village in the Chatkal region of Kyrgyzstan. These inspectors assist with ecological control and patrol for unlicensed hunters, illegal miners, and timber harvesters in the region. A contributor to conflicts between communities and international gold companies is the potential for environmental damage. This company and the Ministry of Forestry have rehabilitated more than 70 hectacres of land by planting fruits and other trees in 2009. Local geologists have calculated that there are nearly 100 tons of buried gold in this region.
In late January the concert “Music is the soul of nation” was held in Bishkek in the framework of the Program organized by the International Public Foundation ”Roza Otunbayeva Initiative”. First time the topic of the Program was Korea, and this time the concert was dedicated to Ukraine with all the colorful diversity of its culture. Folk dances, folk, pop and romance music, and much more performances were shown on the stage.
Exhibition of the Kyrgyz folk artist, Taalay Kurmanov, who is a Master with capital “M”, is held in Bishkek at the Exhibition Hall of the Kyrgyz Republic’s Union of Artists “The Oak Park” named after S.A. Chuikov.
Editor’s Note: С Новым Годом и Рождеством Христовым (немного раньше, я знаю)! It’s that time again, when we present our seasonal classic post about a certain cultural icon… Originally published in 2010, our post on Ded Moroz is one of NewEurasia’s most read posts. So, why break with tradition? ;-)
Even though it’s still two weeks before the Orthodox Christmas; even though our readership is overwhelmingly Islamic; and even though I’m a Baha’i, nevertheless, I wish everyone a MERRY CHRISTMAS!
Now that I’ve gotten that out of my system, there’s a very serious issue I would like to address today, and that is why the Slavic world’s Ded Moroz is more badass than the Western world’s Santa Claus. I mean, besides the fact that his name sounds like “Dead Morose” to my American ears, bringing to mind 80s Hair Metal and all the infinite, eternal glory that comes with it. But really, this is a very scientific argument I’m going to make. Let’s begin.
On December 14-15 Ismaili Center in Dushanbe has hosted The annual Winter Handicraft Fair organized by Bactria Cultural Center.
This past weekend, Elyor Nematov and I went to Osh to deliver NewEurasia’s three-day workshop on photojournalism. In fact, calling it a workshop on “photojournalism” is a bit deceptive, since it was much more than just an extended seminar on the technicalities of using photographic and videographic equipment. Elyor explained the principles of creating a photo-story, and he also elaborated the philosophical implications of what it really meant to be a photo-journalist.
This was the third and final workshop of our current arts and culture project, which has been supported by Hivos Foundation. Unfortunately, I’ve been hearing from various sources that our adventure in Osh may very well have been one of the foundation’s last direct endeavors in Central Asia. After 19 years of hard work in the region, it’s perhaps a fitting end for them, too. A cornerstone of Hivos’ mission has been to break down barriers, foster discussion, and in general promote pluralism, and it was precisely these kinds of things which Elyor elaborated upon, both from a philosophical perspective and a technical one. As he put it, the photo-journalist’s duty is not just to record events, but to break down the subject-object divide. In this respect, the photo-story, with its essay-like to meditate upon and explore all the different facets of an issue, is the photo-journalists’ most unique creation and tool.
Moreover, Osh proved to be a perfect site for our workshop. This was my first time visiting that city, and in just a few days, I was nearly overwhelmed with its ethnic and ideological complexity. Osh is more than just an ancient, tiny city in the middle of the Eurasian landmass. With a metropolitan area of almost half a million souls, and with a history that stretches back into the shadows of Central Asia’s early history, the city has long been touted as a melting pot of cultures, almost an archetype of Silk Road and Soviet internationalism. Consequently, Osh emerges as a dual-sided symbol, of what the Kyrgyz call “маданият” — civilization — and what Kyrgyzstan could be. The two sides of this symbol need not be mutually co-exclusive, much less violently so, although controversies continue to swirl around them as a consequence of the June 2010 events.
International exhibition “Morning freshness in the country of high mountains” was held at the Exhibition Hall of the Kyrgyz Republic’s Union of Artists “The Oak Park” named after S.A. Chuikov. It was running for two weeks between 18-30th November 2013 on the occasion of the official visit of President of the Kyrgyz Republic, Almazbek Atambayev, to the Republic of Korea.