In Almaty, Kazakhstan, stands this monument dedicated to two heroines of the Soviet Union, Aliya Moldagulova and Manchouk Mametova. These two female fighters distinguished themselves through their courage and marksmanship during the Second World War. Manchouk Mametova was killed by German forces on 15 October 1943 at the Battle of Nevel. Aliya Moldagulova, for her part, was killed in January 1944 whilst her brigade was attempting to ambush German troops. This memorial was unveiled on 25 October 1997. Depicted in military uniform by the team of sculptors, the two heroines are marching in step.

Credits : Ana Muñoz

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Documentary filmmaker and visual anthropologist Almira Saifullina explores how landscapes preserve traces of Soviet violence, forced displacement and family memory. In this interview with Novastan, she discusses her new film project DALA, the legacy of Karlag in Central Kazakhstan, the risks of aestheticizing historical trauma, and her earlier work in Mongolia and Uzbekistan.

Novastan: Could you introduce yourself to Novastan’s readers? How would you describe your path into cinema, visual anthropology and documentary research?

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Almira Saifullina: My name is Almira Saifullina. I am a documentary filmmaker and visual anthropologist.

My journey began with a passion for documentary photography at a young age. With the first money I ever earned, I bought a camera and started photographing the world around me. My first conscious attempt to explore people’s lives through a camera came in 2011, when I travelled across Uzbekistan and created my first photo series. Looking back, I think that was my first step into documentary filmmaking and visual anthropology, although at the time I did not know those disciplines had names.

I continued searching for my own language and tools, and in 2014 I enrolled at the Moscow School of New Cinema. There I met friends and like-minded collaborators with whom I began making films. In 2022, after several years working in documentary cinema, I realised that I wanted to give a new form to my visual method and expand the boundaries of how knowledge and art can be produced. I enrolled in a master’s programme in Visual Anthropology in Berlin. That experience gave a new impulse to my work.

You have lived and worked in different cities and countries, including Kyiv, Kazakhstan, Moscow and elsewhere. How has this personal geography influenced your perspective as a filmmaker?

I was born in Kyiv, where my father was completing postgraduate studies. Three months later, however, we left because of the Chernobyl disaster and returned to Karaganda, in central Kazakhstan, where my family comes from.

After that came many moves across Kazakhstan: Almaty in the 1990s, Astana in the 2000s, then Moscow, and later the wider world. I have had a fairly nomadic biography, moving between cities and countries since birth.

I think this path has allowed me not to become trapped within a single locality. It has given me a broader view of the world and made me more open to different cultures. At the same time, there are disadvantages. I cannot describe myself as a filmmaker of one particular country, nor can I fully claim any place as my own in every sense. I do not possess a deeply local insider’s perspective. In that sense, it is a double-edged sword.

How did Kazakhstan become part of your biography and creative imagination? What does it mean for you to film and research Kazakhstan today?

Kazakhstan is my homeland and a place of constant return. My family lives there, and my ancestors are buried there.

For the past several years, I have been working on a new film with the working title DALA, which is my first film shot in Kazakhstan.

At the same time, it is a difficult project because I do not have the same distance that I had when filming in Mongolia or Uzbekistan. Many things pass directly through me. They affect me emotionally and draw me into the history of my own family.

Yet I also feel an absolute artistic and personal necessity to make a film in my homeland, however emotionally demanding that may be.

In some ways, I am glad that I am making a film in Kazakhstan now, after having gained substantial experience in documentary cinema. It allows me to engage with complex themes while focusing more on meaning and less on the practical challenges of production.

You studied economics at Moscow State University before turning to filmmaking and later studying directing at the Moscow School of New Cinema. How did that transition happen? Were there any films, directors or artistic discoveries that particularly influenced your decision to pursue cinema?

Since childhood, I have been drawn to art and to expressing myself through it. Studying economics at Moscow State University was more of a compromise shaped by circumstances than a genuine passion for economics.

When I moved to Moscow in 2005, however, I discovered auteur cinema. Someone introduced me to the Mir Iskusstva cinema, which at the time was a gathering place for young people who wanted to study, watch and even make a different kind of cinema. They screened masterpieces from around the world.

I spent nearly all my free time there. Those films were a revelation.

The real turning point came when I discovered the work of Artavazd Peleshian. Through his short films, I felt the magic and power of cinema. They awakened in me an irresistible desire to work in film and to make the invisible visible.

What did the Moscow School of New Cinema give you in terms of artistic method, discipline and freedom? Were there teachers, directors, films or exercises that changed the way you observe people and spaces?

More than anything, the Moscow School of New Cinema gave me close friends and like-minded collaborators. They became my greatest source of inspiration.

Together we explored cinema, dramaturgy, cinematography and editing. We experimented with form and language, discussed ideas endlessly, and learned by making films together.

I studied there at the very beginning of the school’s history, what I consider its golden period. It was a fortunate moment when we were not yet concerned with industry questions such as funding, distribution, professional status or careers. We existed entirely within the space of art and ideas. We dreamed about cinema and searched for ourselves through it.

We supported one another and worked on each other’s films with complete commitment and enthusiasm. It was a very special environment. It gave me an important foundation, and the discoveries that emerged from that collective experience profoundly shaped the way I observe life and transform it into cinema.

Your work sits at the intersection of documentary cinema, visual anthropology and practice-based research. Do you see yourself primarily as a filmmaker, a researcher, an anthropologist, or someone who moves between these roles?

First and foremost, I see myself as an author.

Filmmaking, research and visual anthropology are different angles, different tools and different methods. Yet they all follow the same trajectory. I observe the world, study it, live through it and reflect on it. Then I materialise that knowledge in one form or another so that it can be shared with others.

For me, a film is not an illustration of research that has already been completed. The process of making a film itself – observation, filming, being present in a space, building relationships with participants, and later working with the material through editing- becomes a form of research.

Very often, it is during filming or editing that I begin to understand things I could neither see nor articulate beforehand. Cinema is therefore not only a form of expression for me; it is also a way of producing knowledge.

I move between these different roles and sometimes blend them together, but for me they are all parts of the same process. I believe that the intersection of anthropological inquiry and documentary filmmaking is where some of the most interesting forms and subjects are emerging today. In many ways, that intersection is not the future anymore- it is already the present.

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Your current project DALA focuses on Soviet forced deportations, labour camps and industrial experiments in Central Kazakhstan. How did this project begin?

This project grew out of my interest in the history of my home region, Karaganda and the wider Karaganda oblast. I would regularly travel there, filming the steppe and sites of memory, visiting former Gulag camp territories. For a long time, however, this remained more of a personal historical interest.

In 2022, I began to see this history from a different perspective and realized that it concerned me much more deeply than I had previously understood. My own family arrived in Central Kazakhstan as a result of forced displacement. The family of my great-grandfather, who was a mullah, was deported from Orenburg to the Karaganda steppe. I grew up in a region whose population was largely shaped by deportations, exile, labour camps and the industrialization that followed.

Over the last two years, together with my cinematographer, I have travelled across the steppe in search of camp remains, former camp settlements, buildings, burial sites and other traces of this history. Gradually, these journeys became more than a process of collecting material. They turned into a way of understanding how the violence of the past continues to exist within the contemporary landscape, within family memory and within the very structure of the region itself.

DALA means “steppe” in Kazakh. Why did the steppe become the central image and space of the project?

Because the steppe is a blank canvas upon which people and historical events have drawn their own picture. It is like a guiding thread, a silent protagonist that follows you everywhere, a place where you inevitably encounter things you would often rather avoid.

The steppe is a silent witness to what human beings do. It is a place of life and death, suffering, memory, cruelty and violence, but also of humility and mercy.

In the film, the steppe becomes more than an image or a backdrop. It becomes a space of inquiry. We move through it in search of camp remains and historical artefacts that have sometimes almost completely merged with the landscape itself.

You describe the steppe as a kind of archive. What can the landscape tell us about violence, memory and history that documents or official archives often cannot?

The steppe offers a direct, physical encounter with history.

When local historians show you how a transit camp was organized, how the camp system functioned, where prisoners were transported from and to, when you enter a prison building and find yourself inside a punishment cell, or stand inside a barrack where prisoners once lived, you immediately gain a different understanding of historical events, their significance, the conditions people endured and the realities they experienced.

No document can provide that kind of experience.

It is a form of immersion into history through space and through one’s own body.

At the same time, the landscape does not speak directly. Very often, what you see is simply steppe, ruins or an ordinary house. You need to search, listen to local residents and regional historians, and compare what you see with archival sources and testimonies. Only then does the landscape begin to reveal itself as an archive.

For readers unfamiliar with this history, could you explain what the Karaganda camp system, or Karlag, was? Why is it so important for understanding Soviet repression in Kazakhstan?

It is important to understand Karlag not as a single camp surrounded by barbed wire, but as a vast and highly complex system of camp branches, farms, industrial enterprises and settlements spread across a significant part of Central Kazakhstan.

Karlag was established in 1931 and reported directly to the central Gulag administration in Moscow. Its administrative centre was located in the settlement of Dolinka, near Karaganda.

The territory of Karlag stretched roughly 300 kilometres from north to south and 200 kilometres from west to east. By the early 1950s, the system included more than two hundred camp branches and facilities.

In many ways, Karlag functioned as a state within a state, with its own administration, production system, agricultural sector, transport network, prisons and vast numbers of forced labourers.

Prisoners and special settlers were used as labour for the development of agriculture, construction, mining and the coal and metallurgical industries of Central Kazakhstan. Karlag was therefore not only a system of punishment and isolation. It was also one of the key instruments of Soviet industrialization and the colonial development of the region.

Karlag is essential to understanding Kazakhstan’s history because labour camps, mass deportations and forced labour all played a role in creating the modern face of the region: its cities, mines, factories, roads and multi-ethnic population.

This is not a separate chapter of history that existed somewhere outside ordinary life. In many respects, it is one of the foundations upon which contemporary Central Kazakhstan was built.

What traces of Karlag and other forms of Soviet violence remain visible today: buildings, ruins, archives, graves, family stories, silences, industrial landscapes?

There are many traces, although not all of them are immediately recognized as traces of violence.

The former Karlag administration building in Dolinka still stands and now houses a museum. Individual prison facilities, barracks, agricultural buildings, camp settlements, railway stations through which prisoners arrived, and transport routes have also survived.

There are mass graves, the Spassk Memorial, and “Mamochkino Cemetery”, where women prisoners and children connected to the Karlag system were buried.

Yet much of this history is not preserved in museums or memorials.

Some former camp buildings are still inhabited. Others have become ruins or have nearly disappeared into the steppe. Sometimes all that remains of a camp site is a foundation, part of a wall, fragments of wire, a few trees or a subtle change in the landscape that would be impossible to identify without the explanation of a local historian.

There are also Soviet archives, personal files, photographs, letters, memoirs of former prisoners and special settlers, family archives and oral histories passed down through generations.

Family memory often preserves things that official documents do not: how a person arrived in Kazakhstan, what happened to them, how the family survived, what they chose to forget or what they were afraid to discuss.

And, of course, one of the most important traces is the industrial landscape of Central Kazakhstan itself. Mines, factories, railways and workers’ settlements are now seen as natural parts of the region, even though many were created or developed through the labour of prisoners and special settlers.

The traces of Karlag are therefore everywhere. They often remain invisible precisely because they have become part of everyday life.

How do people living in these places today relate to this history? Is it present in everyday life, or does it remain marginalized and largely invisible?

This is a densely populated region, so I would be cautious about making broad generalizations.

Most people know the history of the region to some extent. For many, the history of repression, deportation, exile and subsequent industrial development forms part of their own family history.

A significant proportion of the region’s non-Kazakh population still lives there today: Germans, Koreans, Chechens, Russians, Ukrainians, Tatars and many others. Yet the reasons why these communities arrived in Kazakhstan differ greatly, and it would be inaccurate to reduce all of these histories solely to repression and deportation.

I would say that this history is present in everyday life in a fragmented way.

Some people know in great detail how their family arrived there and preserve documents, photographs and stories. Others know only fragments. Still others view the mining towns, workers’ settlements and multi-ethnic character of the region as something entirely natural, without questioning how these realities came into existence.

As a result, the past is simultaneously everywhere and almost invisible. It exists in surnames, family histories, buildings, cemeteries and the layout of cities, but it is not always explicitly recognized as the product of specific historical policies.

How is Kazakhstan engaging today with the memory of Soviet repression? Are there museums, archives, research centres, NGOs or memorial initiatives supporting this work?

In recent years, Kazakhstan has undertaken substantial state-led work in this field.

A State Commission for the Full Rehabilitation of Victims of Political Repression was established. Hundreds of thousands of people have been rehabilitated. Large numbers of archival documents have been declassified, collections of materials have been published and a unified electronic database has been created.

There are state museums dedicated to Karlag in Dolinka and ALZHIR near Astana, as well as regional museums, archives and research projects. Every year on May 31st, Kazakhstan commemorates the Day of Remembrance of the Victims of Political Repression and Famine. Numerous memorials and monuments dedicated to victims of repression and the Asharshylyk famine have also been erected.

It would therefore be incorrect to say that the state is doing nothing or that this history is completely silenced. On the contrary, it has been officially acknowledged, and a tremendous amount of material has been collected and made accessible in recent years.

However, in my view, this remains insufficient, particularly when it comes to drawing lessons from this history and critically examining contemporary social and political processes through the lens of how the Soviet system, and especially Stalinist repression in the 1930s-1950s, shaped present-day Kazakhstan.

I believe there is a need for more civic initiatives devoted to working through this difficult past. This work should not be confined to official history, state archives, museums and commemorative dates. It should also exist within civic discourse.

Memory should not be preserved exclusively within state institutions. It should remain a living and open space where difficult questions can be asked.

What remains the most difficult aspect of this work of memory today: access to archives, recognition of victims, public interest, political sensitivity or passing memory on to younger generations?

Perhaps the most difficult challenge is transforming documents, museums, monuments and official commemorations into a living public engagement with the past.

Archives can be opened, victims rehabilitated and monuments erected, but that does not necessarily mean that society has truly reflected on what happened.

The consequences of repression remain present in families, in the fear of speaking openly, in attitudes toward the state, and in lost histories and identities.

The subject remains politically sensitive, but that is precisely why honest and open engagement is so important for Kazakh society.

For younger generations, it is not enough simply to transmit facts. We need to create spaces in which this history can provoke genuine questions.

How can filmmakers represent sites of historical violence without aestheticizing suffering or turning memory into spectacle?

I do not yet have a definitive answer to that question. In many ways, I am still working through it as part of this film.

The risk of aestheticization is particularly high in the steppe because the steppe is inherently beautiful and cinematic. A camera can very easily transform a site of violence into a beautiful landscape and thereby obscure what actually happened there.

I do not want to reconstruct suffering, artificially intensify emotions or turn camp ruins into scenery.

I am more interested in sustained observation of space and material traces, in working with archives, with the voices of descendants and with silence itself.

I hope that the final form of the film will emerge through the process of filming and editing.

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Your film My Father Genghis Khan was shot in Mongolia. Why did you turn to Mongolia, and what made you realize that this experience could become a full-length film?

I first encountered Mongolia through a photo essay published in Russian Reporter magazine by the renowned photographer Sergey Maximishin. It told the story of a ballerina from a ger district. Her name was Baska. She attended ballet school in Ulaanbaatar and then returned home to the ger settlements on the outskirts of the city.

I was struck by the contrast between the different realities in which she lived, particularly on a visual level.

Through Maximishin, I got in touch with her. We initially became acquainted remotely. I then invited my classmate and cinematographer, Leonid Nikiforenko, to travel with me and make a film. At the time, it sounded like a complete adventure, but we both believed in it and decided to go.

When we arrived in Mongolia and saw everything with our own eyes, it became clear that our protagonist was not only Baska herself, but also the reality surrounding her and the people living within it.

Watch the trailer here: My Father Genghis Khan

Everything looked incredibly cinematic. We felt a strong desire to film, and as often happens in such situations, the film seemed to come to us on its own – or rather, into our camera.

We filmed not only in Ulaanbaatar but also in provincial areas where nomadic ways of life remained much more visible in everyday life.

What did you observe in Mongolia regarding the transition from rural or nomadic life to Ulaanbaatar? How visible was this shift in housing, infrastructure, work, air pollution and family life?

We filmed the documentary ten years ago, and I am sure many things have changed since then. At the time, however, there was a strong sense that Mongolia was undergoing rapid economic, political and social transformation.

At the same time, there was also a feeling of uncertainty, as though many people were struggling to keep pace with these changes.

This was particularly visible in Ulaanbaatar, where large numbers of former nomads were moving and attempting to adapt to urban life. Such a transition inevitably created numerous social challenges: a radically different way of life, unemployment, and the difficulties of adjusting to both city life and permanent settlement.

People arriving in the city rarely moved directly into apartments. Instead, they first set up their gers on the outskirts, in the now well-known ger districts. Many lacked sewage systems, reliable heating and other forms of urban infrastructure. This situation contributed significantly to the severe air pollution affecting the city.

In the provinces, life seemed to change more slowly. There, it was still possible to immerse oneself more deeply in nomadic culture, which remained an important part of everyday life, even as it continued to evolve under the influence of modern civilization.

Many people associate both Kazakhstan and Mongolia with nomadic life, yurts and the steppe. Beyond these images, what deeper similarities did you notice between the two countries?

When I first arrived in Mongolia to make the film, I saw a picture that strongly reminded me of Kazakhstan in the 1990s and early 2000s.

It was largely an intuitive and visual impression: new architecture rising in the middle of the steppe, a fascination with large-scale projects, fragmented infrastructure and a broader atmosphere of transition.

Both countries were experiencing rapid urbanization, the expansion of their capitals, internal migration and a pronounced divide between the centre and the periphery.

At the same time, Mongolia followed its own distinct historical trajectory. It was never formally part of the Soviet Union, although it was strongly influenced by it. In my view, Mongolia had more opportunities to preserve aspects of its traditional way of life.

In everyday life, Buddhism and shamanism are far more visible there, as is the direct connection to the land and to nomadic culture.

Kazakhstan, by contrast, underwent far more extensive industrialization, collectivization and forced transformation of traditional lifestyles.

As a result, the apparent similarity of the steppe landscapes conceals very different historical experiences.

In Mulberry, you portray Bukhara through the story of Bekhzod, a young man entering adulthood through marriage and traditional rites of passage. Why Bukhara, why Bekhzod, and what did his story reveal about masculinity and patriarchy in Uzbekistan?

I first came to Bukhara in 2011, and this remarkable city resonated deeply with me. I returned several times afterwards.

Sometimes certain places create the feeling that you are coming home. That is exactly what happened to me in Bukhara, and it made me want to make a film there.

From the beginning, I was drawn to the image of the mulberry tree standing in the courtyard of the Kalyan Mosque, as well as to the local culture and daily life that I wanted to explore beyond the usual tourist routes.

Watch the trailer here: Mulberry

By chance, I met Bekhzod. He helped me find my hostel in the old city. Later, I realised that he would become my guide into Bukhara’s inner life.

By following Bekhzod and the events unfolding in his life, I gradually discovered the film’s central theme, its conflict and its narrative direction.

For me, Bekhzod’s story became a story about constrained choices and predetermined life paths within a patriarchal society, where men, especially young men, can become just as trapped by traditional norms and social hierarchies as women, although in different ways.

This pressure rarely appears openly. It is seldom discussed publicly and often remains internalized, sometimes even unconsciously. Yet it exerts a significant emotional burden.

How did you film in Bukhara given the strong separation of male and female spaces in certain contexts? How did you gain access to rituals, family interiors or religious spaces such as mosques?

I spent roughly four years with Bekhzod and his family, and during that time we developed close and trusting relationships.

I entered the family circle as a guest, which meant I was invited to family celebrations, wedding rituals and religious ceremonies. Quite quickly, the protagonists stopped paying attention to the camera.

Access to mosques during religious rituals was indeed more complicated because I am a woman filming men. I tried to work discreetly and respectfully, remaining sensitive both to the events themselves and to the people involved.

Another friend from Bukhara, whom I met during the making of the film, also helped me obtain filming permissions when necessary.

For Novastan readers interested in discovering your work, where can they watch DALA, My Father Genghis Khan, Mulberry and your other films? Are they available online, at festivals, through private screeners, streaming platforms or upon request?

Work on DALA is still ongoing, so the film is not yet available for viewing.

My Father Genghis Khan can already be watched online, and I hope that Mulberry will soon become available on one of the online streaming platforms as well.

At the same time, readers are always welcome to contact me directly. I am happy to share viewing links to my films upon request.

Interview with Almira Saifullina by Mathieu Lemoine, Editor-in-Chief for Novastan-English, and Maya Ivanova, Contributor for Novastan-English

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The post Almira Saifullina: “The steppe is an archive of violence, memory and silence” appeared first on Novastan English.

Citizens from Central Asia now represent the largest group of foreign nationals fighting in the Russian army. Novastan spoke with several of them after their capture by Ukrainian forces. Their accounts reveal how Central Asian migrants have become an especially vulnerable recruitment pool for Moscow.

In the yard of a military prison in Lviv region, West Ukraine, dozens of prisonners silently head towards the dining hall. The walls surrounding them are filled with portraits of Ukrainian prominent nationalist figures such as Daniel of Galicia or Stepan Bandera. In the largest prisoner camp in the whole country, everything is in Ukrainian, from the inscriptions to orders given to prisoners.

“There is no trouble here, they are pretty calm and do not brawl much” says a prison guard. In front of him, prisonners start entering the lunchroom, their faces blank. Some of them have already been detained for four years. Many prisonners clearly appear to have Asian features. Among them, some Russian citizens from Siberian republics of Buryatia and Yakutia, where mobilisation rates are particularly high.

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Many others come from the five former Soviet republics in Central Asia. “From what I saw, a majority of foreigners in the Russian army come from this region”, explains Khushbakht Peruzaliev. In spring 2024, the 47-year old Tajikistani citizen signed a contract to serve the Russian Army : “I was told that I would not have to go to the front or anything of this kind. They said I would only be working in a warehouse, so I accepted”, he remembers. But soon, these promises revealed to be lies. Few weeks later, the man was captured by Ukrainian forces after being injured in a frontal assault in Donetsk oblast.

Far beyond the 1,400 Africans or 200 Indian citizens that the Russian army recruited since the beginning of the war, more than 12,000 soldiers from Central Asia have already participated in the “special military operation”, according to public data published in April 2026 by the Ukrainian war prisoners coordination. More than half of foreign soldiers serving Russia are originally from Central Asia.

Passport promises amid raids and deportations

In Mykolaiv penitentiary, all Central Asian soldiers that Novastan met were already in Russia before 2022. “Recruitment efforts towards foreigners were targeting on both migrant workers and people who were in jail”, according to an officer of the Ukrainian coordination of war prisonners.

Ilyas, a 40-year old Kyrgyz citizen, worked as a drink retailer in Moscow since 2007. He signed his contract in April 2025. “During the hiring process, they didn’t directly promise me citizenship, but I knew I would have the possibility to obtain it after” he says.

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Indeed, in January 2024, a decree was signed by Vladimir Putin, allowing certain foreigners to obtain Russian citizenship under the condition that they served the army, especially during the “special military operation”. The number of foreigners who benefited from this process remains unknown.

In Ukraine, most prisoners from Central Asia mention that they were sent to the front only after a short training, which caused heavy casualties. “We were moving to a village, when on the road, drones already started appearing and targeting us”, Ilyas remembers. He barely escaped, only to be taken prisoner shortly after.

Khushbakht Peruzaliev, a prisoner whose wife and children still live in Ryazan, 200 kilometers south east of Moscow, was harmed during an intense artillery bombing, while he was moving towards Ukrainian lines. “Half of the group was killed immediately, all 200 [Russian military code for death, Editor’s note]”. 

He describes a general climate of fear that began to appear “right after the Crocus City Hall attack”. This terrorist attack committed by Tajikistani citizens was claimed by the Islamic State of Khorasan, and killed 149 people. Following this tragedy, living conditions of Central Asian migrants in Russia got tougher. “Raids against Tajiks” became frequent, during which migrants were “barred from Russian territory”, according to Khushbakht Peruzaliev.

The Tajik migrant abandoned plans to renew his expired passport, for fear of being arrested on his way to the embassy in Moscow. “Eventually, special police forces started checking the construction site where I was working”, he explains. During police controls, he was promised to obtain citizenship if he accepted to join the army.

Caress Schenck, a political science professor at Nazarbayev University in Astana, acknowledges that “Tajiks were indeed more targeted than other ethnic groups from Central Asia, after the Crocus City Hall attack”. According to the Ukrainian coordination of war prisoners, Tajiks represent the second most represented nationality in the Russian army, with more than 3,400 recruits, while 4,800 Uzbeks and 2,400 Kazakhs also joined the army.

Caress Schenck reminds that, however, in Russia “migration control policies, raids and pressure to join the army are still highly influenced by the news cycle”.

Other ethnic groups have also been targeted since the beginning of the war, depending on the context : “Sometimes, anyone with Asian features can be perceived as suspicious”, according to the researcher.

Since November 2025, some foreigners in Russia are required to present a commitment contract in the army to obtain Russian citizenship or a residency permit. People from Central Asia are particularly impacted by these policies, as they make up more than 40% migrants living in Russia in 2020.

Despite that, all prisoners met by Novastan explain that they signed the contract by their own will to obtain a Russian passport, Caress Schenck mentions a strong administrative pressure on migrants that “reduces their ability to act and make their own decisions, rather than offering them a real choice”

The ideological vulnerability of migrants

In addition to the precarious administrative status of Central Asian migrants, the Russian army bases its mobilization stategy on shared ideological patterns. “As for me, I wanted to live in Russia. I considered that I had the right to obtain citizenship, so to earn it, I had to serve the homeland” says Jasur Islamov with a detached voice. After a year and a half in the army, in March 2025, the 38-year old man was promised he would obtain citizenship if he continued serving. A few weeks later, Jasur Islamov was captured, after being wounded by a drone strike.

Ilyas, Islamov and Khushbakht never tried to surrender on purpose, unlike accounts from other foreign prisoners of war fighting for Russia, such as African recruits. This behaviour at war could be explained by the fact that parts of migrant populations in Russia are already “Russian speakers, born in the 1970s or 1980s, under the Soviet Union”, according to the Ukrainian coordination of war prisoners.

Prisoners met by Novastan also state that they wish to go back to Russia, hoping to be included in a prisoner exchange. “We have nothing against an exchange of prisoners from Central Asia”, says the Ukrainian coordination of war prisoners. However, among the 7,000 Russian soldiers already exchanged, those originally from Central Asia remain a small minority. 

When Novastan asked them about their experience with racism in Russia, before or after serving, all assert that they “never” faced it. They are confident in their ability to rejoin Russian society after their detention, once they obtain a passport. “Could you imagine that I risked my life to obtain citizenship, and they would send me back to my country, when I have nothing left there ? It would be a huge betrayal” says Jasur Islamov, bitterly.

However, it would not be the first time that these war prisoners face disappointments related to their migrant experience in Russia. Despite being married to a Russian woman for years, Ilyas failed to obtain a passport : “I submitted all documents to apply for citizenship, a long time ago, but it was refused”. Jasur Islamov admits that he “did not even receive any money from the contract”, with only two months paid out of the eighteen months he spent in the army.

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“I believe it would take years to dismantle internalized discriminations” Caress Schenk explains. The researcher reminds that in the Soviet imagery, racism was seen as inherent to capitalism and the Western bloc.

Citing the Geneva convention, the Ukrainian coordination of war prisoners explains that Central Asian citizens are treated the same as other prisoners. In the courtyard, on the weight training benches, Central Asian prisoners exercise alongside their Russian cellmates.

“We never thought we would end up here”, says Jasur Islamov. When he is reminded that he signed consciously and was aware of risks, the Uzbek detainee bristles : “You are talking as if I specifically signed to kill people… I only needed a place to live, a passport, to work and feed my family”. After a silence, he adds, regretfully : “I’m not saying we made the right decision. Everyone makes mistakes. Everyone”.

Driss Rejichi,
Contributor for Novastan France

Translated by Elea Muresan

Thank you for reading this article! If you have time, we would appreciate your feedback, either through this anonymous form or by email at editorial@novastan.org. Thank you very much!

The post “I only needed a passport” : In Ukraine, Central Asian prisoners of wars caught between loyalty and regret appeared first on Novastan English.

Every year on June 1st, Kazakhstan celebrates International Children’s Day. In many cities, it is marked with concerts, theater performances, and free activities for children. For families, it is a day of celebration. At the same time, a broader question arises: What does it mean to protect a child today? Is it simply about ensuring safety, education, and health, or also about taking their feelings, boundaries, and their own voice seriously?

Anyone who talks about parenting in Kazakhstan quickly encounters contradictions. Children often grow up in a strong family network, surrounded by grandparents, aunts, uncles, and older siblings. At the same time, they are under immense pressure to succeed in school, to be multilingual, to be independent, and to thrive in a globalized world. Alongside the traditional notions of obedience and respect, a new language is gradually emerging: that of emotional closeness, personal boundaries, and dialogue.

Parenting in Kazakhstan thus exists at the crossroads of several worlds: the Kazakh extended family, Soviet-influenced educational ideals, urban performance pressures, global anxieties about the future, and a growing psychological sensitivity towards children.

Experts note that in Kazakhstan, love for children is not changing. What is changing is the language of that love. Previously, care was primarily expressed through actions – feeding, clothing, and educating a child, perhaps later helping them find housing. Today, another question is increasingly being added: What does the child themselves feel?

Family as a sanctuary – and as a source of pressure

One of the most enduring characteristics of Kazakh parenting is the significant role of the extended family. A child often grows up not only with their mother and father, but amidst a wide circle of relatives. Sometimes this includes neighbors, family friends, or people from the neighborhood.

Anar Kakimova, mother of four, founder of the parenting community “Parentsclub” and the children’s club “Readkids,” describes such a family as a “holistic organism.” In this model, a child learns early on that they are supported not just by one adult, but by an entire network. In Kazakh society, she says, many feel that they are not alone in this world. Ayana Tokeyeva, a psychologist, lecturer, and mother of three with 15 years of experience in school and preschool education, sees a key strength of Kazakh upbringing in the continuity between generations. Values ​​are conveyed less through direct instruction than through example, atmosphere, and relationships between generations.

The saying that it takes a village to raise a child therefore sounds almost literal in the Kazakh context. But Maiya Li, an art therapist and psychological counselor with international experience, points to a change: In the cities, this “village” no longer always exists in its former form. Young families often live far away from grandparents, one parent works long hours, and mothers are often left to care for small children largely on their own.

However, the extended family also has another side. It can provide support, but it can also exert pressure. Children grow up in a dense web of expectations: how they should behave, whom they should respect, how they should learn, what profession they should choose, what constitutes a “good son” or a “good daughter.”

Tradition and Modern Psychology

In Kazakh culture, there is a well-known principle: Until the age of five, a child is considered a khan; from five to fifteen, they are educated; and from fifteen onward, they are to be respected like an adult. Ayana Tokeyeva sees in this not only tradition but also a connection to modern psychology. In the first years of life, a child primarily needs love, acceptance, gentleness, and emotional security. From this, a fundamental trust in the world develops.

This idea shows that a gentle approach to children is not simply a Western import. Kazakh educational concepts have long included the idea that young children need protection, closeness, and acceptance. Only later are they gradually introduced to responsibility and independence.

Also read on Novastan: „Sich Feministin zu nennen, ist schon Protest“ – Frauen-Punkbands in Kasachstan

Gender roles are also being renegotiated. While boys were traditionally seen more as future pillars of the family and girls as guardians of warmth and security, younger parents today are more frequently asking how caregiving can be combined with education, career choices, and self-realization. Maiya Li points out that in some families, the expectation persists that a girl’s primary life path must lead primarily through marriage and motherhood. This issue is sensitive for Kazakhstan: The country is modernizing, women are gaining more educational and career opportunities, but traditional views remain.

From Obedience to Dialogue

For a long time, parental care in Kazakhstan was primarily practical. Parents invested in their children’s education, helped with their studies, provided financial support, and often remained heavily involved even into their children’s adult lives. Love was expressed less through words than through responsibility.

However, according to Anar Kakimova’s observations, communication with children in many families still revolves heavily around daily life and school: Is the homework done? Has the child eaten? Why did they get that grade? What assignments were given? Parents do a lot for their children, but they don’t always know what’s going on inside them: what they’re afraid of, what they like, what they dream about, what’s troubling them.

During her time in the United States, Kakimova noticed how naturally many parents there talk to their children about feelings, experiences, and wishes – and how visibly fathers are involved in everyday life. In Kazakhstan, the role of fathers is also being discussed more openly, but the daily responsibility for school, food, clothing, leisure activities, and the emotional atmosphere often still rests with mothers.

Maiya Li describes this shift with the term “conscious parenting,” often called “gentle parenting” in English-speaking countries. According to her, more and more parents in Kazakhstan are moving away from a strictly authoritarian model in which an adult’s word is never questioned. This isn’t about making the child the center of the family. Parents still establish boundaries. But they try to be more considerate of the child’s needs, feelings, and age, and to explain rules instead of simply demanding obedience.

This change isn’t uniform. In some families, physical punishment, psychological pressure, or discipline through fear remain part of everyday life. At the same time, Ayana Tokeyeva observes a change: parents are more aware of the consequences of pressure and are seeking help from child psychologists more often – especially during periods of high academic pressure, before final exams, or when transitioning to new educational levels.

Also read on Novastan: Wie ein Schüler versucht, tadschikische Mosaike zu retten

A new parenting culture thus begins not with the child, but with the adult: with the willingness to question their own experiences, not to automatically repeat old patterns, and to communicate with children differently.

Education as a springboard for social mobility

In Kazakhstan’s major cities, especially Astana and Almaty, parenthood is increasingly linked to investments in education. English courses, private schools, enrichment centers, sports, music, programming, creative programs, international exams, and preparation for studying abroad are part of the new strategy for many families.

English is no longer just a school subject. It represents mobility, the future, and access to a wider world. Rufina Adeleva, a mother of two and a master’s student in education and psychology, connects this interest to globalization: The digital world has reduced distances, children are exposed to people and opportunities outside of Kazakhstan earlier, and foreign languages ​​broaden educational and life paths.

Maiya Li adds that multilingualism has become a key to competitiveness – not only internationally, but also domestically. Besides English, Chinese, Korean, and other languages, Kazakh is also gaining importance for families who envision their children’s future in Kazakhstan. Multilingualism is therefore not just a path abroad, but a key to participation within the country.

Ayana Tokeyeva emphasizes that education has long been considered a central value in Kazakhstan. What is new, however, is the anxiety with which parents now view it. Artificial intelligence, technological upheavals, and the disappearance of familiar professions intensify the worry that their child will not be able to keep up in the future. The desire to give them “the best” therefore stems not only from ambition, but also from fear.

Anar Kakimova’s experience as a mentor in the “iQanat” project [a social education project launched by Kazakh entrepreneurs to support rural schoolchildren, author’s note] shows how unequally these opportunities are distributed. For young people from rural areas, international exams, career guidance, or the possibility of studying abroad represent not only motivation, but also financial, organizational, and informational hurdles. For a child from the city, an English course might be part of the weekly schedule. For young people from rural areas, the same language can be a rare opportunity to leave the predetermined path.

When Pressure for the Future Displaces Childhood

The image of the successful child in Kazakhstan is still often clearly defined: good grades, a scholarship, a prestigious profession, a secure job, and later perhaps a car, an apartment, and social status. A child’s success is often seen as a reflection of parental success.

Today, this image is becoming even more demanding. According to Maiya Li’s observations, a modern, successful child is not only expected to excel in school. They attend several courses, learn foreign languages, play sports or music, participate in competitions, have long-term goals, consider studying abroad, are comfortable navigating the digital world, and simultaneously maintain respect for family, society, and country.

Also read on Novastan: Wie Frauen in Kasachstan die Kultur des Schweigens herausfordern

The pressure thus rests not only on the children but also on the parents. Many parents want to do everything right and, in doing so, end up controlling too much. The central question of modern parenting is therefore: How do you give a child a future without robbing them of their childhood?

City and Countryside, Freedom and Supervision

The difference between city and country remains pronounced in Kazakhstan. In cities, parents can structure a child’s childhood very carefully: A child’s weekly schedule can be almost as full as an adult’s work calendar.

In rural areas, there are fewer such opportunities. Rufina Adeleva, who herself grew up in the countryside, describes the difference this way: In the city, the focus is often on intellectual and cultural development, while in the countryside, it’s more on work and everyday life skills.

Anar Kakimova also observes that young people from rural areas often have a better understanding of the value of money, time, and opportunities. They are more cautious, more modest, and more careful with their resources. At the same time, families in rural areas often lack access to information about scholarships, international programs, career counseling, and educational pathways.

Another distinctive feature is the early independence of many children. In Kazakhstan, it’s not uncommon for elementary school children to walk to school alone, play in the yard, go to small shops, or stay at home unsupervised for periods of time. For many families, this is considered normal: A child should become independent step by step. But the line between freedom and lack of supervision is thin.

Digital Media as a New Boundary in Parenting

Over the past 10 to 15 years, parenting in Kazakhstan has been transformed by digital media. Smartphones, social networks, online games, cyberbullying, and cybersecurity are now among the everyday concerns of families.

Ayana Tokeyeva confirms that many current inquiries from parents are related to digital media. Excessive screen time can be associated with restlessness, aggression, emotional withdrawal, tantrums, school refusal, or a general lack of energy. The devices themselves are not always the problem. Often, these issues also reflect family tensions, communication problems, difficulties with peers, or the child’s inner turmoil.

This highlights the central conflict: technologies are changing everyday life faster than families can adapt their parenting models.

A New Formula for Parenting

Modern parenting in Kazakhstan is neither entirely traditional nor simply Western. Perhaps this is precisely where the new formula for parenting in Kazakhstan lies: preserving the strength of the family without increasing its pressures; enabling children to receive an education without depriving them of their childhood; fostering independence without leaving them alone; and respecting traditions without ignoring the child’s voice.

Nurgul Adambayeva for Novastan

The post Between Extended Family and Personal Boundaries: How Parenting is Changing in Kazakhstan appeared first on Novastan English.

From Almaty to Moscow and Paris, filmmaker and editor Rinat Bekchintaev has built a creative identity shaped by movement, memory and displacement. In this interview with Novastan, he discusses Almaty’s cinematic power, his relationship with Kazakhstan, his work on films such as Salarié oriental, Crypto Rush and JOQTAU, and the independent cinema community he is helping to build in France.

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From Almaty to Paris

Novastan : You studied in Almaty and then continued your studies at the Moscow School of New Cinema. What did Almaty give you as a filmmaker, visually, emotionally or intellectually?

Rinat Bekchintaev: Listen, Almaty is simply an unbelievably cool place. I can talk for hours about how cinematic this city is. It has its own distinctive, authentic vibe, its own tone. There is a kind of noir quality on foggy days, and the mountains, of course, create this “wall of the horizon”. But the most important thing is the people, they are very open and responsive. I am still in touch with my friends from Almaty, and I collaborate with people connected to cinema and the visual arts.

Read also on Novastan: Que sont devenues les premières salles de cinéma du Kazakhstan-Oriental ?

And of course, I dream of making not just one film in Kazakhstan, and in Almaty in particular. For example, I am currently at the development stage of a film called I Want to Be a Geologist Like My Father, a film about how ecological trauma becomes part of collective memory and continues to exist in people and landscapes decades after the disaster itself.

I studied engineering at Almaty University of Power Engineering and Telecommunications (AUPET) for five years, then took screenwriting courses at the Open Literary School. At the time, it did not seem important to me, as is usually the case. But after several years, I realized that it had given me a very important impulse to take up cinema.

Your biography is linked to several geographies: Sevastopol, Almaty, Moscow, Paris. How do these places coexist in your creative identity?

Yes, I have quite a complex, nomadic path. Sevastopol and Crimea are the most difficult starting point for me, and I think I still have to reflect on this original point of my journey. I don’t know, my mother took me away from there to Almaty when I was very young. I spent my entire conscious life in Almaty, and perhaps the only thing I can identify myself as now is an Almaty person, strange as that may sound.

Moscow also gave me a lot that was very important. It was part of my formation, an education at the Moscow School of New Cinema that mattered a lot to me, and people with whom I am still in contact.

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I have not been in Paris for very long, and it is probably difficult to speak about it yet, but again, it is another chapter: new people, a new language, everything new. But I try to continue creating interaction with reality, with people and institutions. We created an association of independent filmmakers, K1NO1 (Kino 11), wrote a manifesto, organize screenings and discussions in Paris, and run a Telegram channel. Anyone can join the community, participate in events and so on. There is a website, Instagram and Telegram. In general, we are creating a kind of community, and it is international, not only made up of immigrants. I think this is important. I don’t know, at first glance it all looks like chaos, but I think it all mixes quite well in my ghostly creative identity.

Do you consider yourself a Central Asian filmmaker, a post-Soviet filmmaker, a filmmaker in exile, or do such definitions seem too limiting to you?

Perhaps for a career it is useful to manifest oneself in some way along these lines, but I do not think I would really manage to do that. I think all these labels coexist within me.

Has your perception of Kazakhstan, Central Asia or the post-Soviet space changed since moving to France?

Before moving to France, I came to Kazakhstan. I had not been in my native Almaty for about five years. And I was absolutely delighted. It seemed to me that everything was developing very well. Again, forgive me for being so complimentary, but I truly think that Kazakhstan is not stagnating at all, in any respect, and in the field of art, definitely not. After moving to France, I think it was only here that I began seriously considering the possibility of making a feature film in Kazakhstan. Perhaps the outside view is very important for me.

Note from Novastan: Bekchintaev’s work moves between directing and editing, fiction and documentary, personal stories and broader social questions. His filmography includes Salarié oriental (Vostochny rabochy), a short fiction film shaped by migration, labour and emotional distance; editing work on Crypto Rush, a documentary on the rise of cryptocurrency; and collaborations on Kazakhstani films such as Aruan Anartay’s JOQTAU and Dreams of the Sky Mausoleum.

Your films and artistic universe

One of your early fiction films, Salarié oriental (Vostochny rabochy), follows a story of emotional distance shaped by class, language and migration. Even its title seems to raise questions of labour, identity and perhaps irony. What story did you want to tell in this film?

The story in this film is simple: the impossibility of love because of class, language and other differences. But that is my interpretation now, ten years after the premiere. Perhaps at the time it was different. And of course, I believe that everyone should identify something for themselves in it. That, it seems to me, is the power of cinema.

I am also very glad that this film was once shown in Almaty, at the Arman cinema, the first cinema I ever visited in my life.

How did the idea for Salarié oriental come about, and what does this title mean to you?

The idea for the film came to my co-author Egor Shevchenko in a dream. After that, we developed it very seriously, and a lot came from reflecting on my perception of Moscow, as I had only just arrived there to study at the time.

The title appeared by chance. The sound designer named the folder with the files that way, we noticed it and immediately fixed it for ourselves. Before that, I do not even remember what the working title was.

You also worked as an editor on Crypto Rush, a documentary exploring the world of cryptocurrency across several countries and protagonists. What attracted you to this topic, and what did editing a film about such an abstract and global phenomenon teach you?

I was the editor on this film. It was a very important experience. We worked very closely with the director. At the time, she was very deeply immersed in the subject, and she had a very global project: several countries, protagonists and so on. In general, the most important thing was that we managed to combine a cinematic image and an informational one in this film. And I also learned a little more about crypto and so on.

Among your editing works is a movie connected to Kazakhstan, Aruan Anartay’s JOQTAU, rooted in Kazakhstani stories, landscapes and visual imagination. What attracts you to films shaped by this geography and cinematic world?

I think Kazakhstan has that authentic cinematic image that has enormous potential. This image consists of many elements, and it cannot be repeated anywhere else in the world.

JOQTAU is a film by my friend Aruan Anartay, and it is one of those examples where this image was captured. We searched for solutions for this film for a long time, and in the end, during editing, we found certain approaches that helped us bring this image out.

Directing, editing and cinematic language

You are both a director and an editor. Does working with editing make you a more disciplined director?

Yes, absolutely. As a director, I understand the editing process and try to make it less costly. In general, I believe that a contemporary director should be able to edit, shoot and work with sound themselves too.

Editing often remains invisible to the viewer, but it largely shapes the emotion and meaning of a film. In your view, what makes editing good?

It is not only about comfortable cuts, but about building the structure of the film, as well as creating refrains and syntagms. This happens almost entirely at the editing table. Not to mention rhythm and the flow of time. Sometimes a film comes together during editing, and this is not only my opinion.

Also read on Novastan: Le cinéma kazakh à l’honneur : retour sur la sixième édition du Festival du film kazakh à Paris

When you direct, do you already “edit” the film in your head during shooting, or do you try to leave space for discovery at the editing stage?

Yes, I do actually already edit in my head, and this gives me the opportunity to do fewer identical takes and shoot more variations of a scene. I felt this when I was shooting my film Gobelin, one of my own fiction projects.

What usually comes to you first: an image, a character, a place or a conflict?

Some kind of phenomenon or life situation appears first, or some place, or a figure, I don’t know, something that creates a sustained interest in exploring it. That is the starting point for a film.

What faces, landscapes, pauses or gestures attract your camera?

Those that transmit either vitality or a hauntological feeling.

Paris, emigration and artistic transformation

What are the main difficulties faced by a filmmaker who arrives in Paris without previous professional connections, a familiar linguistic environment or the usual film-production system?

Yes, there are many problems. First of all, not being embedded in the environment, the lack of connections, and the language too. That is probably the most difficult part, but I am trying to move in that direction. There is no shortage of ideas, and the film-production system is more or less clear.

Does emigration provide artistic freedom, or does it primarily create practical constraints?

Both. An outside view always gives a new lens on reality. Also, the reality around me is new to me, so one way or another I find interest in it. As for practical constraints, they always exist, and emigration intensifies them. It is difficult, but in my view not fatal.

Kazakhstan and Central Asian cinema

Which Kazakhstani or Central Asian filmmakers should French-speaking audiences know more about?

Aruan Anartay, a Kazakhstani director, screenwriter and producer whose debut feature JOQTAU brought a poetic, documentary-inflected vision of the Kazakh steppe to international festivals; and Katerina Suvorova, an Almaty-born documentary filmmaker known for Sea Tomorrow, which premiered at Locarno’s Critics’ Week, and for her work on Mediastan.

Which of your films would you advise Novastan readers to start with, and why?

They can watch Vostochny rabochy / Salarié oriental here.

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Interview by

Mathieu Lemoine, Editor-in-Chief at Novastan-English

Maya Ivanova, Contributor at Novastan

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The imposing statue of the famous writer Mukhtar Auezov (1897–1961) stands in front of the theatre named after him in Almaty, Kazakhstan. Erected in 1980, this bronze sculpture by the Kazakh sculptor Yesken Sergebayev pays tribute to the author of the novel “Abai”.

Credits : Simone Bergonzi (Italy, @simobergz)

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At the foot of the barchan dune, this goitered gazelle breathed its last. Barely fifty years ago, this species was on the brink of extinction. Today, around 5,000 animals once again roam Altyn-Emel National Park, Kazakhstan.

Credits : Gereon Wintz (Germany)

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Presented as a future major technological and economic hub, the city of Alatau in Kazakhstan is entering a new phase of institutional structuring after obtaining special status, amid persistent uncertainties about its development.

On 27 March, Kazakhstan’s Parliament adopted a law establishing a special legal regime for the city of Alatau, located a few dozen kilometres from Almaty. This status as a “territory of accelerated development”, with specific economic, administrative and legal rules, is intended to attract investment and foster innovation. The decision marks an important step in the evolution of a project that has been presented for several years as a future technological showcase for the country.

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Until recently, however, Alatau remained largely associated with political announcements and ambitious projections, without any real implementation on the ground. The adoption of this special status therefore reflects the Kazakhstani authorities’ desire to structure the project and give it an operational dimension. It remains to be seen whether this institutional advance will make it possible to turn a futuristic vision into a tangible reality.

A project revived by the adoption of a special legal regime

According to the municipality, the city will now benefit from a distinct governance system, with an organisation designed to speed up decision-making and facilitate the establishment of economic actors. The project notably provides for the creation of a strategic authority, the Alatau City Authority, responsible for defining development priorities, as well as an operational body dedicated to the day-to-day management of the project.

Novastan est le seul média en français et en allemand spécialisé sur l'Asie centrale. Entièrement associatif, il fonctionne grâce à votre participation. Nous sommes indépendants et pour le rester, nous avons besoin de vous ! Vous pouvez nous soutenir à partir de 2 euros par mois (défiscalisé à 66 %), ou en devenant membre actif par ici.

The city will therefore be placed under the supervision of a council chaired by Prime Minister Olzhas Bektenov, in order to ensure direct coordination at the highest level of the state. At the same time, traditional local institutions, such as akimats and maslikhats, will retain their powers in urban management and public social services.

Also read on Novastan : Almaty, une ville en quête de cyclabilité

Beyond governance, this status comes with a specific regulatory framework, including tax incentives, simplified administrative procedures and rules adapted to innovative sectors. This development allows the project to move beyond the announcement stage and enter a concrete institutional framework, marking a new phase in its development.

An economic and regulatory framework designed to attract investment

Launched in the early years of President Kassym-Jomart Tokayev’s mandate in the 2020s, Alatau is intended to become a hub capable of attracting international investment and supporting the country’s economic diversification, notably through its integration into a special economic zone.

The city, which has more than 50,000 inhabitants, is also intended to become a hub for digital technologies, digital assets and innovative financial services. In May 2025, President Tokayev announced the creation of a pilot zone called “CryptoCity” in Alatau, where cryptocurrencies could be legally used to pay for goods and services. This direction is part of a broader strategy aimed at positioning Kazakhstan as an emerging player in high value-added sectors.

Also read on Novastan : Le Kazakhstan envisage l’utilisation de cartes de paiement cryptographiques

Several concrete initiatives illustrate this ambition. As reported by Alatau City, discussions have been held with South Korea under the Economic Innovation Partnership Program, or EIPP, for the development of the city’s infrastructure. In addition, a branch of the Korea Advanced Institute of Science and Technology, or KAIST, one of South Korea’s leading technological universities, is set to be established in Alatau, strengthening its academic and scientific positioning.

Financial ambitions are also significant. According to the Kazakh authorities, planned investment in the project could reach 10.4 trillion tenge, or around €20 billion. At the same time, the municipality has announced the upcoming start of construction on a landmark architectural complex called “Iconic Towers”. Work is due to begin in May 2026, with completion expected by 2029, at an estimated cost of $800 million, or around €680 million. These elements reflect a desire to give Alatau an economic, technological and symbolic dimension.

Between stated ambitions and persistent uncertainties

Despite these advances, several factors call for caution regarding the project’s immediate impact. In particular, a lack of clarity remains around the tax and legal rules applicable to Alatau, raising questions about the coherence and effective implementation of the system. These uncertainties reflect the difficulties inherent in creating an entirely new regulatory framework.

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Above all, the situation on the ground remains limited at this stage. In March 2026, Kazakh influencer Alimbek Ulan visited the Alatau site and observed the start of excavation work on the outskirts of the area concerned. However, no major structural progress was visible, confirming that the project remains largely in a preparatory phase.

Also read on Novastan : Au Kazakhstan, la privatisation d’une partie du parc national d’Ile-Alatau fait polémique

This gap between stated ambitions and concrete progress has fuelled criticism from some observers, who point to the risk of Alatau remaining a primarily symbolic project. The year 2026 therefore appears to be a decisive moment: with the announced launch of construction work, the authorities will have to demonstrate their ability to turn announcements into reality and begin a genuine construction phase.

Lenny Cabrol Noto
Author for Novastan

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The post In Kazakhstan, the futuristic city of “Alatau” reaches a new milestone with special status appeared first on Novastan English.

Like many countries, Kazakhstan is facing major environmental problems. Kazakh media outlet The Village has listed the environmental issues most frequently discussed in the country.

Kazakhstan continues to actively address the environmental challenges affecting different regions of the country.

In recent years, the environmental situation in major cities has deteriorated significantly: the basins of many water bodies are gradually drying up, emissions of harmful substances exceed permitted levels several times over, and industrial enterprises are releasing chemicals into the environment in an uncontrolled manner.

Kazakh media outlet The Village has listed the main ecological problems facing the country.

Air pollution

For many years, the East Kazakhstan region remained the country’s largest industrial region. According to the Bureau of National Statistics, more than 15,000 companies are registered there. These include major industrial giants such as Kazzinc, KazMinerals, the Ust-Kamenogorsk Titanium and Magnesium Plant, the Ulba Metallurgical Plant and others.

The mining and metallurgical company Kazzinc, which produces zinc, copper, lead and other precious metals, is the most significant source of pollution. According to the region’s ecology department, in 2021 Kazzinc accounted for almost half of all pollutant emissions in the region.

Read also on Novastan : Au Kazakhstan, les villes industrielles souffrent de la pollution atmosphérique

According to Kazhydromet, in the city of Ust-Kamenogorsk, the region’s administrative centre, unfavourable weather conditions are recorded around 100 days a year. These are days when there is no wind in the region, causing harmful substances to accumulate in the air. During such periods, scientists even advise residents to avoid long walks outdoors, not to open windows, and to prioritise distance learning for schoolchildren.

Today, the East Kazakhstan region tops the national ranking for cancer incidence. The rate in the oblast is 55% higher than the national average: 321 cases per 100,000 inhabitants. Residents themselves say they have been experiencing a sweet, metallic taste in their mouths for years.

Polluted rivers

Senator Olga Bulavkina has highlighted the critical level of air pollution in Ust-Kamenogorsk, noting that hydrogen chloride levels exceed the norm by nine times. She has also linked this pollution to the increase in cancer cases.

Representatives of the prosecutor’s office have stated that, out of the region’s 165 landfills, only 22 comply with environmental requirements — just 13%.

It should be noted that pollution of local water bodies is regularly recorded in the region. In May 2019, residents noticed that the Berezovka River had turned bright green. Following an inspection, scientists found that the water contained 140 times the permitted level of manganese, 44 times the permitted level of zinc, twice the permitted level of ammonium, and five times the permitted levels of sulphate and copper.

Kazzinc was held responsible for uncontrolled discharges and fined 8 million tenge, or €14,640. In July 2023, residents noticed that the water in the Filippovka River had turned milky white. Kazzinc again paid a fine, this time of 50 million tenge, or €91,589.

Modernising industrial facilities to reduce pollution

It is important to note that many rivers in East Kazakhstan are tributaries of the Irtysh. They form part of a single ecosystem. When one body of water is polluted, there is always a risk that harmful substances will enter other channels. The water from these rivers is used not only for drinking water, but also for agriculture and for the operation of thermal power plants and industrial enterprises.

Read also on Novastan : Kazakhstan : une hécatombe de cygnes causée par la pollution

As a result, the Ust-Kamenogorsk metallurgical complex had to modernise its sulphur gas purification units, which should reduce sulphur emissions by 10 to 20%. In Ridder, a new workshop was built, reducing emissions by 714 tonnes in 2024.

On 9 October 2024, it was announced that an environmental air monitoring system was being introduced and that eco-offices would be opened to allow residents to monitor air quality themselves. Work is also under way to improve the emissions monitoring system. This was stated by the akim, or local government representative, of the East Kazakhstan region, Ermek Kosherbayev.

Air pollution in Almaty

In January 2025, Almaty topped the ranking of the world’s most polluted megacities. According to environmentalists from the Almaty Air Initiative, one year of living in the city is equivalent to smoking 487 cigarettes. Annual emissions of pollutants into the atmosphere amount to around 125,000 tonnes.

In addition, according to a survey carried out by the Almaty Air Initiative in August 2024, 42% of respondents believe that air quality in their neighbourhood is poor or very poor. One in six residents is considering moving because of the poor environmental conditions.

Read also on Novastan : La pollution de l’air toujours aussi forte en Asie centrale

In 2024, 202 days of high air pollution were recorded in Almaty. Specialists recommend that residents limit their time outdoors and use protective masks, particularly those who are especially sensitive.

At a meeting of the Public Council, data on the main sources of pollution in Almaty were presented. Motor transport is the city’s main source of air pollution, accounting for around 60% of total emissions. Industrial enterprises also heavily pollute the environment, emitting around 27.5% of all harmful substances. The use of coal heating in private homes also contributes to air pollution, accounting for around 11% of total emissions.

The government is aware of the problem

In November 2022, President Kassym-Jomart Tokayev, addressing Almaty residents, raised the issue of air pollution in the city. He noted that the state of the environment has a direct impact on people’s health and lives.

During a meeting with residents of the Zhetysu district, Almaty akim Yerbolat Dossayev explained how the city intends to address environmental problems. According to him, the full modernisation of Combined Heat and Power Plant 2 will be completed in 2026, which should reduce emissions by 90%.

Transport is also being actively developed. By the end of 2026, the city has promised to replace all public transport with environmentally friendly vehicles.

Waste disposal

Waste and rubbish are also among Almaty’s main environmental problems. A large number of illegal dumps have accumulated in the city, and waste recycling remains difficult. During a meeting with residents of the Almaty region in October 2022, Kassym-Jomart Tokayev called for all tourist routes to be equipped with rubbish bins and for waste collection and sorting to be organised. He also instructed the Ministry of Internal Affairs to step up efforts to bring those responsible for illegal dumps to justice.

Plans are being discussed to build a waste recycling plant in the Ile district and another facility in the Karasay district, which would recycle waste and produce electricity from greenhouse gases.

Also read on Novastan : Décharges sauvages au Kazakhstan : d’où viennent-elles, et comment lutter contre ?

As early as 26 February 2022, a rally for clean air was organised in Almaty. Participants called on the authorities to take urgent and comprehensive measures, arguing that the city was on the brink of an ecological disaster. Among the participants were activists, experts, students and families with children.

At the rally, expert Aiymgul Kerimray accused the authorities of manipulating emissions data and called for a transition to European standards for assessing pollution. Activist Asiya Tulesova called on the state not only to listen, but also to act.

The drying up of the Aral Sea

Until 1960, the Aral Sea was the fourth-largest lake in the world. But because of Soviet irrigation projects, the Syr Darya and Amu Darya rivers, which fed the basin, were diverted.

As a result, over the past 60 years, the Aral Sea has shrunk by a factor of three, while its volume has decreased fifteenfold. Its water level has fallen by 29 metres. In the 1980s, the sea split into two parts: the northern Small Aral and the southern Large Aral. This tragedy led to the migration of most of the region’s wildlife, the disappearance of fish, and the emergence of the Aralkum Desert.

Also read on Novastan : Le totalitarisme de l’irrigation a tué la mer d’Aral

In 2023, the akim of the Kyzylorda region, Nurlybek Nalibayev, stated that tens of millions of tonnes of salt and dust are carried by the wind every year from the dried-up bed of the Aral Sea. They travel thousands of kilometres. “The only way to prevent salt from spreading beyond the sea area is to plant saxauls,” a type of Central Asian tree, he said.

According to the akim, 350,000 hectares of saxaul were planted on the dried-up bed of the Aral Sea between 2021 and 2022.

A full restoration of the sea is impossible

However, scientists have expressed doubts about the possibility of fully restoring the Aral Sea. Ecologist Yevgeny Simonov has said that the region’s water deficit is increasing and that it is more realistic to speak of preserving delta water bodies and wetlands than of fully restoring the sea.

Mels Yeleusizov, president of the environmental movement Tabigat, notes that the drying up of the Aral Sea leads to the spread of salty dust, which settles on glaciers and accelerates their melting. He stresses that the disappearance of this body of water has a negative impact on Kazakhstan’s ecosystem, contributing to desertification and the deterioration of the region’s environment.

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At the expense of the state and regional budgets, 101,000 hectares were planted in 2021. In 2022, phytoremediation work was carried out over an area of 250,000 hectares, and in 2023 over an area of 193,200 hectares. From 2024 to 2025, these phytoremediation efforts targeted 556,200 hectares.

Thanks to agreements reached with neighbouring countries, a total of 1.6 billion cubic metres of water had been sent to the northern part of the Aral Sea by the end of March 2025. In April of the same year, the total volume of water in the northern Aral Sea stood at 22.1 billion cubic metres, 3.2 billion cubic metres more than at the beginning of 2022.

Daniyar Beisembayev and Sultan Temirkhan
Journalists for The Village

Translated from Russian by Sophie Combaret and from French by Mathieu Lemoine

Proofread by Elise Medina (French version)

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Last month, Kazakhstan hosted the 40th Conference of Directors General of Railways, bringing together representatives from more than thirty countries. It was an opportunity for Astana to showcase its ambitions for the “Middle Corridor”, against the backdrop of the war in Ukraine and the reshaping of global trade routes.

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From Monday 20 April to Monday 24 April 2026, the 40th Conference of Directors General of Railways brought together more than thirty countries in the heart of the Kazakh capital, against a backdrop of geopolitical uncertainty. The Organisation for Co-operation between Railways, known as the OSJD, is an intergovernmental organization that brings together a network of more than 320,000 kilometres of railway tracks, carrying around 5.5 billion passengers and nearly 5 billion tonnes of freight each year.

Founded in 1956, the OSJD – the main forum for railway coordination between Europe and Asia and a legacy of technical cooperation from the Soviet era – has gradually expanded to include new members. It currently has 27 members, ranging from Albania to Vietnam.

This year, the 40th Conference of Directors General of Railways brought together more than 300 officials and representatives of railway companies. Kazakhstan’s Prime Minister, Olzhas Bektenov, spoke in person, a sign of the political importance attached to the event.

He recalled that “Kazakhstan’s railway sector, which plays a crucial role in economic development, aims to improve the population’s quality of life and ensure sustainable growth”. The Prime Minister also announced strong ambitions for the coming years, declaring that he wanted to “build an additional 5,000 kilometres of railway tracks” over the next four years and to “increase transit volumes to 100 million tonnes per year by 2035”, thereby underlining his desire to strengthen Kazakhstan’s pivotal role in trade between Europe and China.

An Afghan delegation representing the Islamic Emirate met Kazakh and Azerbaijani officials to discuss the strengthening of the Hairatan and Torghundi ports and regional transit, according to the Afghan news agency Pajhwok Afghan News. This presence, like the joint presence of Ukraine and Russia, shows that railway cooperation can sometimes go beyond conventional diplomatic logic.

In addition to financial management issues, the conference also focused on the OSJD’s future work programme and the organization of the next meeting. Emphasis was placed on increasing volumes, modernizing infrastructure and transitioning towards more advanced technologies to improve the efficiency and fluidity of rail transport, reports the media outlet Transport Corridors.

The Middle Corridor at the heart of global challenges

By speaking of “transforming Eurasia into a single, fully functioning transport mechanism”, the Kazakh Prime Minister is directly referring to the trade route that has been developing in the region for around twenty years, particularly since China’s Belt and Road Initiative in 2013.

The Middle Corridor, also known as the Trans-Caspian International Transport Route (TITR), is a 4,000-kilometre multimodal transport corridor linking Chinese factories to European markets via Central Asia, the Caspian Sea, the South Caucasus and Turkey.

It is also the shortest overland route between China and Europe, provided the necessary infrastructure is in place, which was long not the case. Delivery times, which once took several weeks, have now fallen to around 18 days, according to The Astana Times.

Read also on Novastan : L’Asie centrale face au défi de la réalisation du corridor médian

This reduction was made possible in part by digital transformation and the introduction of the TezCustoms system, which has reduced processing time at the borders with China from 8 hours to 30 minutes.

Mr Bektenov emphasized Kazakhstan’s pivotal role, with around 85% of Middle Corridor traffic passing through the country. He also announced the construction of 5,000 kilometres of new railway lines over the next four years, with the aim of reaching a transit capacity of 100 million tonnes per year by 2035.

A route that has grown rapidly since the geopolitical crises…

This Eurasian route has been one of the main beneficiaries of the global geopolitical situation of the past four years, with two successive shocks having propelled its importance.

The first is the war in Ukraine since 2022: Western sanctions imposed on Russia caused westbound freight volumes on Russian routes to fall by 51% in 2023, according to Transport Corridors. The Middle Corridor has thus established itself as the only practical land bridge between China and Europe that bypasses Russian territory.

Read also on Novastan : Le corridor sud, une menace pour le transport kazakh ?

The second is the war in the Middle East and the Houthi attacks in the Red Sea, which began in late 2023. According to the Qatari media outlet Gulf Times, amid uncertainty in the region, some companies redirected their traffic from the Strait of Hormuz and the Suez Canal towards the Cape of Good Hope, making land-based alternatives all the more attractive.

In 2024, the volume of goods transiting along the Eurasian route increased by more than 63% year-on-year, according to the US think tank Carnegie Endowment for International Peace, reaching 4.1 million tonnes compared with only 500,000 tonnes before Russia’s full-scale invasion of Ukraine. On the China-Europe segment alone, the number of containers transported increased twenty-fivefold between 2023 and 2024, according to the journal CEBRI.

…but remains constrained

However, according to an article by Friedrich Conradi published on the Carnegie Politika website, despite its potential to become a major competitive route, it could prove limited by structural problems. “The Middle Corridor is still far from competitive. It handles only around 6% of the annual capacity of the Northern Corridor via Russia, which stands at 100 million tonnes, and while many Western actors expect it to continue growing, several indicators instead suggest a slowdown,” the researcher explains.

The Middle Corridor’s infrastructure remains insufficient, with ports often saturated, particularly in Georgia, and an inherently fragmented route, since it relies on a succession of transport modes, making it slower, more expensive and less seamless than alternative routes via Russia or by sea.

Added to this is persistent geopolitical instability in the Caucasus and around Iran, as well as environmental challenges, particularly the falling level of the Caspian Sea, which directly affects port capacity and the continuity of maritime transport.

Lorenz Uberti
Contributor for Novastan

Edited by Elise Medina (French version) and Mathieu Lemoine (English version)

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Gagarin appears to be taking flight in this monumental mosaic, which exudes an impressive sense of dynamism. As the first man to fly into space, in a spacecraft launched from the Baikonur Cosmodrome, Gagarin became the hero of many mosaics across the Soviet Union. Karaganda, Kazakhstan.

Credits: Mathilde Ramkissoon (France, @sovietblocs)

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A little further along the road, you will come across the Tamgaly-Tas petroglyphs. Situated on the banks of the Ili River, on the edge of Altyn-Emel National Park, 120 km north of Almaty, these petroglyphs were carved by Tibetan monks in the 17th century, at a time when this region of Kazakhstan was ruled by the Dzungars. Tamgaly-Tas is the name given to the site by the Kazakhs following the expulsion of the Dzungar Khanate from Kazakh lands.

Credits: Ana Muñoz Macías

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This herd of horses has stopped at this abandoned petrol station. Located in the village of Saryozek, the petrol station is actually due to be demolished. A new, opulent building constructed right next to it has rendered it redundant – or almost so. Indeed, these Kazakh horses have already found a new use for it.

Credits : Gereon Wintz (Germany)

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The late afternoon sun passes behind the Khan Chatyr shopping center in Astana, illuminating the framework of this original building. An immense 150-meter-high tent, it was designed by architect Norman Foster at the request of Kazakhstan’s president, Nazarbayev. The tent’s walls are made of a special flexible material, allowing transparency while protecting the building from temperature variations.

Credits : Tolgahan Biskin (France, @tolgahan.iso)

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In the Chinese province of Xinjiang, this festive table adheres to all the traditions of Kazakh hospitality. Indeed, the host belongs to the region’s Kazakh minority. Despite Chinese repression aimed at erasing the identities of the province’s ethnic minorities, the photographer Turar Kazangapov, himself a Kazakh, is “convinced that Kazakh customs and traditions are still preserved in this place”.

Credit : Turar Kazangapov (@Kazangapov.t, Kazakhstan)

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A gentle swell laps against the snow-covered shores of Lake Burabay, running alongside the grove of ‘dancing birches’. 

Credits: Isabelle Vincent (France)

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In Karaganda, Kazakhstan, a Soviet mosaic stands tall in the evening. Between passing cars and families, frescoes of a bygone era and everyday life intertwine.

Credits : Massimiliano Macrì (Italy, @tarakano_me)

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The Central Mosque of Astana, inaugurated in 2022 in Kazakhstan, is the largest in Central Asia and one of the largest in the world.

It can accommodate around 30,000 worshippers inside and hundreds of thousands in its courtyard. Its huge 83-meter-high dome and 130-meter-high minarets dominate the capital.
Decorated with white marble, calligraphy, and a gigantic chandelier, it blends Islamic traditions with modern architecture. This place of worship is also a symbol of unity, culture, and the country’s religious influence.

Credits: Salomé Aldeguer-Roure (France)

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Trees are a rare sight in Kazakhstans steppes and deserts. One of the few exceptions are groves of Turanga near the village of Zheltorangy in the Balkhash area, in midst of the Taukum semi-desert. Turanga trees are a species of poplar that is extremely resistant to drought. Its roots penetrate the soil down to a depth of 30 meters to collect water. The grove gives its name to the nearby village: Zheltorangy means “turanga calling the wind“.

Credit : Gereon Wintz (Germany)

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Novastan launches its 2026 photo competition on the theme ‘Yesterday and today in Central Asia, between tradition and modernity, the new faces of Central Asia’.

Our world is changing rapidly, and Central Asia is no exception! Cities are undergoing a transformation, making a clean break with the past to showcase a desirable but globalised modernity. At the same time, countries are reviving traditions and mythical pasts to create a strong national identity… and attract tourists. 

What is the face of Central Asia today? Post your best photo on the theme of ‘Yesterday and today in Central Asia, between tradition and modernity’. Try to win one of our prizes:

Publication of the 10 best photos on our website, in our Photo of the Day section and on our social media accounts between 28 February and 9 March

People’s Choice Award: receive a 30 x 40 cm enlargement of your photo

Jury prize: a one-year subscription to the French version of novastan.org and a 30 x 40 cm enlargement of your photo

The competition is open to everyone, amateurs and professionals alike, from 26 January to 23 February 2026.

How to enter? 

Post your photo on Instagram (not in Stories or Reels) with the hashtag #novastanphotocontest and tag Novastan as a collaborator on your photo.

Don’t have an Instagram account? Send us your photo by email to the following address: photo@novastan.org, attaching the following by 23 February at the latest: 

Your full contact details (surname, first name, country)

A title and caption

The location where the photo was taken

The results will be announced on 16 March.

Credits : Hannah McMillen (@the_crease_in_the_atlas, UE), Turar Kazangapov(@Kazangapov.t , Kazakhstan), Sascha Ronneburger (Germany), Novastan.

Authors are solely responsible for all rights relating to the images they present.

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