OCA MAGAZINE #24 Winter 2016

WITH EURASIA

[ EURASIA ]

YERLAN SYDYKOV: IT’S OUR WAY, AND WE WILL OVERCOME IT

EUROVISION 2016 WINNER INTERVIEW: JAMALA SETTLING DOWN TO BELARUSIAN LIFE : UK AMBASSADOR INTERVIEW FIFTH OPEN EURASIAN LITERATURE FESTIVAL & BOOK FORUM TRIUMPHS FORWARD UNTO DUSK: HORSE-RIDING ACROSS WESTERN MONGOLIA

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BUILDING THE LANDBRIDGE

ISSN 2053-1036 RRP: £7.50

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Meet Maide Akan, a young writer, illustrator and eco-designer from Astana, Kazakhstan. She is 11 years old. Maide composes and illustrates stories about Aysu, a Kazakh girl who loves nature and leads a campaign to highlight the environmental issues of our time.

In anticipation of Expo 2017 in Astana, publishing house Hertfordshire Press will publish the first book by Maide Akan. Entitled Aysu and the Magic Bag, the book tells the amazing story of a girl whose life is no different from ordinary children, until one day she meets a magical bird. Thus begin the extraordinary adventures of Aysu and her quest to save the environment. Written with a charm and sophistication which belie her tender years, Maide Akan’s narrative is a seamless blend of fantasy and more modern concerns. Beautifully illustrated, her work is sad and poignant, yet full of youthful hope for the future..

ISBN: 978-1-910886-24-3 AVAILABLE ON AMAZON.COM

This new book by the Kazakh broadcaster and journalist Kanat Auyesbay is a fascinating and charming view of Britain. Kanat studied here for a year, living in Norwich with his wife and young son. Here he recounts his impressions of British life and compares aspects of it with life in Kazakhstan. He deals with subjects as diverse as school, charity, public transport, swimming, language and eating horse meat! There are also transcripts of interviews and additional chapters such as ‘35 years in front of the White House,’ in which he talks about Conception Picciotto about her anti- nuclear vigil. The reader will also learn about Kazakhstan and some of it’s customs and monuments. I am sure that British readers will enjoy Kanat’s impressions of our country, and I hope that they be inspired to visit Kazakhstan. I also hope that Kazakh readers will, perhaps, understand our small island a little better.

ISBN: 978-1-910886-37-3 AVAILABLE ON AMAZON.COM

EDITOR-IN-CHIEF NICK ROWAN GUEST EDITOR STEPHEN M. BLAND PUBLISHER MARAT AKHMEDJANOV

OCA MAGAZINE 24/ 4 WINTER FRONT COVER: YERLAN SYDYKOV (SEE P. 8) MAGAZINE PUBLISHED FOR EURASIAN CREATIVE GUILD

DEPUTY EDITOR ALEKSANDRA VLASOVA DESIGN ALEXANDRA REY EDITORIAL TEAM GARETH STAMP RAZA SYED CHRISTOPHER SCHWARTZ, SHAMIL AKMEDJANOV, ANNA SUSLOVA CONTRIBUTORS ANZHELIKA LEVANDOVSKAYA, MARIA BATZ, DARIA ANTONOVICH, ALEKSANDRA VLASOVA, CHRISTOPHER SCHWARTZ, HANNA ARANOVICH, CHOKAN LAUMULIN, MUMTOZ KAMOLZODA, DANIEL ARTHUR, JAMIE MADDISON, MATTHEW TRAVER, MELEK MAKSUDOGLU, ANNA LARI

ECG BOARD DAVID PARRY - CHAIRMAN MARAT AKHMEDJANOV - VICE CHAIRMAN ANNA LARI - EXECUTIVE DIRECTOR ADVISORY BOARD GULSIFAT SHAKHIDI (TAJIKISTAN) SÖLVI FANNAR (ICELAND) SHAHSANEM MURRAY (UK) DAVID WILLIAM PARRY (UK) NADEJDA KOLYSHKINA (RUSSIA) STEPHEN M. BLAND (UK) SHMUEL BEN-ZVI (ISRAEL) LENAR SHAEHOV (RUSSIA) MARINA BASHMANOVA (KYRGYZSTAN) ALAN COX (UK) NICK ROWAN (UK) ELENA BEZRUKOVA (KAZAKHSTAN) CYRUS YAVNEH (USA) MARK AKHMEDJANOV (UK) ALEKSANDRA VLASOVA (UK)

Disclaimer : The information contained in this publication is for general information purposes only. The information is provided by OCA Magazine and while we endeavour to ensure the information up to date and correct, we make no representations or warranties of any kind, express or implied, about the completeness, accuracy, reliability or suitability of the information, products, services, or related graphics represented for any purpose. Any reliance you place on such information is therefore strictly at your own risk.

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All authors provide their own material and any opinions contained within are solely those of the authors and do not neccessarily represent the views or opinions of OCA Magazine.We publish these views as part of our provision of a forum for discussion and readers should be aware that the views may contrast each other in the pursuit of this aim. In no event will we be liable for any loss or damage including without limitation, indirect or consequential loss or damage, or any loss or damage whatsoever arising from loss of data or profits arising out of, or in connection with, the use of material contained within this publication.

Special gratitude for cooperation and support to Embassy of Azerbaijan to the UK. Embassy of Kazakhstan to the UK. Embassy of Tajikistan to the UK. Embassy of Kyrgyzstan to the UK.

At Pasha we invite you to experience the delicious dishes and exotic ambiance of Central Asia, combined with flavours from Uzbekistan, Kazakhstan, Tajikistan, Kyrgyzstan, Turkmenistan, Azerbaijan, Russia and Turkey.

Address: 158 Camberwell Rd, Camberwell, London SE5 0EE Phone:020 7871 9963 WWW.OCAMAGAZINE.COM www.pasharestaurants.co.uk

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FROM THE EDITORS Kazakhstan and the other Central Asian republics to demonstrate all the things they have to offer – tourism likely being one of the greatest benefactors.

Speaking of tourism, I was also delighted to see that Uzbekistan has announced visa-free tourist travel for citizens from 27 countries, including Britain, Switzerland and Japan for up to 30 days from 1st April 2017. Interestingly the decree signed by Uzbekistan’s President-elect, Shavkat Mirziyaev on December 6th also allows citizens from the US, France and Israel, among others, to also join this group – though this latter group have to be over 55 years of age.

I have just returned to a snowy Moscow having attended the fifth Open Eurasia Book Forum and Literature Festival held in London at the end of November. Almost a thousand people attended the various festival events over the four packed days and more than 60 writers from 16 different countries attended to present their latest works, discuss how to improve the publication and dissemination of Eurasian creative and academic writing and to simply meet like-minded people.

Every year that I attend the festival, it always reminds me that it is through such events and gatherings that we can build (or rather re-build) the cultural bridge between East and West. Together we can revive the ancient links between Europe and Central Asia and beyond. It was a pleasure and an honour to have been involved yet again and to have met so many of you and hear your latest wonderful ideas.

As we enter this December, we celebrate 25 years since the independence of the Central Asian republics. In a quarter of a century much has changed in the region as it has regained prominence and strategic importance in global affairs. 2017 promises to be no less exciting and important. Kazakhstan will host Expo 2017. More than one million foreigners from over 100 countries are expected to visit (myself included) and interest from the business, cultural, tourist and governmental arenas will be high. Such an event is a wonderful platform for

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Following the elections in Uzbekistan, where Mirziyaev won comfortably, and as expected, with nearly 87% of the vote, it is pleasing to see early signs of positive change in the country. Visa-free travel is just one of a number of encouraging announcements including the release of political prisoners, a hotline to the President for citizens to feedback their recommendations and issues as well as flights being resumed between Uzbekistan and Tajikistan. These early actions are very encouraging and I hope that we will see further such progressive changes.

As we end the year, I wish you all a very happy festive period and look forward to coming back in 2017 with vigour and excitement, as there are plenty of exciting projects in the pipeline. My thanks again to all our supporters and writers, and a special thank you to our Guest Editor, Stephen Bland, for all his help in bringing this particular issue to you.

Yours, Nick Rowan Editor-in-Chief

GUEST EDITOR

In keeping with this spirit, the winter 2016 edition of OCA magazine is a diverse and far-flung affair, containing interviews with eminent centenarian Belarusian-American scientist, Barys Kit, Crimean Tatar Eurovision Song Contest winner, Jamala, and Tajik miniature painting master, Olim Kamalov. There’s also analysis on Kyrgyzstan’s place within the Eurasian Economic Union from Christopher Schwartz at the American University of Central Asia in Bishkek, and an interview with the British Ambassador to Belarus, Ms. Fionna Gibb.

Welcome to the 24th edition of Open Central Asia Magazine, for which it has been my honour to step in as guest editor. This issue comes hot on the heels of the Open Eurasian Book Forum and Literature Festival 2016, which took place in London at the end of November. In total this year, fifteen new books were launched at a series of events across numerous venues to appreciative audiences. Authors from Britain, Kazakhstan, Kyrgyzstan, Dagestan and as far afield as the Khanty-Mansi Autonomous Okrug in Western Siberia were represented, to name but a few. I was delighted to be able to take part and give a presentation about my own book, Does it Yurt? Travels in Central Asia, but first and foremost as an author, the event afforded participants the opportunity to meet like-minded writers from around the globe and form bonds through our shared love of literature. I was also pleased to be invited to join the advisory board of the Eurasian Creative Guild, a non-profit organisation seeking to bring together creative talents from around the region and offer proactive support to artists from a wide range of fields.

Within Central Asia, meanwhile, as we prepare to go to print changes are afoot.As of November 4th, foreign visitors to Kyrgyzstan are required to register their presence in the country within five days, or risk facing a 10,000 som fine. Whilst likely aimed at allaying fears about extremists entering the country, this new law will surely impact negatively upon the Kyrgyzstan’s fledgling tourist industry, whilst also opening new opportunities for graft.

In Uzbekistan, however – as noted by my colleague Nick Rowan – with the announcement that visa-free travel for tourists will be offered to nationals of 27 countries from the 1st of April 2017, things are headed in the polar opposite direction. Whilst most analysts believe that Mirziyoyev will forge a path similar to that of his predecessor, this unexpected opening up of the country can only be a good sign. At this juncture, it remains to be seen whether the onerous business of registration slips will also be scrapped.

Enjoy the issue Stephen M. Bland

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YERLAN SYDYKOV: IT’S OUR WAY, AND WE WILL OVERCOME IT 8

OCA MAGAZINE

Yerlan Sydykov, chancellor of the Eurasian National University named after Lev Nikolayevich Gumilyov (Kazakhstan, Astana), may not be a name familiar to those outside Central Asia, but many in the cultural community across the world will likely have come across his work at some point. Last year, his book “Shakarim” was presented at the University of Cambridge by Sydykov himself, bringing his work closer to English audiences.

In his homeland, the scientist is also engaged in the broad social activities. He is the vicepresident of the Association of the Eurasian Universities, the president of the Association of Asian Universities and the Deputy of Maslikhat in Astana, Kazakhstan. Open Central Asia met Sydykov at our offices in London to hear more about his life, beliefs and views of modern independent Kazakhstan as now having something to defend and a strong reason to live for.

Open Central Asia: Yerlan Battashevitch, what brings you so frequently to the UK as a visitor?

Yerlan Sydykov: For me, the United Kingdom, as well as other countries in Europe, Asia, America, the Commonwealth of Independent States has a primarily educational and scientific interest. This year the Eurasian National University named after Lev Gumilyov marked its twentieth year. Not long ago, the university was named “heavyweight among young universities” by the regional director of QS, Eastern and Central Asia ZoyaZaitseva (ENU - the only CIS university, which got into the top 50 of the young developing universities of the world). It took 38th place on the results of QS World University Rankings. It’s a great start. We are young and have a lot to learn of course.

OCA: Last year in Cambridge your book “Shakarim” was presented. It was a great event to promote the Kazakh literary heritage in England.

Why this book and why in Cambridge?

YS: The book “Shakarim: The Life of a Kazakh poet”was written in the language of Shakespeare and Byron and presented in the University of Cambridge in May 2015 The presentation of the book was preceded by a meeting with the Vice-President of the University, Peter Nolan where the possibility of joint scientific co-operation was discussed, followed by the signing of a Memorandum ofCo-operation between our Universities.

I presented the life story of one of the greatest Kazakh humanists, philosophers and poets,Shakarim Kudaiberdiev, to British audiences to allow a discussion on the book, “Shakarim”, and on Kazkhstan. The book, according to Dr. A. Tayzenhauzen: “... is more than a human life, it is a history of the whole nation.”

My goal was to encourage my readers to find a friend in Shakarim, “being reborn again in a circle,” because for himself once and for all, he realised “it all grows wiser that should grow wiser” through the life and art of great Kazakh poet.Before the presentation in English the book had been published in three languages - Russian, Kazakh and Turkish. Currently it’s being prepared for publication in Chinese.

OCA: Recently your new book, “Zhambyl” was published in Russian. Would that book be interesting for an English-speaking reader?

YS: Certainly! And confirmation of this is that in autumn Zhambyl was presented in Belgrade in the Serbian language.This event was made possible during the official visit of the President of the Republic of Kazakhstan,Nursultan Nazarbayev, to Serbia. The book, “Zhambyl: Poet of the Great Heath”, was translated into the Serbian language by University of Belgrade Professor Olga Markovic.The work is dedicated to the 70th anniversary of the Great Victory over fascism and the 170th anniversary of the outstanding Kazakh akyn Zhambyl Zhabayev. These factors contribute

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PEOPLE undoubtedly to the strengthening of the cultural component of cooperation between Kazakhstan and those countries, where we, the intellectuals are promoting our own, Kazakh culture.

OCA: For more than 20 years, you have headed up the leading universities of Kazakhstan.Being under your jurisdiction, ENU n. a. LN Gumilyov is the initiator of many events in Kazakhstan. What is the university proposing for its part in preparations for “Astana EXPO-2017”?

YS: The right to host the international exhibition “EXPO-2017” in Astana, Kazakhstan was voted on by the 103 countries taking part in the International Exhibitions Bureau. The international exhibition “Astana EXPO-2017” with the theme of “Energy of the Future” will help us to look at our country from a new perspective, taking into account the challenges humanity is currently facing. A successful solution to these problems depends on many factors, including the personal involvement of each of us.

As you will know, impetus to solving the energy crisis was given after the energy crisis of 1973.Heat generation in the Republic of Kazakhstan, with its long and quite severe winters, requires very high fuel costs, which exceed by almost 2 times the cost of electricity.The University conducts such research into environmental studies of efficiency and the capacity of the landscape of Kazakhstan in view of climate change. We also consider environmental issues of green constructionamong other areas.A number of scientists are engaged in the problem of using the energy-efficient heat pump heating systems, which is also at an early stage of development in Kazakhstan.

The issue of “Energy of the Future” is very relevant: the traditional energy sources cause uncertainty and concern about their inability to replenish themselves as well as the serious impact that using them has on the planet and our health.

Therefore we are researching the environmental efficiency and capacity of the landscape of Kazakhstan taking climate change into account: including the development of environmental monitoring systems of forest plantations in the areas of radioactive contamination to identify woody

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crops with a high efficiency of energy storage; hydrobiocenoses ecotoxicological studies, biological methods of evaluating the ecological state of watercourses in urban areas of Kazakhstan, and so on.

We also propose to assist with the provision of tour guides speaking English, Chinese and Turkish. The “Astana EXPO-2017” will be attended by more than 3 thousand of our students acting as volunteers. The university is also proposing to host seminars, workshops and roundtable discussions on tourism in the country. Hiking paths are being outlined, like “Caravanning “Ekokoltso of Astana,” “Oasis of Great Heath,” “Journey to the Ulytau by the Expanses of Saryarka,”, “Silk Way - Bridge of Civilizations” and Auto-camping tourism: “Astana - Altai.”

As far as higher education institutions are concerned, including ENU, then, for all of us “Astana EXPO 2017” will be a global dialogue discussion platform, which will create ideas and problem solve world energy solutions, energy saving, energy-efficiency and high-tech energy sources. In short, the geopolitical importance of “Astana EXPO-2017” is priceless.

OCA: At what level does the university co-operate internationally and with which other distinguished universities do you have partnerships?

YS: International cooperation of ENU n.a. LN Gumilyov is implemented within the framework of contractual relations with foreign universities, scientific centres and research institutions in Europe, Asia, America, embassies, international research and educational foundations. The university has educational and scientific areas of interest in spheres, such as academic mobility, research, educational programs, professor exchange, etc. For our students the doors are opened to universities in the US, Korea, Spain, Italy, Germany, France, Portugal, China and Hong Kong. Joint educational programs with a degree taking exist.

Achievements in educational and scientific collaboration are measured by international rankings, where ENU is represented in the QS World Uni-

versity Ranking (345) and QS countries of Eastern Europe and Central Asia (33). Today, the university cooperates with such universities as the University of Cambridge, University of Coventry, University of Sussex, Autonomous University of Barcelona (Spain), University of Valencia (France), Pusan University (Korea), Natural Sciences University (Czech Republic), Wuhan University (China) , University of Calgary (Canada), and many others.

At the end of November 2016, an agreement between ENU and the Cavendish Laboratory, University of Cambridge was signed, which will lead to the establishment of the Centre for Quantum Materials. The accord will stimulate cooperation in the field of physics between scholars at ENU and the University of Cambridge.

It is also expected to lead to further collaboration between the universities in disciplines which will be defined in the near future. The Center for Quantum Materials for Energy Sustainability will revolutionise the sphere of research and the innovatory process towards a new energy strategy in Kazakhstan.

Thanks to the joint research projects, as well as its program of “Guest Professor” the university annually invites professors of its partner universities, including those in the UK. Joint research with scientists from the universities of Cambridge, Oxford, Sussex and Northumbria are conducted.In 2015 it attracted 245 foreign experts to carry out scientific work and lectures.

OCA: Being a historian by training, what do you consider as some of the historical highlights that have been the turning points for Kazakhstan?

YS:This year marks 25 years of independence of the Republic of Kazakhstan. We declared our newfound sovereignty in 1991 but already we are justified in speaking about the presence of our country on the world stage.

“We need to look into the past to understand the present and to see the contours of the future”, says our President, Nursultan Nazarbayev. The status of independence is not a newly made doctrine of modern times for Kazakhs. This tradition of independence was already given to us

by the ancestors of the Turkic-speaking peoples throughout the times of Turkic Eurasia. History’s always been interested in all the world states.

But it always places a special emphasis on the sense of national identity. And here the truth is that nations and peoples cannot be absolutely similar, and national identity is mediated by the state’s independence. It is the key to the stability of an ethnic group, and the state in a complex, nonlinear peace-building practice.

Set aside a settled environmental view that the nomadic world was barbaric, ignorant and destructive and you will find a progressive role in the global historical process played by nomadic societies to which traditional Kazakh society belonged.The idea of independence has deep roots, and the independence of the state followed cultural independence, the independence of the spiritual embodied in tengrizm principles as we now call the ancient beliefs of Turkic-speaking ancestors. The fundamental civilisational paradigm of our independence is that the nomadic Turkic world organically fits into the global world-system of the ancient world and the Middle Ages, really connecting states and culture. In this context, each step of our people from the time we started to be aware of national identity can be considered as a historical turning point.

OCA:Finally, what message would you like to give to our readers in the UK? YS:I first of all associate the UK with classics of world literature. As a child, I read Alan Milne, Lewis Carroll, Rudyard Kipling. We all were young Robinsons of Daniel Defoe. We grew up on the works of the greatest dramaturge and poet William Shakespeare, perceived other worlds with HG Wells. And who among us did not wish to be Sherlock Holmes, HerculePoirot, reading detective novels by Arthur Conan Doyle, Agatha Christie?

It is possible to talk endlessly about these truly national assets of the people of England.I wish multiplying glory, further spiritual and cultural development to all the readers. And of course I’m looking forward to the strengthening of our relations.

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EXPO 2017

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OVER 100 COUNTRIES CONFIRM EXPO 2017 PARTICIPATION

In Astana, participants are preparing for the international exhibition, EXPO-2017. With the countries of the Pacific Alliance - Chile, Mexico, Peru, Colombia and Barbados - having signed up, the total number of countries taking part has now reached 111, who will exhibit along with a host of international companies.

According to representatives of the newly subscribed countries, this year’s theme, “Future Energy” is highly topical to the countries of the Pacific Alliance, as they are actively exploring the wider application of renewable energy sources. Chile, for example, despite having a booming mining industry, is looking to expand its use of solar and wind energy. Peru has great potential for hydropower and substantial reserves of natural gas, but is also seeking to develop its solar, wind and geothermal energy resources. Colombia - which has produced solar-powered cars - also has considerable potential for alternative energy development. Likewise Mexico, despite its position as a large oil producer is also actively searching for new types of energy. Located in the same region, the world’s renewable energy leader, Costa Rica derives nearly all of its power from alternative sources.

With the EXPO upcoming, 103 countries have already appointed their Section Commissioners, and 89 have signed agreements with regards to renewable sources. Work is also underway on the implementation of a programme of assistance for developing countries.

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Technical sessions have been conducted and discussions held about pavilion designs, participation concepts and various organisational issues. A unified services centre has also been created, where guests and participants can receive assistance in a fast and convenient way. The centre will be open from the 1st of December, 2016.

The first five countries: China, France, Germany, Hungary and Turkey have already erected their pavilions, France naming its 1,067 sq. metre pitch “Energy Turn for Green Growth”. France intends to focus on developments in the green energy sector through the subthemes of: future city, renewable energy and environmentally friendly vehicles.

The theatre of future energy will be the distinguishing feature of the Green Silk Way pavilion, which will demonstrate new avenues in energy cooperation for countries along the old Silk Road and throughout the world.The theme of the Hungarian pavilion, meanwhile

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- “Future Energy Unites Us” - is based on geographical and economic features of the available energy sources within the country. The pavilion will demonstrate the latest in the fields of power and urban planning, highlighting the fact that Hungary is a country of vast water, sun and wind resources.The German pavilion area: “On the Way to Energy” will occupy 1249 sq. metres, whilst the Turkish pavilion will occupy 959 sq. metres.

The organisers of EXPO-2017 say they want to host a wonderful event with interesting and informative pavilions to ensure the promotion of Kazakhstan and attract visitors from around the world to Astana, the miracle city of the desert. The exhibition will be held from June 10th through to September 10th, 2017. Approximately five million visitors are expected.

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INTERVIEW

I WISH LOVE TO ALL OF YOU Interview with Jamala, singer, actress and songwriter. She represented Ukraine and won the 2016 Eurovision Song Contest with her song “1944�. She performs music that includes elements of such styles as soul, jazz, funk, folk and electronic. The singer became popular after her participation at The New Wave in 2009.

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OCA Magazine: Your song for Eurovision Song Contest “1944” is devoted to the tragedy of the Crimea Tatar people. Eurovision is usually a contest of beautiful songs, and yours is a true sad story. How did you come up with the decision to write such a song?

Jamala: I wrote the song “1944” one year and a half ago. I didn’t touch it and even didn’t include it in my album “Podyh” that was released a year ago. The song became a very strong and emotional moment for me therefore I kept it in a separate folder and was afraid to return to it. This topic is very personal and very sad.

I found inspiration for writing it in a story of my great-grandmother Nazlan about the tragedy that happened to our family and the Crimean Tatar people in 1944. I’m talking about the forced deportation. My great-grandmother lost her daughter, one of five children.

And, of course, I didn’t want to disappoint myself once again by getting back to it. But at some point I realized that, firstly, though the musical component was not very typical for the contest, but very decent. In addition, semantic load is quite important and this song describes the history of thousands of people through one destiny. It is always very important for any type of art: song, painting, film etc. Integrity of form and content is a true victory.

OCA: I know that the subject of deportation of the Crimea Tatar people is quite personal. It directly affected you and your family. You could not return to your historical homeland for a long time and you had to make quite difficult decisions from a moral point of view.

Please tell us about it.

Jamala: We have tried to return to the Crimea since 1983. I was born in Central Asia, and when I was 9 months old, we started the journey. First we came to Melitopol, bought a house, and then my mother went on her own to the village Malorechenskoye. This is the village where my great-grandfather once dug up a spring, all the roots of our ancestors come from this place.

And dad didn’t even want to hear anything about Simferopol or Alushta, he was only interested in Malorechenskoye. Mom got a job in a music school and was

looking for a house for sale. There were already rumors about the fact that the Crimean Tatars begin to return and all people round were afraid of us. My mother was like a spy there. And all the time she returned for the weekends. These endless trains and these meetings with the dad in the park invaded in my life.. My mom even had to divorce my dad so that she wouldn’t have last name Dzhamaladinova or children in her passport.

It was very difficult and odious. We had to step over ourselves so as to get this piece of land in Malorechenskoye It’s like the movie “Avatar”. Imagine that you have a tree Eywa and without connecting to it nothing works. Everything is linked, everything is permeated with history, pain and love.

OCA: When you went to Stockholm, what kind of attitude did you have? Did you anticipate your victory? Or was the main goal to tell the world about the tragedy so that people will not remain indifferent?

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INTERVIEW Jamala: I came to the contest for the main prize and had no other thoughts. If you don’t aspire to victory why then would anyone participate in contests? I can’t say that I won easily. I was under such stress that 5 min before coming out to the stage I was crying behind the scenes. I wouldn’t even wish my enemy to sing this extremely complicated and dramatic song “1944” for 13 times while others had light and positive songs.

It is really disturbing. I had to detach myself from the whole world so that to get tuned. It’s not an easy thing to experience the same emotion for many times. I had to get deep inside myself so as to make 20 thousand people in the hall and 200 million people in front of their TV screen feel what I wanted to convey to them. Each time I recalled my grandmother’s image in my memories, this wagons in which my relatives were deported.

After arriving back to Kyiv I noticed a new wrinkle on my forehead, though only 11 days ago I didn’t have it.

OCA: Were you worried that the song wouldn’t be accepted by European society?

Jamala: It was really important for me to introduce exactly this song and to raise the topic of deportation. It is not widely discussed in mass media and rarely recalled by anyone. And “Eurovision” is a powerful platform for introducing your music and delivering your message to a huge number of people not only in European countries but even in Australia. I had a strong belief that I would tell the whole Europe about Ukraine something they had not known before. The contest is a complicated story, but I had a feeling that I could compete with other songs and become a winner.

OCA: Tell us about your creative development before your victory in Eurovision song contest.

Jamala: I made my first professional recording at the age of 9, it was the album of the Crimean Tatar folk songs and songs for children. I graduated from the Simferopol Music College and Kiev National Music Academy in the class of opera singing. I was planning to continue my career in classical music, but plans changed. In the summer of 2009 I participated in the International contest of young singers “New wave” in Latvia and received the Grand Prix.

After that my life changed dramatically and endless concerts and tours began. At that moment I firmly decided that I was going to write my own music. At the mo-

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ment I have four released albums, the latest of which is “Podyh” (released in October 2015). In February 2016 I received four YUNA awards (Ukrainian national music awards), in particular “Best solo performer”, “Best album”, “Best song” and “Best duet” (“Best song” and “Best Duo” with my colleagues Andrew Hlyvniuk and Dmitry Shurovy).

OCA: How has your life changed after victory?

Jamala: Well, attention to my personality has increased as well as the amount of interviews. After the announcement of the results of the national selection it seemed to me that the things I had in my mind were calls, interviews, press conferences ... But after the contest, the attention was even greater. However, it was pretty expectable, because Ukraine has loudly declared itself, though it may a bit immodest from my mouth. And I understand that we have a certain responsibility to all those who supported me. But, hon-

INTERVIEW estly, sometimes I felt very tired and exhausted from the noise, I just wanted to sleep.

Every musician aspires to spreading his or her music and to present it to the largest audience – and it doesn’t only concern some specific song. It is important for me to tell about my work to everyone in general. Therefore, I consider my professional result of Eurovision is numerous requests for concerts and the release of my album by the world’s largest record label Universal Music Group in Europe and the United States.

OCA: What is the secret of your success? What goals do you set for yourself?

extend very far! When a man dreams of a small, it is possible that he even doesn’t get it. We need to think bigger. It may sound too pretentious, and yet, I want my music to be recognized in the world. I don’t want to follow the stereotypes, I want to create something new, my own art - originality always wins. Sincerity wins. It is only a matter of time. The main thing is to believe.

OCA: What would you wish to the readers of our magazine?

Jamala: I wish love to all of you! And, of course, to listen good music.

Jamala: I believe that if you really want something, it will come true. If something does not work, I ask myself: “Did you want it that much? Did you want to dream, to live for it”... It is not enough just to sit on the couch and say “I want it”, you need to do something for it! A bag of money or glory and respect won’t fall on your head, if you just want it. My ambitions always

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FOCUS

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Settling Down to Belarusian Life – Post Sanctions INTERVIEW WITH THE UNITED KINGDOM AMBASSADOR TO BELARUS

Ms. Gibb is Her Majesty’s Ambassador for the United Kingdom in Belarus (Since January 2016).

OCA: You’ve spent almost a year in Belarus now.What have you seen so far and how do you find the environment you find yourself in? Do any parts remind you of Britain?

FG: I’ve been here just over nine months. I arrived in the height of winter, at the end of January, and now we are heading into the cold weather again. But it was a wonderful summer! I’m enjoying getting to know Belarus. I have travelled on official and private visits and I think I’ve seen quite a lot in a relatively short space of time. For example, I have been on work-related trips to Mogilev, Bobriusk, and Gomel; I’ve stood beside the largest mining dump truck in the world in Zhodino. I’ve watched football in Slutsk. I’ve been to the wonderful Mir and Nezvich castles. In the summer I travelled privately to Polatsk and toured the historic sites. I’ve spent hours at Brest Fortress and its fascinating museum. I’ve paid my respects at Khatyn and skied in Silitski.

I’ve swum in clear lakes in the summer, been horse-riding in the rolling countryside and much more.

As for the capital city, Minsk is an easy place to live, and so clean. It must be the cleanest city in the world, but also surprisingly green in the summer with beautiful parks and a river running through the centre. As a cyclist, I love the fact it’s so safe compared to London.

Everything I’ve experienced so far, I’ve enjoyed very much. The people I’ve met are so welcoming and interesting and helpful.The only thing I miss is the sea! There are over 3,000 lakes in Belarus, but it’s not the same as being near the sea. I wouldn’t say there is anywhere I’ve been that reminds me of the UK.The sky is bigger here and the landscape flatter. It’s a lot less crowded.

OCA: You have worked in lots of places during your career, including Ukraine. What do you consider as Slavic culture and how do you think Belarusians fit into this?

FG: Slavic culture? That’s difficult. I’m not sure what it means to be Slavic in terms of character. Emotional, possibly? But that’s not an adjective that immediately springs to mind for Belarusians. I don’t think Ukrainians define themselves as Slavs. But if to be Slavic means to show great hospitality, then in my experience Belarus is most certainly Slavic! If it means a love of the datcha and the banya, then Belarus fits in! In fact the love of datchas is one thing in common with Ukraine. I’ve stayed in two datchas over the summer, and had my first experience of a Belarusian banya. It was invigorating. Another thing I noticed in Belarus that may or may not be Slavic but which I also experienced in Ukraine, is a love of vodka and toasts. People love to toast each other here with great enthusiasm multiple times during a meal.

OCA: You said in one of your interviews that in Belarus you are planning to support economic development and democracy. How is the process going, and what are the challenges you see that need to be overcome?

FG: The EU sanctions were lifted in February and this has paved the way for more outreach to Belarus. Promotion of democratic values and adherence to international standards of human rights is a key area for the UK, and we will continue to engage with Belarus in these matters. But we are also working to increase our understanding of the economic challenges the country faces, and to identify where we can help. Clearly I’d like more two-way trade and investment, and that’s something my team and I will encourage, although it’s not something we can guarantee as the decision is not ours to make, but rather the business community’s. Belarus has taken steps to highlight the opportunities that exist for investment and trade, but I think more could be done. There’s lots of competition elsewhere and Belarus needs to promote itself more visibly.

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FOCUS OCA: From the British perspective, what projects do you have in the pipeline to improve Anglo-Belarusian relations?

FG: Projects for next year are still at the planning stage, but right now we’re working with the government to safeguard children from sexual exploitation online, and we’re also working with the government to put in place really good legislation dealing with domestic violence. We’re doing some work with independent media, and pursuing some follow-up work to the first conference on the use of the death penalty, which we funded in March of this year and which was hosted by the MFA and UNDP. We’d like to encourage more debate around this divisive issue with a view to supporting the government putting in place a moratorium. We’re planning new projects in the economic sphere to help build more resilience in the system and support people. I’m also hopeful that our Guest of Honour status at the Minsk International Book Fair in February 2017 will help improve Anglo-Belarusian relations through greater interest in acquiring English language skills. By being able afforded access to our great literature, more Belarusians may come to see the UK as destination of choice for education overseas.

OCA: What sort of investment climate do you see currently in the Republic of Belarus? How would you recommend British and other foreign businesses invest in the Belarusian economy?

FG: I believe Belarus has just moved to 37th place in the World Bank’s Doing Business index, out of 190 countries. It has moved up 13 places in a year, which is good. However, the main problem is accessing credit.

The overall rating is the sum of various sub-ratings, and for the “Getting Credit” rating, Belarus stands at 101, only eight places better than last year. I know negotiations are underway on a possible loan from the IMF and Belarus has stated that it wishes to join the WTO. I think movement on both of these issues would give the greater international financial community more confidence in Belarus and help improve its ability to get credit. I would certainly recommend British businesses take a look at the opportunities here.There are already some British companies investing here, but we would like to see more.

OCA: Many of the former Soviet Republics have found their way in the modern world. Do you think Belarus

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has found its own place on the political map of Europe yet?

FG: If you mean is Belarus finding its way in the modern world, then yes, I think it is getting there. In terms of the technology sector, I would say Belarus is even ahead in this modern world, with its great pool of young engineers and software designers. There is certainly a growing interest in Belarus, and a growing appreciation of its distinct identity.The geographical heart of Europe is in Belarus; I have stood at the very spot in Polatsk. Belarus looks east and west and can be a bridge between the two. Certainly it offers a gateway to the markets of the Eurasian Economic Union. Engagement on a variety of levels between the EU and Belarus is growing.

OCA: Belarus is well-known for its situation with human rights. How do you see both the current and future situation evolving?

FG: As I mentioned earlier, human rights is a very important area which we and other EU members will continue to engage with Belarus on.We see it as a positive development that Belarus has recently finalised and presented its National Action Plan on human rights, and is actively engaging with the international community to take work forward. For the EU, one of the most important issues is that of the death penalty. We continue to encourage Belarus to put in place a moratorium on the death penalty as a first step towards its abolition. It’s true that there are countries elsewhere in the world with which we do business even though the death penalty is still in use; the difference is that Belarus is a European country. As I have said, it occupies the heart of Europe, and that is why we expect more from Belarus as a fellow European country.

OCA: What impact do you think Brexit will have on British foreign policy? Might we see the UK focus more on Asia in its economic relations?

FG: Britain is a bold, outward looking nation, which thrives and prospers on the world stage. We are a country with the self-confidence and the freedom to look to the economic and diplomatic opportunities of the wider world. We are the fifth largest economy in the world and the second fastest growing major economy in the world last year. We are ranked in the top

six countries in the world as a place to do business.

We have record employment. So we can be confident about the fundamental strengths of the UK economy and optimistic about the role we will forge for the UK, building on our strength as a great trading nation. We will make a success of Brexit. Whilst our future relationship with the EU is still to be determined, we are not leaving Europe. Britain will remain a close friend, ally and trading partner to our European neighbours.

We will want the strongest possible economic links with our European neighbours, as well as our close friends in North America, the Commonwealth and other important partners around the world, be they in Asia or elsewhere.

OCA: At one of her interviews, Her Excellency the (former) Ambassador of France in Belarus, Dominique Gazuy said “My heart will always stay in Belarus”.What’s your personal impression about the country and what would you like to tell the world about it?

FG: Twenty years ago, I was working at our embassy in Kyiv. It was ten years after Chernobyl. All I knew about Belarus was that it was this mysterious, closed, rather Soviet-sounding country to the north, badly affected by the Chernobyl disaster. Here I am, twenty years later. I would never have expected it. I think this is a country which has experienced and overcome great tragedies in its history, and not only its twentieth century history. I think it is a great tribute to the resilience and fortitude of the Belarusian people that this country has been rebuilt from the rubble of WWII and faced with courage the aftermath of Chernobyl.The challenges are not over, of course, but I hope to play my part as the representative of the UK in Belarus to support this country as it faces the challenges ahead. What do I want to tell the world? Belarus – Be There!

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PEOPLE

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The Scent of Success!

Interview with Top Perfumer Vlad Rekunov

Vlad Rekunov is a perfumer and Director of the Association of Manufacturers of Perfumes and Cosmetics. His mentor, Sophia Grojsman - recipient of the “Living Legend Award” from the American Society of Perfumers – has created dozens of best-selling perfumes for the likes of Yves Saint Laurent, Lancôme and Calvin Klein.

OCA: Tell our readers about yourself and how you started out in the field of perfume in Belarus.

VR: I’ve been in the world of perfume properly for sixteen years now. I can say without false modesty that there are few areas of the industry in which I haven’t worked. I started out trading: wholesale and creating a small dealership network. There was a lot of literature, meetings and briefings, but sales were growing and the dealership network was becoming more and more independent. In the end, this all came crashing down, though. Something had to change. At this time fate suddenly introduced me to Sophia Grojsman, one of the most respected perfumers in the world, a Belarusian who has produced a number of world’s best-selling fragrances and a luminary in the industry.

OCA: To work on the creation of a new perfume must be a special creative process, something shrouded in mystery to the average person. Are there any defined steps in the realisation of your ideas?

VR: It’s a combination of practical knowledge and intuition. It’s about the surface of the skin, the feel, the woman’s wishes, which are formed not only from her words, but with looks, gestures, a flutter of eyelashes, fingers or lips. In these actions hides the magic, the secret connection of nature, its sources and the sense spreading throughout the body. A harmonious chord of sweet perfume will spread all over the skin, penetrate into every cell, creating a special world, an aura.

OCA: You are one of the few students to work with world-renowned Sophia Grojsman. How did you meet and what have you learnt from her?

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PEOPLE

VR: Sophia has always been an open-minded person. I was introduced to her in Paris and she took me to the Champs Elysees, showing it to me through her eyes.

Recognizing her, managers of the perfume stores would run up to her and invite her in for coffee. Around her neck, she wore an incredibly large pearl set in silver.

Her huge eyes radiated a significant amount of energy, differing in their signals depending on her mood.

OCA: Together with Sofia Grojsman, you have developed a unique Belarusian perfume under the name PaVetra. What are the prospects for this project and what do you see in the future?

VR: We plan to develop a line of PaVetra as a men’s fragrance associated with the different spheres of Be-

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larusian life. I don’t want to give too much away now, but we’ve dedicated a lot of time and energy to this.

The objective of the aroma PaVetra is elegance and we’ve already received a lot of interest from partners, investors, public agencies and delegations.

OCA: You already have a number of ambitious projects, such as personal perfumes for celebrities and leaders of nations, including Vladimir Putin.Tell us about your know-how and what you plan to bring to the perfume industry?

VR: For sixteen years, I’ve been gathering a lot of ideas and projects, from the fields of technology and entertainment to more utilitarian needs. Each project developed, some requiring just a single person, others

partners and investors. I try to trust fate and connect with others who share my interests. So, for example, the project to create the largest bottle of perfume in the world had to wait until I met Edgard Zapashny, and together we’re in the Guinness Book of Records.

OCA: You are never standing still, constantly evolving, and the fact that one of your projects was included in the Guinness Book of Records just goes to confirm this. Do you plan to reach such a level as to create a fragrance for the Queen of Great Britain, for example?

VR: It would, of course, be a great honor.The Queen is the personification of the nation and is known for her role in maintaining the country’s image and the highest level of aesthetics. Is there a level of nobility above this?

Probably not.

OCA: You’ve worked on a number of unusual projects; including the creation of a unique perfume for the Eurasian Creative Guild. Tell us how you managed to convey the essence of the Guild in such an unusual way?

VR: A fragrance for any company needs to mirror that organisation. In this case, it was important to personally meet with Marat Akhmedjanov and David Parry. The recipe I used softened the sharpness of the spices. It speaks of modernity, transparency, the femininity of violets, the English climate, the freshness of citrus zest and it leaves a sweetness on the lips after you inhale.

OCA: Is there a secret formula for a universal scent that will suit everyone regardless of their mood and the time of year, a perfume which will be always popular, irrespective of the era?

VR: All aspire to this, but it reminds me of the desire to find the philosopher’s stone or the elixir of youth.

More likely - though still not easy – would be to create a fragrance that would adjust for the human condition and bring about significant changes on the skin of different people or at different times of the day and year.

Existing attempts to solve this riddle have been quite simple and small. Still, to create a fragrance associated with an event that will stay in the memories of people forever, that is eternity.

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PEOPLE

From Death Row to the Moon An Informal Conversation with Barys Kit Barys Kit is a 106-year-old Belarusian-American scientist, astrophysicist, physicist, mathematician, chemist, rocket scientist and developer of a space fuel based on liquid hydrogen which made moon flights possible for the United States. Mr. Kit’s name was included in a time capsule detailing the greatest scientists in the world of cosmonautics, which was immured in Washington DC. For several years now, Barys Kit has been living in a nursing home in Frankfurt, Germany.

OCA: Hello, Mr. Kit, how are you doing?

BK: I’m fine, thank you, I’m all right.

OCA: How is your life in Frankfurt?

BK: Pretty good; I’m pleased to be here. You see, I spent most of my life in the States, but also lived in Germany a lot, where conditions were very different

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for me. At the time when I came here after the WWII, Germany was conquered. Me and America made ourselves comfortable together here in Germany (laughs).

But in the end, it turned out that I left, and it was in the United States that I found happiness.

OCA: Having such an incredible life story, what achievement would you call your greatest? What are you most proud of?

BK: As an astronautic, I was able to figure out how to use liquid hydrogen as a rocket fuel. The discovery of the viability of using liquid hydrogen was the gateway to further studies for many scientists. Prior to this, rockets rose into the air, but not so high, and through this breakthrough, we were able to make flights to the moon possible.

Another thing I am proud of are my sons, I believe that it’s right to be (laughs).

(He indicates a large family photo on the windowsill).

Now, see, this is my son, Vladimir. He was born in Belarus. He was an assistant to the head of the American space agency, NASA, but he died of cancer. To the left of this photo, this is my younger son,Victor. He became a famous surgeon in America.

OCA: What would you say was the most difficult period in your life?

BK: That’s easy; it was when I was in a German prison on death row. I spent thirty days in there. The cell held thirty inmates and every morning someone would come from the Gestapo to take out a few people to be shot. We were waiting for death every day, and we died again and again. I survived, however. I was saved by my student, Kastus. He then was hung by the Bolsheviks.

BK: I do think that, to be honest, (laughs) although I don’t have a motto. Many adages come to mind and it’s difficult to single out one sentence. While I have my own principles, throughout my life I’ve sought to defend all people; I’ve never wanted to harm anyone.

In my opinion, this is the most important thing: to be a good person, a happy person, and never seek to injure anyone.

OCA: What is the greatest value in life for you?

BK: I have two things. One is to teach people; I’ve always loved to teach young people. I was a professor to hundreds of talented students at a University in Germany. I was a teacher in Belarus, then in Germany, and in the US for a long time. The second thing is projects like Lunar. The discovery of liquid hydrogen gave me a lot in life, but not just me. The whole of humanity has risen because of this discovery.

OCA: What is the secret of your longevity? Can you give any piece of advice here?

BK: In fact, it doesn’t depend on me. In many ways, as you know, it’s genetics. But I also think that you just need to behave well in life. And in terms of diet, there’s no need to be glutinous. You just need to be a good person, enjoy every moment and try not to get into trouble.

OCA: The world has changed a lot since the time of your youth.What would you like to say to modern politicians?

OCA: You are a person with a long and breathtaking BK: History is a complicated thing. These are differhistory. How did you go from being a teacher in a small ent people, nations and politicians, each with their own Belarusian village to become a world-renowned scien- pressing issues and priorities. Based on the fact that I tist? What was the most important step? had a chance to experience life in Germany and the BK: I’ve always tried to move to places where I can United States after coming from a small village in the learn and grow. In my case, it was the way to the West. Russian Empire, then the Soviet Union, I think democraAlthough it wasn’t only about developing myself, it was cy is the best form of government because people can also an opportunity for me to survive (smiles). In 1944, develop and think for themselves. I would like to wish many of us fled the Soviet Union because of the polit- people in all countries - and in my historical homeland ical situation. especially - freedom and happiness. To have competent, intelligent and distinguished leaders means a lot.

OCA: Which factor contributed most to your success?

OCA: Mr. Kit, do you have friends here?

BK: It’s hard to say. God has always helped me. Life is BK: Everyone is my friend here. I don’t really have enhard, but if you don’t believe in God, life is just dark emies. All you need is to live in peace and help each then, I think. I’m sure sooner or later scientists will other. So now you’re my friend too. prove the existence of God. If you believe in nothing, as the Communists did, that is a deeply unpleasant thing.

OCA: Do you consider yourself a role model? Do you have a motto?

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TOURISM

TM

Georgia is a small country situated at the crossroad of Europe and Asia, bordered by the Black Sea to the west and the Caucasus Mountains to the north. A land of beautiful and diverse natural attractions, a rich culture and centuries of turbulent history, it’s no surprise that the country attracts the attention of tourists worldwide. The Georgian tradition of hospitality, as well as viticulture and winemaking spring from deep-rooted customs. With a unique cuisine boasting a wide variety of delicious food and wines and a diverse cultural heritage, the mountains, beaches and valleys of Georgia make the country a great place for tourism.

It is not surprising, therefore, that this land of massive tourism potential holds an annual national tourism awards project. Entitled “Welcome to Georgia!” since its establishment in 2015, it has rapidly become an

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important event amongst companies operating in the field of tourism. Participants in the Welcome to Georgia! awards are companies closely associated with the hospitality sector – from hotels, restaurants, business and entertainment venues to festivals and event’s organisers, travel photographers, tour agencies and tour operators.

“Tourism and hospitality are one of the core developing sectors in Georgia,” Maryna Chayka, Co-Founder and CEO of Welcome to Georgia! told OCA Magazine.

“We view our project from a global perspective. We see huge potential for further progress in this industry in the country. Georgia has an untouched nature; there are lots of places that are yet to be discovered, developed and promoted on a global level. As a result, the inflow of foreign guests is set to reach record numbers.

There is room for the development of destinations in Georgia, as well as of the service spheres. Although hospitality is deeply rooted in the Georgian psyche, a lot of work needs to be done to improve the service sector. By combining international standards with the Georgian touch, however, we will arrive at something unique.”

On December 2nd 2016, the official opening ceremony of Welcome to Georgia! was held at the Biltmore Hotel in Tbilisi.The gala hosted over 500 guests, among them general managers and owners of the best hotels, restaurants and wineries in the country, representatives of the largest hotel operators, tour agencies and tour operators, government officials, mass media and press industry insiders.

This year awards were presented in 20 different categories: 1. BEST BUSINESS EVENT VENUE AWARD 2. BEST MICE TOURISM AWARD 3. BEST TOURISM RESTAURANTS SERVICES AWARD 4. BEST TOURISM WINERY AWARD 5. BEST BOUTIQUE ACCOMMODATION AWARD 6. BEST STANDARD ACCOMMODATION AWARD 7. BEST DELUXE ACCOMMODATION AWARD 8. BEST WELLNESS & SPA RESORT AWARD 9. BEST MOUNTAIN ACCOMMODATION AWARD 10. BEST SEA ACCOMMODATION AWARD 11. BEST LOW BUDGET ACCOMMODATION AWARD 12. BEST TOURISM INNOVATION OF THE YEAR AWARD 13. BEST ENTERTAINMENT VENUE TOURISM AWARD 14. BEST FESTIVAL OR EVENT AWARD 15. BEST INCOMING TOUR OPERATOR AWARD 16. BEST OUTBOUND TOUR OPERATOR AWARD 17. BEST ADVENTURE TOURISM AWARD 18. BEST TRAVEL PHOTOGRAPHER OF THE YEAR 19. THE FASTEST GROWING COMPANY OF THE YEAR IN THE SME SEGMENT 20. GNTA’S AWARD FOR CONTRIBUTION TO TOURISM DEVELOPMENT

Awards Project then calculates the number of points awarded to each nominee and determines the finalists and the winners in each category, thus ensuring the process is entirely transparent.

Welcome to Georgia! has huge support from the government and private businesses.The Georgian National Tourism Administration is a co-organizer, and Tbilisi City Hall and the Ministry of Economics and Sustainable Development are official supporters. The general sponsor of the project is the Alliance Group, a leading building and development company in Georgia. Innovators in the market, since 2015 they have constructed the 41-storey luxury complex, the architecturally distinctive Alliance Palace, which combines premium apartments with the international standard Marriott Hotel. Another official supporter is the Bank of Georgia, one of the leading banks in the market, which offers a broad range of retail and corporate banking and investment management services. Bank of Georgia’s UK incorporated holding company, BGEO Group PLC, is listed on the main market of the London Stock Exchange (BGEO:LN) and is a constituent of the FTSE 250 Index.

The Welcome to Georgia! National Tourism Awards wishes to express its gratitude and appreciation to all of its partners who have supported the project during the second year - Independent Auditor of the Award: BDO Georgia; Sponsors: Julius Meinl, YanAir, Inglot, Sam Raan, TV Lux, FINA, Weekend Max Mara, Sarajishvili, DHL, Financial Office, Ardi, Daikin Georgia, FFG, Ctrl P, Business Georgia, Monta&Go, Sixt, Ozti, Tbilvino, Sakurami, the Biltmore Hotel Tbilisi, MarxerImmo, Favorite style, Radio Partner – Fortuna, Hotel Partners –Admiral Hotel, Hilton Batumi, Mercure Tbilisi Old Town Hotel and the Coral Boutique Hotel.

To participate in future events, entrants should register online at the official website of Welcome to Georgia! where they can choose the most appropriate category for their business. The process of rating participants is divided into two parts. The first involves free online voting on the official website, whilst the second is the purview of the professional jury board. BDO Georgia, independent auditor of the Welcome to Georgia!

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STUDIES

POST-SOVIET WOMEN IN TRANSITION: DR HEYAT LECTURE There are many common paradoxes and anomalies regarding the position of women in the former Soviet Muslim republics of Azerbaijan, Kyrgyzstan and Uzbekistan. These arise from the Soviet legacy of gender equality on the one hand, and patriarchal traditions on the other. The resurgence of Islam as an identity marker in the new independent era is another. However, there are also significant differences. Whereas radical Islam has established a foothold in southern Kyrgyzstan, the governments of both Uzbekistan and Azerbaijan have taken robust actions to stamp it out. There are also marked differences between Azerbaijan and the other two republics.The proximity of Azerbaijan to

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Europe and its ambition to join European institutions has influenced the government’s attempts to enhance the welfare and legal situation of women in the country.

Also significant is Azerbaijan’s oil wealth, which though far from equally distributed, nevertheless, in comparison with very poorly resourced Kyrgyzstan, has an effect on the lives of women. In Kyrgyzstan, in particular, poverty and a poorly functioning legal system have led to an increase in violence against women that includes the common practice of bride kidnapping. In my books, Azeri Women in Transition: women in Soviet and post-Soviet Azerbaijan and Land of Forty Tribes, I point out and explain all of these issues.

AUTHOR’S BIO Farideh Heyat is an anthropologist and writer, born in Iran and based in London.

She received her Ph.D. in anthropology from the School of Oriental and African Studies, London University. She has extensive experience of research and publications on women and gender in Azerbaijan and Kyrgyzstan. Her book, Azeri women in transition: women in Soviet and post-Soviet Azerbaijan was published in London, in 2002, second edition in Baku, 2005. She taught at the American University of Central Asia in Bishkek, Kyrgyzstan, from 20022003. During this time, and later in 2008, she travelled frequently across Kyrgyzstan and Uzbekistan, conducting ethnographic and historical research on the lives of women, and the resurgence of Islam and its effect on women.This led to the publication of her current book in 2015, Land of Forty Tribes, a semi-fictional story of love, adventure and cultural discoveries set in Kyrgyzstan and Uzbekistan. In October 2016, she presented talks on the subject of women in Central Asia and Azerbaijan at Boston University, Harvard’s Davis Centre and George Washington University’s Eliot School.

WOMEN IN POST-SOVIET CENTRAL ASIA: RE-ISLAMISATION AND MODERNITY In my talk I explored the situation of women in Central Asia, focusing on Kyrgyzstan and Uzbekistan, the countries where I have worked, travelled and conducted ethnographic and historical research. My lecture emphasised some of the paradoxes and anomalies in women’s position and gender relations arising from the Soviet legacy of gender equality on the one hand and patriarchal traditions on the other.

My talk highlighted the following issues: Violence against women in Kyrgyzstan; manifesting itself in the custom of bride kidnapping, this practice is on the increase since the breakup of the Soviet Union.

The search for authenticity in the independent era, leading to the revival of traditions. This includes celebrating Nowruz as the major national festival across the region and the post-Soviet adherence to Islamic beliefs and practices.

The intrusion of radical Islam into the region and its impact on women, in particular in the south of Kyrgyzstan.

The search for identity among the youth and the modernising influences related to contact with the West through the media, NGOs, foreign universities established in the capital cities, and travel abroad.

The historic links between Central Asia and Iran.

Finally, I pointed out that all these subjects and more are covered in my book, Land of Forty Tribes.

ISBN: 978-0-9930444-4-1 AVAILABLE ON AMAZON.COM

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SILK ROAD

Baku Forum in Call to Strengthen Humanitarian Development

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“The expansion and further development of international humanitarian cooperation is the key factor in an effective response to contemporary challenges and threats, and enables the accessibility and expanded application of contemporary management and production technologies, ensuring the well-being of present and future generations.”

The participants of the fourth Baku International Humanitarian Forum also called on various national and international structures specializing in humanitarian development to systematically hold forums, conferences and roundtables aimed at creating an atmosphere of tolerance and mutual respect within which to resolve contemporary local and global challenges.

Taken from the final declaration of the fourth Baku International Humanitarian Forum on October 3rd, this statement was part of a document adopted as a result of the two-day forum which brought together more 500 guests from over 60 countries.

“We recognize that the Baku Humanitarian Forum, traditionally held on the initiative of Azerbaijan, constitutes an important contribution to the development of multiculturalism, based on humanitarian practice as the basic value of the post-modern era,” the document concluded.

The event’s participants noted that a range of countries, including Azerbaijan, have achieved significant progress in recent years in the planning and management of sustainable development, which has been reflected in the figures and reports of international organizations.

“We pay special attention to the need for further development of international cooperation to transform society from a society of consumption into a humanitarian society of consumption on the basis of sensible sufficiency, as well as to achieve a way of life that meets the demands of ecological civilization,” the document noted.

The participants of the forum also recognised the importance of the application of nano and biotechnologies, based on the latest scientific achievements, and the convergence of contemporary and traditional technologies to ensure food and medicinal security, raise the quality of life and achieve the human potential for longevity.

“We acknowledge that the development of human potential through the integration of the latest knowledge and skills, including interdisciplinary, in a program of continuing education, as well as the expansion of cooperation in this sphere, are the key humanitarian components of sustainable development,” the declaration stressed.

“We note the need for such forums to be held annually and express our profound gratitude to the President and government of Azerbaijan, the Heydar Aliyev Foundation and all the organizers of the Baku International Humanitarian Forum for holding this major, productive event,” the document said. “We consider it necessary to pass this declaration and to make use of it to strengthen cooperation in humanitarian development.”

Initiated in 2010 by President Aliyev and former Russian President Dmitry Medvedev, the Baku International Humanitarian Forum is a high-profile global scientific and political platform for tackling the challenges facing humanity in the 21st century, holding dialogue, discussions and an exchange of views on a wide range of issues related to humanitarian cooperation.

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ART

NO ART IS TOO SMALL INTERVIEW WITH MINATURIST PAINTER OLIM KAMALOV

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Olim Kamalov is one of the few miniaturist painters in Tajikistan. Demonstrating his own specific comprehension of Persian miniature classical art, Kamalov’s works encapsulate his knowledge of tradition, as seen in his use of colour and his fine brushwork. The inimitable beauty of the miniature comes from the refined lines, the brilliance and gentleness of the colours and a complex yet harmonies arrangement of detail.

OCA MAGAZINE: Please tell us briefly about your background, where you were born and raised?

OCA: What are the key themes and aspects you like to explore in your work?

OLIM KAMILOV: I was born and grew up in Dushanbe. My father, Azam Kamalov was a composer and orchestra conductor, and my mother, Fotima worked at a bookstore. My father died when I was eleven-yearsold, and I was brought up by my mother afterwards.

O.K: I’ve read many books by classic miniature authors, examined illustrations, learnt a lot and I think I’ve achieved the nuts and bolts of Bekhzod epoch’s miniature painting. Most poems of the classic poets, such as Rudaki, Firdausi, Nizomi and Khayam are presented in the works of the miniature artists of the early centuOCA: Who or what inspired you to become an artist? ries. Classic literature inspires me to find artistic ideas.

When I read poems and stories, I find myself imagining O.K: As a child I loved painting, so my father sent me a countless number of illustrations. Through miniature to an art school for children, where I studied for three art we can find out more, not only about culture, but years. After finishing high school, I was admitted to M. also about the history of the nation, history of its dress, Olimov State Art College in Dushanbe. My instruc- etc. I’d like to continue the themes of the great clastors were great masters such as G. Kuzmin, Z. Turdye- sics in my works. However, I’ve also developed my own va and B. Alabergenov. After graduation, I found a job style by travelling to the countries where this genre as an artist at the Armugon Factory. There, under the instruction of Klara Son, I learnt the basics of Palekh miniature, which is a Russian folk handicraft of miniature painting. This art is a little bit similar to the art of Persian miniature painting, but has its own nuances and secrets. This was perhaps the turning point when I started my explorations of the Persian miniature. Kamaliddin Behzod, the founder of the Persian miniature, has become one of the most influential historical figures in miniature art for me.

OCA: Your current medium is miniature art, but what other areas did you try before settling on this?

O.K: I studied the usual basics of oil painting, graphic design, drawing etc. in college. Also, I have done portraits in the more conventional style of oil painting.

Wood carving has been an interest for me as well, but the more I learnt about the miniature art genre, the more I was attracted to its exquisite technique. My first miniature art works were ceramic plates. I’ve tried to improve with every work I’ve done, and even in the 1990s during the civil war, I didn’t stop, although I had to combine traditional Persian miniatures with the production of souvenir art in order to have a smoother transition to the market economy.

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SILK ROAD was born and learning the specifics of contemporary artists. I’ve been exploring the combination of modernity and ancient art in my works.This can be manifested in small details or larger conceptual themes incorporating the whole work. My works can be of a very large size, which is unusual for miniature art, but they always include very fine details. Sometimes, my ideas come from the everyday lives of our people, sometimes from trips, sometimes from celebrations. Life itself gives me ideas for my work.

works. I’m attracted by such ideas as well as the entire process of painting.

OCA: What is your current or next project you’re working on?

O.K: I work for Adib Publishing House and illustrate on a regular basis for many of its writers and poets.

At the same time, I simultaneously work on my own projects. For example, at the moment I’m painting a medium-sized miniature inspired by Firdausi’s stories.

OCA: How do you manage to paint such small works Moreover, I help my daughter, Bonu to develop her skill of art with such detail? in miniature art by giving her advanced lessons. Her artistic talent has become obvious since her childhood O.K: The word ‘miniature’ implies the subtlety of brush and it’s with great pleasure that I see her following in and fineness of detail, which I implement in my work. my footsteps with this style.

This type of art takes a long time to create. I often wake up early in the morning, around 6am, and work OCA: Few people will have heard of world famous until late at night. If there is no need to interrupt my artists from Tajikistan - why do you think that is and work - quite often there is, though - time flies. As time how can more be done to promote magnificent works has passed, I’ve started using optical glasses because of of art like yours to a wider audience? the tiny detail in miniature art, which attracted me to O.K: I didn’t know about this until I had to become it in the first place. Sometimes, a large magnifying glass acquainted with the market economy and the change helps to paint even finer details. of state ideology in the 1990s. An artist often needs managers, producers and sponsors who can help to OCA: Can you explain one of your favourite pieces introduce his/her works to a wider audience. Howevof art; how was it done, the style, story and inspiration? er, in Tajikistan such managers and producers are rare, as people are still adjusting to the new system. Most O.K: All of my works are dear to me, but my favourite art connoisseurs who can afford to buy art are foreign ones are the themes I portrayed in Ropewalker - in- guests.There are exceptions, though, such as the fortuspired by my childhood observations of street circuses nate appreciation of art by the Tajikistan Hotel, which - King Chooses Horses - which received second place has acquired works of mine for six floors of its building. at the International Miniature Art Festival in Algeria – Apart from that, my family and I have founded the Mino and Favourite Falcon - one of my first works, which I Art Centre - part of the UNESCO club now - which painted on the door of an old wardrobe. In the 1990s, has various projects for schoolchildren to teach them it was difficult to obtain a canvas, but now this work is art and to present their art to foreign countries as an central to my collection. Finally, my most favourite work outreach programme. This will hopefully promote the is Racing. Here I used most of my skills and depicted genre to future generations, as well as to a wider aua hundred figures on a small space. This composition dience. I’ve also had chances to participate in internaconsists of several levels. On the first level, people are tional miniature art festivals in North Africa, an interjubilant and play wind instruments, and on the second national child art festival in the United States (together level camels are led by riders.The third level consists of with my students) and master classes around Central racing horses, whilst on the fourth there’s a historical Asia. This gave us an opportunity not only to present city with towers and men dressed in long robes - joma, our art and culture abroad, but also to learn about the yakatak - watching the racing. Finally, on the fifth level, history and culture of other people, as well as to comthere is a boy who left his bicycle and climbed up a tree municate with other artists. to watch the games. These kind of events are still held on the Nowruz holiday and people still dress in similar OCA: Given modern technology can now replicate clothes. The mix of modernity and ancient traditions, many things, including minute details, why do you think rituals and everyday life is key in most of my current there is still a place in the world for art like yours?

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O.K: Of course, today’s technology is rapidly moving forwards and one can create the tiniest details of artwork using software without dirtying one’s hands. But how much can one appreciate art if it is available on a screen with a single click? When you create with your own mind and hands and present a part of your soul to the audience it emanates a certain energy that you can see only in an original work. Perhaps, that is why artists, sometimes including myself, don’t want to bid farewell to their works. By the way, technology is by no means the wrong way to create art. As long as your mind, ideas and energy are in it, it should be considered a work of art no matter how it is created.

OCA: Is there anything else you would like to share with our readers?

O.K: My wife, Sarvinoz Hodjieva and I have had groups of students within whom we have fostered the love of art and led them in the direction of miniature painting, because we would like this to develop in our country.

We try to connect them with the past and want to

revive Persian miniature art in Tajikistan. Over the last two and a half years, thanks to the support of OSI Soros, we have taught ten orphans from School-Orphanage No.4 in Dushanbe. Their interest in art led two of them to successfully graduate from M. Olimov State Art College in Dushanbe and one entered the Moscow Art Institute. Apart from the specific group from the orphanage, after many years of teaching other students, we are starting to reap the fruits of our efforts: some of our students now study at art colleges and universities abroad. I hope they will persist with their studies and remember the foundations of miniature art. Also, the Tajik Institute of Art and Design graphics department decided to implement miniature courses in its curriculum, thus I teach lessons there as well. In addition, the M. Olimov State Art College has started to accept applications for miniature painting this year. I do hope that the Tajik miniature will grow and flourish. I think that hard work and love of art can make miracles.

If you have a seed, you need to plant and water it, and then it will bloom and bear fruit.

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CENTRAL ASIA

KAZAKHSTAN:

THE CHALLENGE OF RE-INDUSTRIALISATION In light of the 25th anniversary of Kazakhstan’s independence, I would define the formation of a policy for re-industrialisation as the most crucial developmental challenge for the future of the country.

Kazakhstan is the ninth largest country in the world, and in all likelihood, there is no more important area for Kazakhstan than the development of Earth sciences and research in scientific multi- and inter-disciplines. Kazakhstan is a unique country which has all the elements of the periodic table in its reserves. It is important - not only for the country itself, but for global technological development – that this research is undertaken, particularly given current calls for an industrial revolution. New properties can be found by experimenting, testing and conducting research on old materials. Kazakhstan has them all. Moreover, all of these elements, rare earth metals especially, are extremely important parts of global technological chains.

Organisation of a proper research base in Kazakhstan would be a boon to development worldwide. Research in geology, physics, chemistry, mathematics and other disciplines can help form a fundamental core of modern industries for the industrial and agricultural sectors, helping to enrich and expand the social, cultural and political paradigm in the country.

Development of the social sciences and culture are also extremely important to the economy. It is the environment from whence overall development and formation of scientific culture derive. Formation of a wide-reach-

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ing philosophy is a priority for any progressive society in the modern world. Social and economic research helps create a philosophy favourable to sustainable development in science and industry. Any change comes from philosophy first. In turn, an appropriate policy and the creation of institutions, i.e. research labs surrounded by industrial clusters for technology and innovation, will drive the economy. This policy can only happen in an environment supported by social and economic research as well as culture.

Innovation comes from technology, which is defined by the development of science and culture. These two factors are the most important sources of global influence and development. The concentration of the Kazakhstani academia, society and state on organising and conducting research in many areas of rare earth metals, other elements as well as polymers, for instance, for physics, chemistry, agriculture, metallurgy and other sciences can lead to an emergence of a unique hightech economy. Both our geography and climate make any technology transfer inefficient or uncompetitive on a global level, whereas research is a base for technology and innovation. As a rule, original high-tech production yields a significant profit margin. At the same time, the cost of transportation is not important.

One could think, for example, of conducting research into the area of energy production, transmission, storage and usage - for instance, of such phenomenon as superconductivity. Other breakthrough fields may

study for Kazakhstan’s opportunities in the sphere of high technologies was prepared, and CCAF was actively involved in the resulting conference, ‘Earthquakes without Frontiers’ in September 2016. This project has been led by Prof. James Jackson, the head of the Earth sciences department at the University of Cambridge, and was held under the umbrella of UNESCO. Aimed at development of earthquake sciences in Kazakhstan, it included the University of Oxford amongst other British institutions, as well as scientists from Italy, Germany, Russia, China, Nepal, Iran, India and the USA, to name but a few countries. be revealed through the development of new structures capable of revolutionising the performance of solar cells, batteries, fuel cells, lightweight structural materials, refrigeration, water purification and so on, in contrast to the existing industrial race for smaller transistors. ‘Magic’ technologies are not currently being developed on a global scale due to the lack of the materials - which are abundant in Kazakhstan - or due to the fact that global industries keep overinvesting in classical technologies. This opens a tremendous window of opportunities for Kazakhstan. EXPO-2017 in Astana is expected to be the key to this window.

Here at the Centre for Development Studies at the University of Cambridge, we keep contributing to the country’s development and expanding levels of cooperation, not only between our centres, but with other university departments as well. I should mention the Centre’s director, Prof. Peter Nolan, whose extremely important Chinese Executive Leadership Programme plans to welcome Kazakhstani and Eurasian participants in 2017. His long-term collaborator and former student, Dr. Ha-Joon Chang was a guest at the last Astana Economic Forum.

As part of the Centre, the Cambridge Central Asia Forum (CCAF) is a notable instrument in dealings with Kazakhstan, and the Forum’s activities are impossible to imagine without its chairman, Dr. Shailaja Fennell and founder, Dr. Siddharth Saxena. The Cambridge Journal of Eurasian Studies has been reborn to publish papers which will aid a better understanding of the region.

CCAF coordinates research between different departments and the region. For instance, in 2014 a feasibility

Speaking of Cambridge’s endowment, I should like to pay tribute to the late Prof. David MacKay, without whose research for Green Economy it would have been impossible to create the current agenda for EXPO-2017 in Astana.

Partaking in research and creating culture is the peak of human intellectual activity. Our region has been facing a developmental challenge, which can be overcome only through concentration and encouragement of the best minds, as well as appropriate policy-making. Knowledge is the only game-changer. Through initiating and supporting this process, one can contribute immensely to resolving not only regional problems, but important global challenges which in so many ways at this juncture maybe beyond our imagination. Formation of an appropriate and modern policy for the re-industrialisation of Kazakhstan is a vital part of the modern global agenda.

Chokan Laumulin, Research Fellow, Cambridge Central Asia Forum, Centre of Development Studies, University of Cambridge

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PROJECT

A TRAVEL WRITER’S DREAM- KYRGYZSTAN Mountains loom on either side of the steep, precarious road, snow-capped peaks towering over the road like silent, immovable titans, dwarfing the car to the size of a child’s toy. The icy waters of a stream rush past below, huge boulders impeding its progress. The air is crisp and pure, and I breathe it into my lungs deeply.

Pine trees smother the peaks, their thick needles blanketing the forest floor, standing tall at the side of the highway, like soldiers on parade, their boughs straying precariously onto the road. The sky is a regal indigo, not one cloud daring to break the monopoly of blue.

Nobody speaks; we are all too preoccupied with the amazing vista unfolding right before us. Salaam Aleikum, Kyrgyzstan.

The tarmac twists through the mountain passes, a black asphalt snake winding its way along a carpet of impossibly white snow, broken only by a rushing ribbon of water and the ever present conifers. We drive for the

whole day, the scenery remaining unchanged as the sun begins to die; a triumphant moon emerges as the victor, taking its place in the twilight. Night descends, the great silent forest penetrated by two beams from the headlights, like searchlights combing the trees for an escaped fugitive. The tall evergreens whisper in the breeze, shaking and shuddering like ghosts as the wind whistles around their branches. From far away, the howl of a wolf echoes along the valley, its tone sorrowful. The call reverberates off the peaks, sending an ice cold shiver down my spine. As my eyelids begin to grow heavy, I rest my head on a pillow and let sleep envelop my mind, the darkness of night closing around me, the pale, deathly moon hanging in the sky, a lone sentinel, consumed by the night.

We wake up huddled on the seats of the Toyota, parked in a small lay by at the side of the road, the gurgling stream still flowing past. We splash the cold, icy water

on our faces, reinvigorating our senses, refreshing our minds. The clear water of the river sparkles in the sunlight as I look up to the peaks; their snow capped majesty filling me with awe. Millions of scarlet poppies coat the mountainside, rushing down its steep inclines like an avalanche of blood, opening towards the shining sun, draping the gargantuan peaks under a cloak of impossible red, flowing down to the road, a river of colour splashing against its pure white banks. They ripple in the soft mountain breeze, spilling out into the road- an estuary of life blossoming on these harsh peaks. We watch from the windows of the car, mesmerised by sight, as we roar along the black snake, sliding gracefully through a landscape of staggering beauty. We drive for another few hours, passing old Soviet trucks, their hearts of steel belching acrid smoke and desecrating the crisp air. Finally, after a long day of driving, our destination comes into view, and we stare in awe.

The enormous freshwater mountain lake known as “Issyk-Kul”, literally meaning “hot lake” in the Kyrgyz language, fills the windscreen, a mesmerising panorama of impossibly blue sky and water, beautifully clean thanks to the cold, bubbling springs that animate it from thousands of feet up the titan-like mountains. The sunlight gives the whole landscape a heavenly feel, the lake sparkling and rippling like a living creature. The staggering beauty of the Ala’too Mountain range offers a stupendous backdrop, jagged peaks surrounding the water, their snowy heads towering above the earth, rearing like stallions into the sky.

Issyk-Kul was one of many Silk Road stops, whose travellers were no doubt mesmerised by the sheer beauty of the location. The water in the lake is cool and refreshing, fast flowing streams converging on it like pilgrims on a holy site. The water is so clear I can see for hundreds of metres, tiny fish inquisitively darting around my ankles, silver arrows against the sandy floor, moving with effortless grace and shimmering like jewels. The aromas of freshly cooked fish fill the air on the beach, roasted over an open wood fire not five metres from the lapping water. Falcons soar high above the edge of the lake, their black eyes sparkling with intelligence, cruel beaks turned towards the water, instruments of death behind a façade of astonishing beauty and grace, only their cold eyes revealing their true nature as they scan both land and water.

Three days later, and we leave Issyk-Kul again, the Land Cruiser a tiny blue speck against the black tarmac, contrasting sharply with the blood red poppies erupting like lava from a volcano. As we round a bend, I take one last look back at the lake, shining like a diamond in the early morning sun, hidden from the rest of the world by the proud peaks.

After the tranquillity of the mountains, the fume ridden, chaotic, cacophony of the city comes as a huge surprise. Trucks, vans and motorbikes roar past, their steel hearts beating furiously, iron lungs pumping hard as they struggle against the heat. Trolleybuses trundle along wearily, clinging on to the overhead cables that give them life, creaking and groaning under the strain.

Two fighter jets roar overhead, heading south towards Afghanistan from the US base near the airport, their wings swept back. I stop and watch them for a second, their shape reminding me of the tiny minnows at Issyk-Kul, winged silver arrows, cutting through the very fabric of the sky. They move unnaturally, mechanical doom against the backdrop of nature.The never ending car horns continue throughout both the day and the stiflingly hot night, as hundreds of mosquitoes descend on me, peppering me with bites like a miniscule artillery barrage.

PROJECT

Bishkek still has a very Soviet feel, from the plain concrete buildings to the decidedly communist apartment blocks and parks. Statues of Marx, Engels and Lenin are showered generously around the capital. Despite being swallowed up into the USSR, the Kyrgyz national identity remains fiercely and proudly intact, the incredible natural beauty of the country one of the deciding factors in the pride that people show for their homeland. The female warrior Kurmanjan Dakta played a crucial role in the identity of Kyrgyzstan in the early 20th century, compromising with the Russian empire and persuading her people not to resist them violently.

When her son was sentenced to death by the Tsar’s regime for gun running and the murder of a customs official, she famously stated that: “she would not let her private hopes and ambitions be a cause of suffering to her people.” She attended her son’s public execution at the hands of the Russian government, satisfying them and enabling the Kyrgyz way of life to survive.

The astounding beauty of Kyrgyzstan simply staggers me, tucked away in a remote corner of the world, free of the clutches of package holidays and holidaymakers, free from the travel companies and overpriced tourist traps, hidden from the boutique hotels and coach trips, lacking the tacky souvenir shops and western chain restaurants, just a country more beautiful than the Garden of Eden, tucked away, hidden from the world.

As our plane bellows and hurtles down the runway, I take one last look at the Ala’too Mountains, standing tall, keeping guard over this wonderful land. I sit back in my seat as transfixed as I was on the first day. We power into the sky, and I smile at their beauty one last time.

Text by Daniel Arthur Photos: OCA archive

The story, set at the end of the 1980’s, revolves around a group of disparate individuals living seemingly unconnected lives in various countries.

But then a strange incident on the Moscow to Frunze train leads to the gradual exposure of complex web in which their lives, loves and profession’s have long been entangled.

Bound together by an intriguing series of incidents, each struggles to survive the hardships and challenges that life throws at them, from radical changes in the political climate to the murky antics of spies and double agents. But behind everything lies love…

ISBN: 978-1-910886-27-4 AVAILABLE ON AMAZON.COM

TRAVEL

FORWARD UNTO DUSK Horse-riding across Western Mongolia Words by Jamie Maddison Photography by Matthew Traver

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At full gallop the world streams past as a blur of stone, sand and sky, stretching away from under my horse into the miles of empty steppe all around us two. The wind whips Kafka’s mane wildly across my stiffened hands – numb from the chill Mongolian air – as I try to keep control of the racing animal, excited senseless by our imminent return to camp. Then suddenly, and with a deepening sense of dread, I watch as my steed stumbles on a rock, throwing me forward and then violently backward, the horse rearing up in reaction to its own blunder. In one swift motion my feet leave the stirrups and I head legs-first towards the bare earth, rolling – dazed – in a thick cloud of dust and sand.

The angle of the fall somehow carries me back onto my feet, just in time to see the galloping horse continue off into the distance; a solitary speck of movement in an otherwise still and empty land.

‘This will be your horse Jamie,’ Alpamys told me, thrusting the twisted sun-bleached reins into my outstretched hands, ‘and this will one will be yours Matt; they have no names.’

Admiring the animals under the strong Mongolian sun, I decided on a whim to nickname mine Kakfa, whilst my expedition partner Matthew Traver struck upon the name Larry for his horse. Alpamys – a Kazakh friend of an acquaintance and our quasi-guide for this expedition – then moved onto loading up the hard working packhorse that would carry our supplies for the upcoming 200 mile journey through the Western Mongolian province of Bayan-Ölgii.

Matt and I had come to the region to meet Alpamys in person, to ride with him, and to hopefully learn about looking after horses in the steppe, all in preparation for a 1700km horse-riding expedition the three of us we would undertake together next year. We had also come to meet, photograph, and ride with the province’s fabled eagle hunters who – in a thousand year old uninterrupted tradition – have made a living catching their prey using giant hand-reared Golden Eagles.

Indeed, it had been no small task just to get to this starting point in the frontier border town of Ölgii; the pair of us having traversed a distance much greater than the length of the UK, offroad – over three days with three punctures and one near-disastrous incident of an airborne automobile flying down a hillside. After that, the notion of horseriding seemed positively tame by comparison.

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TRAVEL

‘Okay, okay! Let’s go!’ shouted Alpamys, his slight, mongoloid frame wrapped up tightly in hat, scarf and trenchcoat; protection against the bitter and approaching Central Asian winter. The air was hazy, the sky blue, as a huge landscape – so unlike the vistas of little England – began to unfold around us for miles in every direction. I haven’t been on a horse for years. Matt had never sat on one in his life, except for maybe once during a seaside pony ride in his distant youth. However between us, we’d still had enough sense to try and acquire at least some suitable riding equipment: jodhpurs, Mongolian riding boots and, oddly enough, a packet of apple flavoured horse-treats.

Luckily, Mongolian horses are famed not only for their hardy nature but also for their small stature and extremely placid, hard to spook demeanour, making me feel slightly less ashamed that I hadn’t packed the big and heavy riding helmet my mother had loaned me the week before I flew out of Gatwick. However the ground, covered as it was in the white bleached bones of deceased animals, did help remind us both that the

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outcome of suffering just a moderate injury this far from help would not be even slightly good. ‘So long as we don’t fall off all should be well,’ I’d reasoned naively.

We rode onwards through the steppe, the cloudless sky appearing almost purple under my expedition sunglasses. Matt filmed various goings on with a small wide-angle action camera, mounted atop his walking pole to form a homemade boom set-up. That night we stayed in a warm ger (a nomad’s tents), being offered cup after cup of heavily salted tea. After we had drunken our fill of the Dead Sea, a permanently-smiling Kazakh in his early thirties began to sharpen dulled knives.

Guessing what was about to happen when one of the older women brought the bleating sheep to the front door for our appraisal, we offered the man use of one of our razor-sharp Swedish bushcraft blades instead.

Then, with a skill born from year upon year of experience, he dispatched the animal outside with a swift flick of the knife across its throat, proceeding onwards to skin, gut and butcher the entire carcass in just under an hour. That night we dug our hands into a communal pile of sheep meat and organs. Later, Matt listened to

Alpamys riff away on a two-stringed dombra, whilst I watched through the ger’s only skylight as the world outside darkened to black with the encroaching night.

A biting wind funnelled over the mountain pass, barrelling its way right into the three of us, alone once more.

I sat hunched, hiding underneath my new Arc’teryx windproof jacket; its high face-guard and hood keeping the chill at bay but also shutting me off from the outside world; cocooned in my own thoughts as I rocked back and forth with the horse’s rhythmic gait. Kafka however, was shiny with sweat from the steep ascent. It ran down his flanks in rivulets, mixing with the dust and dirt to form hard grey arrowheads at the tips of each hair. We made for a sightly pair; the overheating horse painted grey with sweat and the swaddled rider daydreaming from within the folds of his neon-coloured clothing.

Shadows were sweeping up the hillside by the time we came to set up camp. As they rose the watercourses nearby froze, the solid white channels snaking down

the hillside in the direction of Altai; the town still a day’s ride away.Thankfully our floorless Nemo Pentalite tent took only minutes to erect and its ample room allowed us to get everything under cover before the night’s frost gripped hold too badly. However when I did wake that next morning, it was to find the top of my down-sleeping bag coated in thick ice from my the condensation of my breathing. I think we were both glad when we eventually reached the town that next afternoon, and I was even more excited by the prospect of finally meeting and riding with the eagle hunters I’d read so much about in the long months prior to departure.

The Golden Eagle soared skyward, leaving behind both its owner and I, stood forlornly on the cold and bleak mountaintop; the empty steppe stretched away from us for miles in all directions until the gentle curvature of snow-capped mountains blockaded a more distant horizon from view. I watched the eagle’s flight through my high-powered binoculars, its wings splayed beauti-

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TRAVEL fully against the white sky. Suddenly, a shout echoed up from Alpamys far below; a rabbit was racing across the scree and the eagle was already bearing down fast on it, the bird’s dark shadow streaming across the ground as it mercilessly closed in on its prey. With all of us looking through our lenses, we watched tensely as the plucky rabbit darted aside just as the talons were about to close tight, bolting down a warren and permanently out of the grasp of its frustrated pursuer.

A little disappointed, the hunters reclined back on their horses at the mountain’s crest, resplendently bedecked out in their traditional costumes, topped with red foxfur hats. They posed like models, each framed on the skyline at different points of the hill. Alpamys’ father Dalaikhan was the highest up of the three, watching in kingly repose as his son struggled to get his father’s eagle onto an unsheathed arm; the bird’s talons causing our friend no small measure of pain, evident even at this distance. I took a swig from Matt’s Lifesaver Bottle – the untainted water tasting much better than the chemical cocktail my purification tablets created – and we got back onto the horses ready for the next ride to the next mountain and the next hunt. Disappointingly for the eagle hunters, but quite happily for myself, we saw no further signs of prey; a lucky escape for the area’s animals, spared the ungracious terror of winged death swooping down upon them from on high.

The horses were well rested and frisky. Our meeting with the eagle hunters had been all to brief for me, but we had to continue our ride back into the steppe. The three of us had been going for three long days already but it certainly didn’t show with Kafka. ’Such energy was something I had probably been unwise in encouraging,’ I pondered to myself, gingerly prodding at an already swelling ankle, my horse still cantering away from the spot it had deposited me at so ungracefully just moments before.

‘Are you all right?’ I heard from behind, as Matt approached on Larry, ’Where’s the camera?! Is it okay?!’ he added lividly before I could even muster a reply.

I handed him the action camera, feeling very stupid; the display was covered in coloured lines, the casing scratched to pieces.

‘Great it doesn’t turn back on, it’s broken.’ he muttered petulantly. ‘No, wait! This might be okay, God, man you

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should have had this strapped somewhere.’ ‘Priorities mate,’ I retorted irritably, but we were spared a blazing row by the distracting sight of Alpamys’ distant figure at camp jumping bareback onto his horse before proceeding to easily round up my wayward ride, still cantering haphazardly around the plains.

We’d pushed our horses as close to the remote Chinese border as we thought prudent and the weather had obligingly turned from bad to worse. The cold was bitter for two days straight, even wrapped up as I had been in Brynje base-layers, micro-fleece, AlpKit down gilet, a Berghaus down jacket and my Arc’teryx windstopper. Sitting atop a horse, not moving, in conditions dropping below -12°C, felt in my mind akin to conducting a weekend’s scantily clad sunbathing break atop Scarfell Pike mid-winter. I came down with a fever and as we pushed the horses across a series of deep-flowing ice-laden rivers, I felt so weakened that I was ready to just slide right off the saddle if it meant a decent rest.

I asked Matt to lash me to the pommel, only half in jest.

That night, driven by an overwhelming feeling of suffocation, I stumbled out of the people-filled ger we’d been forced to stop at; gulping down lungfuls of the burning midnight air. It was snowing heavily but without a breath of wind. Snowflakes landed gently onto my flushed face, making it seem as if I were a character in an old black and white Christmas movie. Not far away, I could hear the rustling movement of our horses, hooves crunching on the crisp white ground, as a brilliant moon suddenly lit up from between parted clouds the magnificent landscape all around for me to see.

Drinking everything in – and all too aware of the short few days we had left on this ride – I was once again struck by how lucky we had been to come to this place where borders meet. From that very spot, right under my tottering feet, the steppe stretched away, limitless in every sense. To my feverish mind it seemed to go on forever, to the very edge of the earth and back. It held all the adventures we’d come through and yet, still hid those that were soon to happen. We’d learnt here a lot of what we needed to know about horse riding in the steppe. The proper test would now come in a few months’ time, when we set out for real.

To be continued…

The Land Drowned in Tears is a moving history of the tumultuous years of China’s Cultural Revolution, witnessed, experienced, and told through the personal lens of an ethnic minority woman, who endured nearly 20 years imprisonment and surveillance regime as a result of her political activism in Xinjiang, or East Turkistan, located in the far west of China.

Writing her autobiography as an extraordinary melange of diary and memoir, which oscillates between first-hand narrative and flashback, the author, Söyüngül Janishif, traces her unfortunate youth from her university years, when she founded the East Turkistan People’s Party as a result of her anger and frustration with communist China’s devastating mishandling of the socio-economic life of the people of her native land, through her subsequent imprisonment in China’s notorious labour camps as well as under the surveillance regime, to her emigration to Australia.

Söyüngül’s autobiography is a rare, detailed, and authentic account of one of the most poignant and most fascinating periods of modern China. It is a microcosmic reflection of the communist regime’s tragic realities presented through the suffering and hope of a young woman who tied her fate to that of her beloved homeland. By boldly exploring hidden territories of modern Chinese history, it not only invites the reader to contemplate the universal topics, such as the relationship between citizen and state as well as between ethnic minority and majority, but also encourages similar stories to be told from our troubled contemporary world. This book is highly recommended for anyone who seeks to understand contemporary China as well as any totalitarian and oppressive regimes.

ISBN: 978-1-910886-38-0 COMING SOON WWW.OCAMAGAZINE.COM

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Crimean Tatar Novelist Emerges from the Shadows Cengiz Dağcı “The War was not our War! And this war of not ours had found us somewhere, somehow. It took us by its severe storm and threw us where we are right now!”

Cengiz Dağcı said and added, ‘Fifty years! Fifty years away from my homeland, it became a wound that never heals…That wound never healed, even when the Crimean Tatars started returning to their homeland’.

Cengiz Dağcı is one of the most underestimated Second World War novelists. He was a prolific author. With over 22 books about his beloved Crimea and its long suffering through world wars and Soviet oppression, he, like all Crimean Tatars of the time, suffered greatly.

He was forced to leave his home and his family when he was only twenty two. Although interned by the Nazis he managed to survive the prison camps and after liberation made the arduous journey to London through

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a war ravaged Europe. He would not return to his home in Crimea ever again. Although he made a life in London, his heart was in Crimea. He was a refuge when he was 27 years old and made United Kingdom as his home until he died at the age of 92. When he passed away, his body was transferred to his beloved homeland through the cooperation of the three states; Turkish, Ukrainian and British. He was eventually laid to rest on the shores of the Black Sea at the foot of Bear Mountain.

I had the honour of meeting this great man in his old age, and later I had the sad privilege of escorting his funeral to his beloved homeland. This September was the fifth anniversary of his death and this article pays tribute to the noble man.

So, who is Cengiz Dağcı and what makes his work so important?

Although little known in the West, Cengi Dağcı is a household name in Turkey. He is a recipient of countless accolades and awards from the Government, Universities, and Literary societies. Mistakenly many people in Turkey believe that he is a Turkish-speaking author and that he wrote his books in Turkish. He admitted several times personally, and in his memoirs, that he used his mother tongue, Crimean Tatar. The confusion arises due to his use of language. There are three dialects in Crimea and the dialect of Crimean Tatar Cengiz Dağcı used is the closest version of Tatar to Anatolian Turkish.

He sent his books to be published in Turkey and there he became the voice of “exiled peoples” of Crimea.

He was a Second World War veteran who fell as a prisoner of war into the hands of the Germans. When the war finally ended he tried to return to his homeland but to his dismay the roads were closed. He wanted to go back to his home, he wanted to finish his studies and be a good school teacher. He always felt his life was on hold and he always had the hope to return to his homeland to resume his life. Unfortunately this never happened but his longing to return his homeland inspired him to write.

go of my hand. He had prepared snacks for us to have with our tea. I was moved by his hospitality, by his patience and his willingness and enthusiasm answering my seemingly endless stream of questions.

He watched me while I was looking intently around the room my eyes darting, trying to discover some artifact that would help me unlock the mystery of this great man. There were many tapestries, all nature scenes. As I studied them, he said, “they are all my wife’s work, Regina’s. Bless her soul, she loved doing needle works.

While I was busy, typing my novels in this type writer (he pointed to an old green colour type-writer on a corner desk) she would be lost in her world and do this fine art. You know, I miss her so much! She was my best friend! I really miss her!” There was sadness in his voice but when he started to talk about his beloved motherland, Crimea; it seemed to me his body was here next to me but his soul was running in the hills of Kızıltaş.

Cengiz Dağcı was born, the fourth of eight children on 9th of March in 1919, in Gurzuf, Crimea. His family moved to Kızıltaş from Gurzuf when he was a small boy. This house still stands in Kızıltaş, it has a beautiful big, tranquil garden facing Ayı Dağı (Bear Mountain) .

The house is on the Simferopol - Yalta route.

Even though he is more well known in Turkey than the ex-Soviet Countries, he shared the Soviet people’s history rather than Turkish people’s history in Turkey. He was born in the newly established Soviet Union, he witnessed the Soviet collectivisation, he was schooled in Soviet institutions. He was a second year university student when he was enrolled into Soviet Army and fought shoulder to shoulder with Soviet citizens, consisting of ethnicities such as Uzbeks, Kyrgyz, Tajiks and so on.

When he became a prisoner to the Nazis, he refused to collaborate with Germans.

I had a pleasure to meet him in his London house, well into his retirement. I had read couple of his books when I was a high school student. When he opened the door to his South London home, there was a sweet old man standing proudly with the help of his walking stick. A warm smile spread across his face; his manner was like a child meeting a much loved friend. He reached out to hug me. It felt he was embracing, in that moment, his beloved Crimea, his mother, his sisters, and long gone friends. He led me to his living room not letting

Cengiz Dağcı’s village, Crimea

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Hansaray, Bahcesaray Crimea During one of meetings with Cengiz Dağcı, I mentioned that I had visited his childhood house in Crimea.

I showed pictures of the house and the garden to him while talking about the condition of the house and his village. I barely mentioned to him the three families living in the house, and I showed a picture of a Russian man who lives with his family in the basement. I remember so well the confusion on his face. He could not comprehend what I was saying, he said; “we kept the animals in there! You know, the farm animals. Oh dear Lord! They made people live where we used to keep the animals? Dear God, dear God!” After the Bolshevik Revolution and establishment of the Soviet Union, private houses were confiscated. The Dağcı family house was taken and three Russian families were settled in it. It was the law that one family could not occupy a big house. The house would be shared among two- three families and the rooms would be distributed according to the size of families.

Cengiz Dağcı completed his primary education in 1931 and the year his father Seyt Omer Dağcı was arrested.

The reason for his father’s arrest was due to complaints made by a neighbour after a small dispute between them. The complaints were put forward as the family was not cooperating with the collectivisation policy of Stalin and they had hidden goods from the Soviet.

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Under the law of Five Year Plan ‘The Collectivisation’ had the right to own any land, animals or goods. If somebody had been caught with small plot of land or a fruit garden, they would be labeled as an enemy of the state and sent to the Gulag camps. This collectivisation and mismanagement of the sources lead to one of the biggest famines in Ukraine from 1931 to 1933. Cengiz Dağcı’s family survived this famine by selling his mother’s jewellery. He was half smiling when he was telling me this story “my mum was a coffee addict and she even managed to get coffee during that time.”

A year later C Dağcı’s father was released from prison but his father decided to move his family to Akmescit (Simferopol) from Kızıltaş to avoid the humiliation of his imprisonment. There, he rented a small hut where the whole family had to fit into one room. The family’s new squalid and miserable lodgings are mentioned in the memoirs ‘Letters to my Mother.’ In it he writes: “ I see you mother, how you are saddened. This move to a miserable place reflects on your face. But how brave you were in there and turned to God even more. You were reminiscing about Kızıltaş and I could see how much you were yearning to return to our big house with a beautiful garden. But you always put a brave face and you were genuinely happy when you see me reading something or writing something. You treasured them, you kept my writings, my notebooks until the day I had to leave Crimea! ….”

Cengiz Dağcı continued his schooling in Akmescit (Simferopol) and started writing short stories. He loved poetry and became interested in writing poetry. His early poems were published in 1936 in Crimea’s Youth Journal. In his early writings, we see that he wrote one poem to praise Stalin and the Soviet regime, however later on in his memoirs, he admits that he was asked to write in such a manner. Another poem he wrote about Hansaray (the palace of Crimean Kahanete between 1449 to 1774) in Bakçesaray which titled ‘Walls talk to us’ was published in Literary Journal in Crimea. This poem was manipulated by the Soviet authorities. Unfortunately, we do not have any of his written poems even if they have survived to this day.

He was enrolled to Akmescit (Simferopol) pedagogy Institute in 1938, but could not graduate as he was called into the army. Before he was sent to the front line by the Soviet Army, he was given two months training with poor equipment. Almost inevitably he was captured and became a prisoner of War, in August 1941.

These were deeply unhappy times. He told me, with tears in his eyes: ‘for about three, four years of my life I witnessed thousands of people dying in front of me of hunger, thirst, and cold, first in the Kiravograd and then in the Uman prison camps”.

He was sent to Poland by the Nazis where he met his future wife, and love of his life, Regina. She had a day job assigned by the German Government under the Nazi occupation of Poland, but in secret she was working for the underground resistance group against German occupation. They got married in 1945 and with a Polish emigre group they escaped to United Kingdom.

It was a difficult and long journey to London where he built a life for himself and his family. He says in his memoirs ; ‘I created a new home away from home. A home, which I and my wife could take sanctuary and feel safe.”

He worked long hours in the restaurant during the day and wrote only at night. In his writings, he told me, he could be free, run through the streets of Crimea, swim in the sea and be with his family and friends. He kept writing about his beloved Crimea and the tragedies that the Crimean Tatars faced until his wife was taken ill and became bedridden. His love for his wife was immense, they had only each other in this home away from home.

Several times he mentioned that his wife could not have read what he wrote but she knew every novel by heart.

Later, when Cengiz Dağcı lost her, he wrote the novel Regina in her memory.

As mentioned earlier, all of his books were published in Turkey. During the Soviet Union, in the 1980s Moscow had sent a KGB agent to get copies of his novels. These novels were examined by the authorities and his books were classified as foreign and spetsiany (restricted from the public).

Few of his novels titles read; In memoirs Cengiz Dağcı, Horrible Years, They were Human, Letters to My Mother

The most important theme running through all of his works is the national identity of the Crimean Tatars.

He evokes a clear picture of how Crimean Tatars lived, their everyday life, customs, beliefs and the structure of their lives revolving around the seasons and their land.

The Crimean Tatars lived a double life, having to outwardly demonstrate fealty and loyalty to the Soviet Regime, a regime that was actively trying assimilate and erase the Crimean Tatar identity, yet within themselves, their families and communities hidden texts of resis-

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View from his childhood house garden Kızıltaş, Crimea tance kept their identity alive. The Crimean Tatars had been resisting Russian rule since 1774. Cengiz Dağcı’s works illustrates how Crimean Tatar identity and individual characters were maintained, transformed and adapted under this oppressive regime.

One example, from his book, ‘The man who lost his land,’ illustrates the arbitrariness of the repression and the manner in which the community responds to it. In the following example we can see both, how the Crimean Tatars lived daily lives and how they responded to their colonial oppressors. Russian officials came into the village, measured the lands and started building a windowless featureless building. The villagers started gossiping about this strange building. They found out that this peculiar building was to be a prison. Those people had never known the meaning of a prison and could not comprehend why Russia wanted to keep their criminals in their village. Eventually they found out that this prison block was built for the people who lived in the Crimean peninsula, in other words, for them.

This was the end of freedom of beliefs, with closures of prayer houses, mosques and synagogues and arrests of all who frequented them.

The other prominent theme in his books is the importance of education. In a number of his novels he implies that if the Crimean Tatars were well educated, they would not have suffered to the extent they did. And, in other novels Dağcı suggests that only after the Crimean

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Tatars become well educated, only then they could ask for, and eventually receive, justice. The Soviet government’s ban on use of their language made getting education in their mother tongue impossible and this fact drove some Crimean Tatars to seek higher education in the Soviet regime which led to the establishment of Crimean Tatar National Movement to strengthen their Crimean Tatar roots.

Cengiz Dağcı is today resting eternally in his beloved hometown in Crimea, while his legacy lives on. His novels reflect the most important part of Crimean Tatar history during the Soviet period. The only regret is that his books are only available in Turkish. There have been a few attempts to translate them into Russian, and, sadly none, as yet, into English. With translations of this much beloved author into Russian the Russian speaking people across Central Asia, Ukraine and Crimea can read and learn about an important period in Soviet colonial history that is currently being replayed on the world stage. The world’s ignorance of the Crimean Tatar’s repression, ethnic cleansing and exile has lead to an indifference to their fate. This indifference needs to be rectified by an understanding of this proud and vibrant culture. Cengiz Dağcı s novels offer a unique path to this understanding. I can only hope that translations of his profound and moving works will be forthcoming.

by Melek Maksudoglu

‘Repentance’ is a poignant collection of three short stories- ‘Song of Laments’, ‘Futility’ and ‘Repentance’ – which explore the psychological complexity of relationships between fathers and sons.

The issues addressed are ageless and universal. Set across the centuries, from biblical times to the present, often merging mythology with illusion and reality, the stories focus on challenges faced by fathers and sons as each struggles to assert his own identity and individual place in the world Amanshayev ‘s prose is wonderfully visual, providing theatrical settings which are further enhanced by a rhythmic use of words to conjure sound; from the melodic dombra to the cries of the animals and winds of the Steppe,and the beat of a bouncing ball. His characters are portrayed with equal sensitivity, from the young warrior, the new father and suicidal son, each caught up in a ‘boundless twilight of loneliness’, to the homeless addicts, spurned women and Lothario father; each one inviting empathy from the reader.

ISBN: 978-1-910886-36-6 AVAILABLE ON AMAZON.COM WWW.OCAMAGAZINE.COM

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Poetry Before Prose Interview with the Winner of the Arkady Bezrukov Price at OEBF-2016, Pavel Shumov

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OCA: Pavel, you graduated from the geography department of the Novosibirsk State Pedagogical University. Did your studies help in the writing of your story?

PS: I was lucky, I chose to study in this field and it has organically become my life. Geography as a profession is impossible without expeditions, hiking, trips etc, where you have one-on-one experiences with nature.

Often the environment is harsh and it comes down to who will have the upper hand. You have to become strong, or nature will break you and show you your human weakness.

OCA: How did the idea for your story “Skhvatka” (The Fight) come about?

PS: The idea arose long ago, immediately after returning home from a hike in 2011. But the writing of the story lacked impetus, until one day my editor, Kseniya sent me the link to the contest.The entire tale is a true story about our wandering in the forest around Lake Teletskoye in Altai. We were lost in the abyss, the girl’s leg was bleeding badly, and we were stranded overnight on the mountainside without water.

OCA: Do you prefer to write prose or poetry?

PS: When I began writing in my youth, it was poems, then with the lyrics for my rock band, the songs became my poetry. I’d also read poems at concerts as epigraphs to songs. A literary entertainer!

When the band went on hiatus for a year, I wrote a short story, “Davka” (“Crush”).

Several short stories were published on internet portals and in the Altai literary almanac, Likbez. When the band returned, we released an album.

For me, poetry will always come before prose. The cadence and the rhyming are like trying to solve a puzzle: to take the idea to its limit without losing the meaning and beauty of what was said. It’s like a rebus, verbal Sudoku.

OCA: Tell us about your work. How did you react to receiving the Arkadiy Bezrukov prize?

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PS: The award was totally unexpected; I was stunned!

I’ve never had any luck in contests before. Kseniya constantly sends me links to literary competitions and festivals and tells me to persevere; if you don’t buy a lottery ticket, you can’t win.

OCA: Will you enter new categories of competitions at the Open Eurasian and Central Asian Literature & Book Form now?

PS: Yes, why not? It’s always fun to try something new, especially if you know that your work will be evaluated by professionals.

OCA: Has your life changed since receiving the Arkadiy Bezrukov prize?

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PS: Yes, a little; I got acquainted with other writers, some of them great people who are big in the literary world. It was fabulous after years to finally reap the rewards of my toil and labour.There was an interview in a newspaper, which will hopefully help bring readers and listeners to my work, but most importantly I now have even more friends and contacts worldwide. It’s cool.

Through her childhood reminiscences, Zinaida Longortova brings to life a remote region in far-northern Russia. Extrapolating the folklore and mythology of the Khanty people from her experiences - set around the simple story of a wounded elk calf - the author explores the bonds between humans and nature. Yet whilst this is a novella about a little known indigenous group, the narrative succeeds in harnessing powerful emotions which speak to us all. A timeless story, at once both joyful and melancholy, Blue River is a beguiling tale for all age groups.

In this book, there is fine line between the world of humans and animals, as related in the touching story about an abandoned elk calf and his salvation. Through lessons of kindness and mercy, the author warns us about our great responsibilities and the dangers of intervention in the laws of nature.

Mikhail Turunovsky, writer

ISBN: 978-1-910886-34-2 AVAILABLE ON AMAZON.COM WWW.OCAMAGAZINE.COM

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EVENTS

GUILDHALL SPARKLES AGAIN TO KAZAKH CLASSICS On the 19th of November, a Kazakh Classic Concert was held at London’s prestigious Guildhall to commemorate the 25th anniversary of the independence of the Republic of Kazakhstan. The event was held in association with the embassy of the Republic of Kazakhstan in Great Britain, Kazakh Gala Limited and the Eurasian Group Companies.

The concert featured a dazzling performance by wellknown violin soloist, People’s Artist of the Republic of Kazakhstan, Aiman Mussakhajayeva. One of the great musicians of modern times, since graduating from the Moscow State Tchaikovsky Conservatory, Mussakhajayeva has been included in the Honorary List, “2,000 Outstanding Musicians of the Twentieth Century”. A laureate of the State Prize of the Republic of Kazakhstan in literature, art and architecture, she also holds the title of UNESCO “Artist for Peace”. The violinist has collaborated with such famous musicians as Mikhail

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Kogan, Pavel Gigilov, Vladimir Spivakov, as well as leading chamber and symphony orchestras.

Conducted by world-famous Aidar Torybaev, the Eurasian Symphony Orchestra of the Kazakh National University of Arts performed works by Franz Schubert, Aram Khachaturian and other great composers. Founded in 2008, the orchestra has played in the finest concert halls and been greeted with a rapturous reception in Austria, Spain, France, Italy and now the United Kingdom, to name but a few countries.

In addition to the aforementioned artists, the ensemble of dombra players, Shabyt, the ensemble of violinists, Aygolek, and the ensemble of Kazakh folk instrumentalists, Korkyt-Ata also performed in front of a hugely appreciative audience. A fascinating evening featuring an unparalleled programme, the concert served to demonstrate the fusion of Asian and European cultures.

LONDON ETHNO ART FESTIVAL COMMEMORATES 25 YEARS OF INDEPENDENCE the Head of the Cambridge Central Asia Forum, Elena Ageeva - the representative of the Chamber of Commerce of the Republic of Tatarstan in the UK, Lidiya Grigoryeva - poet, the wife of the poet Ravil Bukharaev, she translated into Russian language Jalil early poems, these poems are included in all anthologies of the poetry Musa Jalil. Medals were awarded to Zurab Tsereteli - President of the Russian Academy of Arts, Konstantin Khudyakov - President of the Creative Union of Artists of Russia.

On the Day of National Unity, 4th November 2016, the representative office of Rosstorudnichestvo in London hosted the International ethnographic festival-competition “Ethno Art Fest” organised by the “Ethnographic Art” section and the company «Ethno Art Fest». The event was dedicated to the 25th anniversary of the Commonwealth of Independent States.

Various events took place in Russia and the UK to commemorate the day. The project consists of a series of cultural events aimed at supporting ethnographic art, as well as the development and strengthening of international cultural cooperation through the promotion of traditional arts, crafts and national crafts.

At the Festival an awards ceremony was held to give commemorative medals “In memory of the 110th anniversary of the birth of Musa Jalil” for the assistance in strengthening interethnic harmony and establishing international cultural cooperation.

Gratitude letters, from the Plenipotentiary Representative of the Republic of Tatarstan in the Russian Federation, for strengthening inter-ethnic harmony and establishing international cultural cooperation were awarded to Anton Chesnokov - representative of Rossotrudnichestvo in the UK, Olga Balakleets - Chairman of Russian Community Council in the UK, Oxana Gouli -. Chairman compatriots association “Sputnik”, Ekaterina Chernyaeva - the director of the Russian-Speaking Volunteer Bureau.

The programme of the event included the opening of an exhibition titled, “Commonwealth”, which showcased the national costumes of the peoples of Russia and the Commonwealth of Independent States, as well as models wearing the latest fashion.

Participants of the festival-contest “Ethno Art Fest” were artists, masters of folk arts and crafts from various regions of Russia, countries of the Commonwealth of Independent States and other countries.

“Ethno Art Fest” was supported by RossotrudnichestOn behalf of the Deputy Prime Minister of the Re- vo, the Embassy of the Russian Federation to the UK public of Tatarstan, the Plenipotentiary Representative and the embassies of the CIS countries to the UK, the of the Republic of Tatarstan in the Russian Federation, CIS Executive Committee, the CIS Interstate Humanitarian Cooperation Fund, the Ministry of Culture of the Ravil Ahmetshin, the medals were awarded to Mr. Asliddin Rakhmatov - Charge d’Affaires of the Em- Russian Federation, the Plenipotentiary Representative bassy of the Republic of Tajikistan to the United King- of the Republic of Tatarstan to the Russian Federation, dom of Great Britain and Northern Ireland, Cllr. Lak- Chamber of Commerce of the Republic of Tatarstan, mini Shah - mayoral advisor of Newham London, Dr. Tatarstan Academy of Sciences, the Russian Academy of Siddharth Saxena - Cambridge University Professor, Arts, as well as many other organisations.

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DAVID PARRY MAKES HISTORIC KYRGYZ VISIT David Parry, Chairman of the Eurasian Creative Guild (London) made his first visit to Kyrgyzstan from the 13th to the 23rd of September, 2016. On September 18th, the famous.

British poet, playwright and member of the Royal Society of Arts presented his book, The Grammar of Witchcraft at the American University of Central Asia (AUCA) in Bishkek. Nearly 50 people - writers, artists, translators, members of the Eurasian Creative Guild, professors and students - attended the presentation.

They all had a unique chance to listen to the author and ask questions.

As David Parry told those present, from early childhood the East had attracted him for some unknown reasons. “This particular interest,” he recalled, “over the years has grown into love for the traditions, culture, music, and literature of the region.This is why the famous Kyrgyz writer, Chingiz Aitmatov become one of the inspirational figures for writing The Grammar of Witchcraft.

The book - in which poetry and prose alternate - explains to the reader the meaning behind its sources and mythology. Filled with mysticism and inscrutability, the book explores the inner world - invisible to the human eye – which fills every person. In this collection of mini-sagas and poems, the author tells about the final journey taken by his alter- ego, Caliban from Shakespeare’s Tempest, from the surreal delights of a wedding in Liverpool, all the way back to a non-existent City of London. The author explores the lyrical contradictions existing between different levels of consciousness, betwixt reality and the dreaming state.

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Members of the Eurasian Creative Guild such as Anatoliy Skargin (director of the international association, Generals of the World for Peace), Zinaida Karayeva (director of the Institute of Foreign Languages at the International University of Kyrgyzstan), Marina Bashmanova (director of Muse creative studio) and Nigara Khidoyatova (a political figure) gave a series of short speeches during the introduction of the presentation.

The event also included a presentation by the Eurasian Creative Guild, where the audience were introduced to the illustrations for David Parry’s book, which were drawn by Kristina Glazunova.

Honourable guests included Bolot Shamshiev (Kyrgyz actor, filmmaker and script writer), Alexander Kacev (a professor at the Kyrgyz-Russian Slavic University), Kuban Mambetaliyev (ex-ambassador of Kyrgyzstan to the U.K.), Liliya Utyusheva (a faculty member of AUCA) and Bubaysha Arstanbekova (Chair of the public association Akyikat Zholu, poet, and public figure).

During his short visit to Kyrgyzstan, David Parry also participated in the International Forum of Intellectuals: ‘Conversations on the Silk Road: Unity and Creation’, which was held from the 14th-16th of September in Osh. “This is a uniquely phenomenological study of witchcraft replete with phantasmagorical imagery, transcending ordinary experience in a unique and unforgettable manner.The Grammar of Witchcraft will remain imprinted in your consciousness in words of fire.”

— Neil Watson

THE REAL GAME OF THRONES: AT THE WORLD NOMAD GAMES “All I had known about Kyrgyzstan previously was bride kidnapping,” he continued. “I was fascinated that such traditions still exist somewhere, because Vikings in the ninth century had the same tradition too. People from Central Asia share the same nomadic spirit as Vikings.

The world is much more connected than we think it is, and DNA testing is showing it. There is something special about Central Asia. I feel that the people I’ve met there so far are very welcoming, close to nature and strong but still very open.”

After attending II WNG, Sölvi Fannar visited Bishkek, the capital of Kyrgyzstan. He conducted several public lectures and a charity event for children with cancer about acting, cinema production and cinematography.

On September 6th, the Eurasian Creative Guild (London) in collaboration with Art Studio Muse (Bishkek) organized a Q&A session in Sierra Coffee, where Sölvi Fannar talked about his life philosophy, career experience and artistic path. Filmmakers, PR specialists, artists and students attended the meeting.

On the 2nd of September, 2016, Sölvi Fannar arrived in Kyrgyzstan, in the heart of Central Asia for the Second World Nomad Games. This year athletes from 62 countries came together in Cholpon-Ata to compete in 26 different sports.

Sölvi decided to compete himself in the Mas-Wrestling tournament. He was very impressed by the opening ceremony. “I have never seen an opening ceremony like the World Nomad Games. I couldn’t believe it,” he commented. “The skill of the horse riders, riding their horses literally on fire; it was incredible!”

Sölvi suggested using hashtags #GameofThrones or #TheRealGameofThrones to promote the World Nomad Games on social media, adding that “the Nomad Games are a big part of the world of Game of Thrones”.

On September 8th, the Bishkek School of Public Relations together with Promo Tank Research Institute (Bishkek), Art Studio Muse (Bishkek) and the Eurasian Creative Guild (London) organized a charity event and invited Sölvi Fannar to talk about PR in cinema. With the common effort of those who attended the meeting, a total of 5100 som (approx.75 USD) was gathered to buy equipment - a linear accelerator (LINAC) - for children with cancer.

Sölvi Fannar Viðarsson is an Icelandic actor, musician, dancer, writer, poet, model, health professional, poet, multi-sport athlete and performance artist. Sölvi has been called a renaissance man in the mass media because of his numerous talents, the poet being dubbed Iceland’s Bruce Lee. He is also the agent for actor and strongman Thor/Hafþór Júlíus Björnsson (The Mountain from Game of Thrones).

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Open Eurasian Literature Festival & Book Forum 2016 Triumphs in its Fifth Year The fifth international literary festival “Open Eurasian Literature Festival & Book Forum” (OEBF) was held in London between 25th and 28th November. It is the only festival in the world, which facilitates the promotion of Eurasian literature on an international scale and gathers participants from all over the world.

That this is the fifth year such an event has been held (with previous events also having been held in Kyrgyzstan and Kazakhstan) is no accident.The event is one of the few that has been able to successfully promote the writers of Central Asia, past and present, as well as discover new talent and bring them to the English-speaking world. Celebrating its fifth birthday, OEBF, had over 900 participants, the largest in the event’s history, with

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more than 60 published writers from 16 countries in attendance.

The festival, was the brainchild of Marat Akmedjanov, who, along with this magazine, conceived the idea after realising that so many of the great works of literature from his country were not available to the literati abroad. In fact, many of the works of Eurasian writers have been hidden either by language or Soviet design and it is this talent (as well as emerging ones) that he wanted readers to re-discover. The event, which was organised by the Eurasian Creative Guild (London) in cooperation with British publishing house Hertfordshire Press and Yunus Emre Enstitüsü (Turkish Cultural Centre London), has become a meeting place for writ-

ers, poets, filmmakers, artists and other representatives of contemporary art. The festival provides a great opportunity for authors to tell the world about their work, share the experience as well as find like-minded people from different parts of the world to start joint projects.

A great many dignitaries and stars from the world of literature attended this year which opened on Friday 25th November with a ceremony dedicated to the memory of prominent Kazakh writer, Herold Berger.

He was honoured with speeches by Cem Işık (Turkish Embassy), Gani Bekenov (Kazakh Embassy), Konstantin Shlykov (Russian Embassy), Oleg Ermolovich (Belarusian Embassy), Asliddin Rakhmatov (Tajik Embassy), Atageldy Annaev (Turkmen Embassy) and Nick Rowan (OCA magazine).

insight into the themes of his new book, “Sikunder Burnes: Master of the Great Game”. Anna Gogoleva (from the Republic of Sakha) gave a novel online video-conference from Yakutia in Russia and a number of others presented their academic works.

As the event is now held under the banner of the Eurasian Creative Guild, whose chairman David Parry was in attendance, it has drawn a wider significance and audience. Indeed, most unusual, was the presentation of a unique fragrance of Eurasian Creative Guild (London), which was specially developed by Belarusian perfumer Vlad Rekunov, for the forum.

The OEBF-2016 program maintained its tradition of keeping variety in its events and was a wonderful mix of book launches, lectures, concerts, concerts, poetry evenings, photo exhibitions and round tables. It also included excursions to the BBC’s headquarters and top universities around London, including Cambridge, Oxford and University College London. OEBF events took place in 9 venues across 3 cities – the sort of logistics that is enough in itself to give any organiser a headache, but somehow OEBF’s inquisitive and adventurous participants made it work.

This year 15 new books, published by Hertfordshire Press and Cambridge International Press, were launched at the festival, including Shahsanem Murray’s exquisite new thriller, “Cold Shadows” , David Parry’s “The Grammar of Witchcraft”, Yakutian author, Natalia Kharlampieva’s, “Foremother Asia” (Russia - Yakutia), Kazakh poetess, Raushan Burkitbayeva-Nukenova’s “Shadows of the rain”, and Tajik writer, Gulsifat Shahidi’s, “The Neighbourhood Sisters”. British travel writers Danny Gordon and Stephen Bland also promoted their new books respectively, “The Taste of Central Asia Cookbook” and “Does it Yurt? Or how I Come to Love the Stans”. The presentations included humorous and musical interludes as well as film excerpts.

The festival creates a space, where creative people can make a name for themselves on an international scale, but also brings contemporary writers and scholars.

Participants were in for a real treat as former UK ambassador to Uzbekistan, Craig Murray, gave a fascinating

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PROJECT One of the event’s key parts of the programme is the “Open Eurasian Book Forum & Literature Festival” with its substantial prize fund that allows winners to have their book published. In 2016 the prize fund totalled $32,000 and attracted more than 1400 authors from 43 countries to submit entries.The Awards Ceremony took place on 26th November at Pasha restaurant, when the organisers announced the names of those authors whose works were recognised as the best in each of 4 categories. The winners were:

THE CATEGORY OF “LITERATURE”: 1st place - Maral Kydyrova (Turkmenistan) 2nd place - Muhammad Sharif (Uzbekistan) 3rd place - Yulia Sibirtseva (Russia); Oleg Chernitsyn (Russia).

THE CATEGORY OF “TRANSLATION”: 1st place - Aliya Karimova (Russia - the Republic of Tatarstan) 2nd place - Nadezhda Serebrennikova (USA) 3rd place -Ekaterina Kravchuk (Belarus) THE CATEGORY OF “ILLUSTRATION”: 1st place - Maria Lozbeneva (Dagaz Spy) (Russia) 2nd place - Zhenis Nurlybayev (Kazakhstan) 3rd place - Dina Gorkavchenko (Russia); Nadezhda Adamenko (Belarus) THE CATEGORY OF “VIDEO MOVIE”: 1st place - Dlyaver Dvadziev (the Republic of Crimea) - winner of the Nemat Kelimbetov Award 2nd place - Maria Abadieva (Kazakhstan) 3rd place - Alexandra Shpartova (Belarus), Anna Bernes (Kazakhstan).

A number of other prizes were also awarded during the evening including, the Marzia Zakiryanova Prize of $5ooo for the best female work which was won by poetess Shahzoda Nazarova of Tajikistan and was presented by Zakiryanova’s grandson Tamerlan Zakiryanov and Yakutian poetess Natalia Kharlampieva (the winner of the award in 2015). The Sara Ishanturaeva Prize of $3000 for the best literature work on the subject of civil position was presented to Dildora Tulyaganova (Uzbekistan-Turkey) by the head of BBC

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Central Asia, Hamid Ismailov. The Maria Shevel Prize of $1000 for the best work for children was awarded to Yakutian writer, Evdokiya Erintseeva (Ogdo). The prize was awarded by art-director of Hertfordshire Press, Alexandra Vlasova. Finally, the Generals Award from the Association of Generals “Generals of the World for Peace” and the Association’s highest award of the “Dove of Peace” medal, was awarded to the Kazakh poetess, Raushan Burkitbarva-Nukenova, for the best work on the topic of strengthening peace, friendship

and mutual understanding between peoples. The prize was awarded by the Tajik writer, Gulsifat Shahidi (the winner of the award in 2015).

M. Bland was awarded the prize “Breakthrough of the Year”. Gulsifat Shahidi was presented the award of “Author of the Year”.

An interesting new venue, Fitzroy House, the base of writer and philosopher Ron L. Hubbard, hosted a lunch dedicated to the memory of Nemat Kelimbetov on 26th November. The winners in the “Film” category were announced and former Ambassador of the UK, Craig Murray, presented the Nemat Kelimbetov award (in the amount of $5000) to the winner in this category, Dlyaver Dvadziev (the Republic of Crimea). The opening speech was delivered by Sarah Ekker (the director of Fitzroy House), followed by David Parry, Nick Rowan and Dr. Shahid Qureshi. The Kazakh poetess Raushan Burkitbaeva-Nukenova launched her book “Shadows of the rain” and the audio book “The Wormwood Wind” at the event.

For the first time in the history of the OEBF, a poetry evening “The Voices of Eurasia” took place, during which talented poets read aloud the poems written in their native language. The awards ceremony of the Association of Generals “Generals of the World for Peace” took place within the poetry evening “The Voices of Eurasia”, during which Maide Akan (Kazakhstan) and Anzhelika Levandovskaya (Belarus) were awarded.

A number of the events took place at the Yunus Emre Enstitüsüthe, which provided a perfect base for participants in the centre of London. The film preview “The Great Game” by John Beardmore as well as several roundtables, where such relevant topics as Central Asia through the eyes of Western writers and the possibility of getting translated and published in London were discussed.A roundtable on the subject of Central Asian literature was held at BBC’s headquarters.The topic of 25 years of independent literature in post-Soviet countries was discussed at another roundtable, which took place at School of Oriental and African Studies (SOAS).

It has already become a tradition for the publishing house Hertfordshire Press to announce the winners in its own nominations. The book “Cold Shadows” by British-Kyrgyz writer Shahsanem Murray won the prize “The Best Book of the Year”. British writer Stephen

To hear the organisers at the end talk confidently about OEBF in 2017 suggests that the success of the last five years is due to continue into the next five years. We wait with anticipation to hear of where the next forum will take place, having had two successive years in London. One can only hope that there will be enough support to host it back in Eurasia to continue the tradition that this is by no means a London-only event, but something more global and far reaching, as it deserves to be.

FESTIVAL SUPPORTERS The festival OEBF-2016 was held was supported by Eurasian Creative Guild (London), British publishing house Hertfordshire Press, Rossotrudnichestvo,Yunus Emre Enstitüsüthe (Turkish Cultural Centre London), Cambridge International Press, Silk Road Media, Orzu Arts, Pro Art, the Embassy of the Republic of Kazakhstan to the UK, Cambridge University Kazakh Society (CUKS), Fitzroy House, Pasha Central Asian Restaurant, International Association “Generals of theWorld for Peace”,TEAS, PEN Central Asia & Cambridge Central Asia Forum. A number of media were accredited, among which are the following: OCA magazine, BBC Central Asia, Dorogoy magazine (Kazakhstan), London Post, Central Asia monitor.

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Set in Dushanbe, Tajikstan’s capital city, My Neighbourhood Sisters provides a snapshot of a close-knit community as it endeavours to adjust to changes induced by the country’s senseless civil war in the 1990s.

Turning the pages of Gulsifat Shakhidi’s novel is like looking through a photo album, in which the narrator, Zulfiya has lovingly pasted images of both her own family and those of her neighbours. And behind each picture lies a poignant story. Shakhidi’s key protagonists are her close female friends; a group of proud, hardworking Tajik women who are challenged by both political and domestic unrest as they wrestle to maintain traditional family values. Their customs and local environment – the communal courtyard where neighbours gather to drink tea on a raised bed- may belong to Central Asia, but the hardships they endure are universal: infidelity, addiction, abuse, poverty, death. And it is this, so sensitively described by Shakhidi that will resonate with readers the world over.

Zulfiya’s ‘sisters’ include feisty professionals and housewives, grandmothers and new brides, and as the novel unfolds, we learn how they value being able to share their problems and support each other in times of trouble. They also rely heavily on the wisdom and experience of Zulfiya’s adopted uncle and fellow tenant, war veteran, Grigory Semenovich.

My Neighbourhood Sisters is a powerful and beautiful book filled with characters drawn from both the author’s imagination and her actual family, but in all of them, we will recognise aspects of ourselves and people from our own lives, and will perhaps be drawn to reflect on that close camaraderie between neighbours and that sense of community which in our current age, are fast disappearing.

ISBN: 978-1-910886-35-9 AVAILABLE ON AMAZON.COM WWW.OCAMAGAZINE.COM

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EURASIA

ARTMEDIA TOUR: WE ARE TOGETHER

A project organised by the international team of the ‘ArtMedia’ online magazine, and the ‘Moskovskiy Komsomolets’ newspaper, held an event to promote Crimea abroad. The media project took place in Crimea on October 16th-19th. As part of the project, there was a mini media tour, a musical performance, and a vernissage. Writers of the ‘ArtMedia’ online magazine invited the characters of their articles - famous artists, actors and musicians from all over the world - to introduce them to the peninsula.

A walking tour of the Genoese Fortress in Sudak and Small Jerusalem in Yevpatoria was a highlight of the media project. Guests met with staff of the Nikitsky Botanical Garden, who told them about the most distinguished plants, imported from different parts of the world, and about those named after famous people and historical figures from different countries.

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The vernissage presented the product of an international collaboration (England - Crimea, Dresden - Crimea, Paris - Crimea, Ischia - Crimea, Apeldoorn - Crimea), at the Palmira Palace hotel. Local writers, as well as writers from other countries, presented subject of topics which have united them.

A concert was held were guests were entertained with songs in Russian, Dutch and French. Sölvi Fannar Viðarsson, who is an actor, writer, poet, multi-sport athlete, and photographer participated in the ArtMedia tour.

Alona Svintsova, a Dutch actress from Russia, journalist, and social activist based in Apeldoorn also joined the tour. She is a member of UNICEF Nederland, director of teh charity “Happy World” and teaches unique classes for children based on Russian stories and tales.

Katja Westerhoff, an artist from Apeldoorn visited the peninsula for the first time. She fell in love with Russia,

and decided to be baptised and take a Russian name, Ekaterina. Katja was excited therefore to see Crimea and capture its beauty.

Alexei Altynbayev, the author of “Parisian Etudes”, a press officer of the well-known public figure - the former mayor of the 16th arrondissement of Paris, Georges Mesmin, introduced his, and the former mayor’s art works as well. Georges Mesmin was not be able to come to Crimea due to his age - he is turning 90 in November - although he visited Crimea in the past.

Oksana Zhukova, the executive editor of “ArtMedia” (artmedia-international.org) said, “The international team consisting of journalists from Crimea, London, Paris, Athens, Apledoorn, Dresden, Bristol, St. Petersburg and Tumen have worked tremendously hard with ArtMedia online magazine.We are trying to have more collaborative projects together. Quite often Crimea becomes the main location of the events we organise in collaboration with our foreign team. We are always searching for the topics which unite us: nature, beauty, art, history. The sanctions cannot pull us apart.”

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TRAVEL

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SPOTLIGHT ON THE EURASIAN CREATIVE GUILD The Eurasian Creative Guild (London) is a public non-profit organisation, a new meeting place for creative talents.

As an actual and virtual association, the Guild generates a framework within which creative people from across the board can come together and discuss their work. Indeed, the Guild has already enlisted dozens of significant cultural figures from across the globe due to its proactive support for writers, musicians, illustrators, graphic designers, sculptors and poets along with anyone who considers themselves to be creative and is seeking promotion of their work around the globe and a mutually beneficial cooperation.The Eurasian Creative Guild’s projects include the OCA MAGAZINE, the international contest, festival and forum “Open Eurasia Literature Festival and Book Forum”, the “Open Central Asia International Orzu Arts Festival”, the annual “100 Outstanding People of Eurasia” compendium, and the annual Almanac (a collection written by Eurasian Creative Guild members).

Roughly 40 events take place each year within the framework of festivals held in London and the Eurasian region.

Supported by the publishing house, Hertfordshire Press, over the past few months the Guild has expanded the boundaries of its activities, organising a host of interesting events at which people from the world of arts and culture were able to find reliable partners.

During meetings, Sölvi Fannar spoke about his impressions of the local culture, creativity and shared his thoughts on Eurasian cinema. Participants at the events spoke with the actor about art and the best locations to shoot a movie.

ECG Chairman visits Almaty In September 2016, as part of a promotional tour, the current chairman of the Eurasian Creative Guild, popular Welsh author, poet and playwright, David William Parry visited Almaty (Kazakhstan) to give a presentation on his new book “The grammar of witchcraft”.

In his book, Parry talks about the spiritual world and the destiny of man, touching on the themes of magic and the ethnic traditions of the Anglo-Saxon people.

During a meeting with the author, participants learnt not only about his work, but also about the writer’s sources of inspiration and how he started upon his creative journey.

Abu-Sufyan in Astana On 4 October 2016, a book presentation was held in Astana by modern Dagestani author Abu-Sufyan. “His collection of poetry entitled “Crane” was published in English in 2016 by Hertfordshire Press. In his book, written in a bright and unique style, Abu-Sufyan covers such topics as responsibility towards nature, hope and the essence of life. Conveying the charm of nature, these eloquent poems tell of the changing of the seasons and ultimately the generations with the dreamlike, heart-wrenching quality of a fairy-tale. Despite the fact that the book is marketed for children, as noted by numerous literary critics, Abu-Sufyan’s book is a work for all ages.

Iceland comes to Bishkek In September 2016, Sölvi Fannar, a member of Advisory Board of Eurasian Creative Guild also visited Almaty.

Referred to as Iceland’s ‘Bruce Lee,’ Fanner is an actor, dancer, writer, poet, model and athlete. Today, he is involved in numerous film and television projects, including the popular television series “Game of Thrones.”

Bringing together representatives of European and Asian cultures, the presentation by the Dagestani author was coordinated through a British organisation in the heart of the Kazakh capital. The cooperation of creative throughout the entire Eurasian region is the main mission of Eurasian Creative Guild, who staged

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HISTORY a presentation within the framework of this event. to become a part of the international team. Special During a lively discussion, representatives of Guild attention was given to the fifth international literary fielded questions from fans of contemporary literature. festival “Open Eurasian Literature festival & Book Forum 2016,” which was held in London in November.

The Eurasian Creative Guild has been joined by hun- The event was attended by Moscow writers, poets and dreds of creative people from different corners of the artists. Guest participants at the event included Yuri world, and the city of Astana is no exception. “The Eur- Molchanov from the International Union of Writers, faasian Creative Guild facilitates the opportunity to ex- mous publisher and writer, Natalia Kolyshkin, and wellpress oneself, to meet interesting people from all over known writer, poet and actor, Arthur Gafiatullin. the world and expand one’s creative range,” said Asta- After the presentation, the book “Thirteen steps tona-based Evgeniya Gorobets. wards the fate of Erika Klaus” by famous Kyrgyz writer and playwright Kazat Akmatov as published by the BritThe idea of cooperation with Guild members inspired ish-based Hertfordshire Press was raffled off.The lucky the President of the Pero Fund, Elden Sarybay, who on winner of the prize was Tatiana Madievsky. behalf of his organisation expressed its intention to join the ranks of the Guild. The Pero Fund acts as the Literary Workshop in Minsk organiser of open evenings for lovers of poetry.

In October 2016, in the Minsk bookstore Lohvinau, an online presentation of books and a workshop by BritPen Club Conference in Spain ish poet and playwright David Parry was held.

As part of his role as Pen Central Asia member & Vice-Chairman of the Eurasian Creative Guild, Marat The evening saw fans of poetry gather to become acAkhmedjanov visited the picturesque town of Santiago quainted with the author. Parry presented his book de Compostela in Spain. During his meeting with the “The Grammar of Witchcraft,” which has already won local pen club, Akhmedjanov spoke about the projects the hearts of many readers. The book was recently of ECG. Participants at the presentation were able to published in London by Hertfordshire Press. During ask questions on publishing, literature and organising the meeting, Parry held a workshop and spoke about creative events. inspiration and shared the secrets of success in the literary business. The conversation was both lively and The Desert of Forbidden Art stimulating. Following the success of this event, David Another city where an event was held by the ECG is Parry will now be attending the Minsk International Minsk in Belarus, which the film about Igor Savitsky, Book Exhibition-Fair which will be held in February “The Desert of Forbidden Art” was shown. The doc- 2017. umentary draws the audience’s attention to the character of Savitsky: human, humble, fearless and enter- Photo exhibition “Iznanka” (“Wrong Side) prising. Through his obsessive passion for art, over half A project dedicated to the lives of single mothers, this a century ago he founded the State Art Museum of exhibition tells the stories of women who raise their the Republic of Karakalpakstan. The museum houses children alone, highlighting the taboos and clichés that a priceless collection of paintings and works of ap- society imposes upon them. The exhibition touches plied art from all over Central Asia and the wider for- upon questions of duty, conformity, isolation and lonemer-USSR. The movie preview was attended by Belar- liness. usian writers, poets, artists and other leaders in the fields of art and culture. A question and answer session Anna Kondratyeva is a photographer and a mother of with the makers of the film and a presentation from two. Her love of photography blossomed with the birth the Eurasian Creative Guild were also held. of her first child. Kondratyeva became absorbed by the idea of capturing emotions in images and freezing time First ECG Meeting in Moscow through the lense. Through her work she shows the In October 2016, with support from the publishing many facets of motherhood. Anna Kondratyeva is also house Hertfordshire Press, Vice-Chairman of Eurasian involved in charitable, social and non-profit projects to Creative Guild, Marat Akhmedjanov spoke in Moscow support the “Belarusian Children’s Hospice” and “SOS about the current and future projects of Guild and how - Village Belarusian”.

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JOIN US! REGISTRATION FORM First name_____________________________________________________________ Last Name_____________________________________________________________ Date of birth____________________________________________________________ Place of birth____________________________________________________________ Place of residence________________________________________________________ Phone number (with area code)______________________________________________ E-mail____________________________________________________________________ Tell us about yourself (500 symbols)___________________________________________ ________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ Field of activity * Writer Poet Musician Actor Photographer Designer Sculptor Illustrator Dancer Graphic Designer Other:____________________________

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FOOD CORNER

The Armenian Kitchen Scientists believe the Armenian kitchen is one of the oldest cuisines in Asia, and the most ancient in Transcaucasia. Many ways of cooking dishes and different utensils were passed onto neighbouring peoples, such as the Georgians and Azerbaijanis. Recipes are passed from generation to generation, often remaining unchanged over the centuries.

The dishes found in Armenian cuisine are of a spicy, sharp flavour, each with their own distinctive taste. The cooking process is often complex and time-consuming. Armenian cooks use hundreds of herbs, flowers and spices. Widely used vegetables include potatoes, tomatoes, cabbage, eggplant, peppers, carrots, spinach, asparagus, zucchini, pumpkin and beans. Many vegetables are used as a garnish for meat and fish dishes. In the springtime, it is customary to prepare meals from fresh grape leaves, and in summer and autumn, apples, quince, eggplants, peppers and tomatoes are added to minced meat, rice and spicy greens. In the national cuisine, beef and mutton are popular, though pork is rarely used. Among the specialities are ghapama (pumpkin stew), satsivi (fried chicken in a special sauce), and farshirovannye (stuffed peppers).

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Cooking often involves several processes: chopping, grating, deseeding, whipping and mashing all require the investment of time and labour. Some Armenian dishes have as many methods of cooking as there are peoples on the world map, and each family strives to bring something different to add zest to the dish. The culture itself plays an important role in the cuisine; in Armenia, people believe that if you eat and drink whilst in a good mood, it will be beneficial to your health, so major feasts are an essential part of Armenian life.

Recipes THE SOUP “SAUCE�

Ingredients: potatoes (1 kg) chicken fillet (500 g), salt (to taste), black pepper (to taste), tomato paste (1 tbsp), sunflower oil (30 ml), fresh herbs (to taste), spices and seasonings (to taste), water (4 litres), 1 carrot, 1 onion.

First, rinse five hundred grams of chicken meat. Pour four litres of cold water over the chicken and place on a high heat. Remove starchy foam from the boiling water, reduce the heat and simmer with the lid on for twenty minutes. Place the potatoes into a separate pot and boil until ready.

Rinse a carrot and grate or cut into fine strips. Cut one onion into small pieces. Place these into a pan to simmer in thirty millilitres of sunflower oil. Fry on a high heat until soft.

When the vegetables are browned, add one tablespoon of tomato paste, a little broth from the chicken pan and put on a low heat for five minutes.When the potato is cooked, add it and the sautĂŠed vegetables to the tomato soup. Bring the soup to a boil on a high heat and add the chicken. Bon Appetit!

Photo by Margarita Batygina

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CUISINE GRAPE LEAF DOLMA Ingredients: beef (1 kg), 1 onion, (rice 550g), vegetable oil (30ml) butter (30g) carrots (30g) mint, bay leaves and basil (to taste) cumin and black pepper (2 tsp), grape leaves, salt (to taste), water (1 litre).

To prepare the stuffing: rinse the rice and cover with cold water. Rinse the meat and cut off all the excess (these scraps will be used to prepare the broth). Next, trim the meat, place it into a saucepan and cover with water (1litre). Add bay leaves and black pepper. Place a peeled carrot into the stock pan. Using a hatchet or a sharp knife finely chop the meat – or use a minced meat grinder. (To ensure the meat doesn’t stick, moisten the tools with hot water.)

Cut onions as finely as possible and place in a frying pan with 30ml of vegetable oil, add a piece of butter and fry on a moderate heat until translucent. Add basil, cumin and mint, mix well and sauté for two minutes, then add the meat, mix thoroughly and turn off the stove. Add salt to taste along with the rice and stir vigorously. Add two ladles of cooked meat stock and cover the pan with a lid.

Spread grape leaves, pre-washed in hot water with the glossy side face down, and ladle onto each a little of the filling (the amount depends on the size of the sheet). Fold dolma, starting from the bottom and moving to the top of the sheet. Place the dolmas into a deep skillet packed tightly against each other, and pour the cooked meat broth so that it just covers the dolmas. Cook on a moderate heat for 30-40 minutes.

Before serving the dolma, sprinkle with chopped herbs, sour cream or garlic to suit your taste.

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Central Asia may not boast the Michelin starred cuisine of Tokyo, London or Paris, but don’t be deceived by those who say it has nothing to offer by way of gastronomic experiences. There are plenty of delights and new foods to try in a cuisine based largely on the region’s nomadic heritage that has fused together millennia of itinerant international cuisine. Traditionally this meant horse or sheep’s meat, with vegetables hard to come by, but today’s Central Asian cuisine has adapted to the modern table, retaining a lingering twist of Soviet and Asian influence that will delight the adventurous and surprise the skeptical.

There are many reasons that we have chosen to include recipes in this book, but we have done so primarily based on five crude criteria: deliciousness, cultural significance, historical commentary, uniqueness and “for the experience”.

You will notice however, that there are many variations on certain themes; dumplings or noodle dishes for instance.

This is because the six countries that demarcate Central Asia in this book share some of their history in that they are all, in some part, a result of the collision between the Turkic world and the former Soviet Union.

You will see that some of the tastes are not accompanied by a recipe. This is because they depend utterly upon their location, chal (fermented camel milk) being one such example. Also, some recipes do not reflect exactly what you might eat in restaurants or Central Asian homes. This is for two reasons: firstly, because there is so much variation within recipes in Central Asia, and secondly, because some of the ingredients are difficult to obtain in a western context.

ISBN: 978-1-910886-09-0 AVAILABLE ON AMAZON.COM WWW.OCAMAGAZINE.COM

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CONTENTS 58

POETRY BEFORE PROSE. INTERVIEW WITH THE WINNER OF THE ARKADY BEZRUKOV PRICE AT OEBF-2016, PAVEL SHUMOV

OVER 100 COUNTRIES CONFIRM EXPO 2017 PARTICIPATION

62

GUILDHALL SPARKLES AGAIN TO KAZAKH CLASSICS

16

JAMALA: I WISH LOVE TO ALL OF YOU!

63

LONDON ETHNO ART FESTIVAL COMMEMORATES 25 YEARS OF INDEPENDENCE

20

SETTLING DOWN TO BELARUSIAN LIFE – POST SANCTIONS 64

DAVID PARRY MAKES HISTORIC KYRGYZ VISIT

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THE REAL GAME OF THRONES: AT THE WORLD NOMAD GAMES

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OPEN EURASIAN LITERATURE FESTIVAL & BOOK FORUM 2016 TRIUMPHS IN ITS FIFTH YEAR

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ARTMEDIA TOUR: WE ARE TOGETHER

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SPOTLIGHT ON THE EURASIAN CREATIVE GUILD

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THE ARMENIAN KITCHEN

8

YERLAN SYDYKOV: IT’S OUR WAY, AND WE WILL OVERCOME IT

12

24

THE SCENT OF SUCCESS!

28

FROM DEATH ROW TO THE MOON

30

WELCOME TO GEORGIA

32

POST-SOVIET WOMEN IN TRANSITION: DR HEYAT LECTURE

34

BAKU FORUM IN CALL TO STRENGTHEN HUMANITARIAN DEVELOPMENT

36

NO ART IS TOO SMALL

40

KAZAKHSTAN: THE CHALLENGE OF RE-INDUSTRIALISATION

42

A TRAVEL WRITER’S DREAM- KYRGYZSTAN

46

FORWARD UNTO DUSK

52

CRIMEAN TATAR NOVELIST EMERGES FROM THE SHADOWS

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In this bold and insightful second collection of Neo-Expressionist literatures, Raushan Burkitbayeva-Nukenova invites her readers to revel in the cogitations of a Kazakh Radical Traditionalist. A literary position provoking the exploration of Eurasian motives, Central Asian reactions to London, nomadic love, and the contours of ethnic memory. Each one of which is lyrically scrutinized - along with the dissonant place of women in our postmodern world. Indeed, unlike her highly successful and probing first volume The Wormwood Wind, the author of this present book seeks to extend her poetic analysis of current affairs, before taking her first tentative footsteps into prose. This may be why pundits are already saying that several diverse strains of autobiographical text stream throughout this fresh and innovative work. All explaining, of course, the obvious value of such a tome as a unique contribution to those literary discernments mapping contemporary femininities exact boundaries. Unarguably, therefore, Raushan Burkitbayeva-Nukenova’s examination of nationality, colour, religion, and cultural backgrounds, will both challenge the assumptions of Western readers, while opening the doors of perception into a uniquely Central Asian perspective.

ISBN: 978-1-910886-32-8 AVAILABLE ON AMAZON.COM

Conjuring images of nomadic horsemen, spectacular monuments, breathtaking scenery and crippling poverty, Central Asia remains an enigma. Home to the descendants of Jenghiz Khan’s Great Horde, in the nineteenth century the once powerful Silk Road states became a pawn in the ‘Great Game’ of expansion and espionage between Britain and Russia, disappearing behind what would become known as the ‘Iron Curtain’. With the collapse of the USSR, the nations of Kazakhstan, Kyrgyzstan, Tajikistan, Turkmenistan and Uzbekistan were born. Since independence, Central Asia has seen one civil war, two revolutions and seven dictators.

An insightful mix of travel, history and reportage, in Does it Yurt? journalist Stephen M. Bland takes the reader on a voyage of discovery. Travelling to a desert sea, a collapsed Russian gas rig daubed the ‘Gate to Hell’ and along the ‘Heroin highway’ atop the roof of the world, the author sets out to explore these lands, unearthing the stories of the people and places behind this fascinating region.

ISBN: 978-1-910886-29-8 AVAILABLE ON AMAZON.COM