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Almaty: From Soviet Drabness to Central Asia’s Cultural Capital

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Almaty, Kazakhstan’s largest city with a population of 2.2 million, has undergone an extraordinary transformation since the fall of the USSR. Once a typical Soviet metropolis, it has reinvented itself into the beating heart of Central Asia, blending modernity with tradition to create one of the most dynamic cities in the region.

Today, Almaty boasts a world-class metro system, a flourishing banking and finance sector, luxury boutiques, and contemporary shopping malls alongside its vintage bazaars. The city has also become a culinary hotspot, fusing traditional Kazakhstan flavors with modern techniques, drawing international praise. In fact, Almaty’s food scene, with its “neo nomad” cuisine, has become a key part of the city’s cultural renaissance, with restaurants offering innovative dishes like marinated horse meat samosas and smoked brisket.

The city has evolved into the cultural epicenter of Central Asia, with an ever-expanding array of world-class museums, galleries, and performance spaces. Almaty is home to the Abilkhan Kasteev State Art Museum, which showcases Kazakhstan’s rich artistic heritage, as well as the avant-garde Tselinny Center of Contemporary Culture, opening next year, which will highlight cutting-edge music, theater, and art. Public spaces, such as the Almaty Metro, feature beautiful, elaborately decorated stations that pay homage to both Kazakhstan’s past and present.

Long-time American resident Dennis Keen, who advocates for historic preservation, notes that Almaty is “incredibly livable.” The city offers green spaces, a clean environment, and a reliable public transport system that makes owning a car unnecessary. The thriving creative scene, coupled with its lively culinary culture, has transformed Almaty into a destination for entrepreneurs, artists, and foodies alike.

Once, the city was a modest fort under Russian rule, growing into a modest city in the mid-19th century. After Kazakhstan gained independence from the Soviet Union in 1991, Almaty’s status as the national capital was moved to Astana (now Nur-Sultan). However, instead of dampening the city’s spirit, this shift sparked a cultural and entrepreneurial revival. Almaty quickly became a beacon for creativity and innovation, its entrepreneurs and artists embracing the freedom that came with this new chapter.

The culinary scene is a prime example of this reinvention. Almaty chefs have embraced the legacy of the nomadic people who once roamed the vast steppes of Kazakhstan, reinterpreting traditional techniques like open-flame cooking and meat-smoking in a contemporary context. Restaurants such as Auyl in the Medeu Valley offer luxurious takes on traditional dishes, using heirloom ingredients and slow-cooked meats to create artful seven-course tasting menus. The city’s neo nomad cuisine marries Kazakhstan’s past with its present, delighting visitors with a fusion of flavors that speak to both the region’s history and its future.

Along with food, art is thriving in Almaty. The city’s underground art scene is just as exciting as its public displays, with hidden gems like a secret private museum, whose location and owner are closely guarded. This mysterious collection offers an eclectic mix of Kazakhstan’s cultural history, from medieval chastity belts to Soviet-era mementos. Meanwhile, the forthcoming Tselinny Center of Contemporary Culture will provide a hub for contemporary thought, bringing together artists, intellectuals, and creatives from around the world.

Public art is another area where Almaty excels. The city is dotted with striking pieces of Socialist Modernist architecture and vibrant murals. Keen has spent years documenting and preserving these hidden treasures, showcasing them on walking tours that reveal the city’s Soviet-era artistic roots.

Almaty’s appeal is not just limited to its cultural renaissance. For those seeking adventure, the surrounding Tien Shan Mountains offer stunning scenery and a glimpse into Kazakhstan’s nomadic traditions. Visitors can stay in traditional yurts and embark on horseback treks to remote lakes, where ghost forests add an eerie atmosphere to the natural beauty.

 

Art Becomes Outrage: Kolkata’s Durga Puja Confronts Crime Against Female Doctor

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On August 9, Kolkata was rocked by the brutal rape and murder of a 31-year-old trainee doctor at RG Kar Medical College. The incident sent shockwaves through the city, sparking accusations of a cover-up, protests, and demands for justice. Daily demonstrations, human chains, and candlelight vigils have become regular sights in the city’s streets. Now, these protests intersect with Kolkata’s biggest annual cultural and religious event, Durga Puja, transforming the festival’s art into a powerful medium of protest.

Durga Puja, the festival that honors the ten-armed Goddess Durga’s victory over evil, has always been a spectacular showcase of art. Traditionally, pandals (temporary temples) display elaborate idols and creative structures, turning Kolkata into a public gallery of street art. But this year, amidst the city’s deepest protests in years, the festival’s art reflects the grief and anger of a community demanding justice.

A Festival and a Movement

The Durga Puja celebrations this year are shaped by the tragedy of the young doctor’s death. The case has not only become a rallying point for justice but has also deeply affected the city’s artists. Prominent visual artist Sanatan Dinda, who has long used his work to reflect societal issues, resigned from a government-run arts organization in protest and joined the street demonstrations. Dinda and other artists from the Kumartuli neighborhood, where Durga idols are traditionally made, have infused their work with a sharper edge, portraying the goddess as a more fierce, confrontational figure. His portrayal of Durga at the Bagha Jatin pandal is especially striking—her lion now springs from her chest, and her ten arms are equipped with spears, symbolizing an intensified battle against evil.

The theme of anger and protest resonates through many pandals. One notable installation at the Kankurgachi puja, titled Lajja (Shame), depicts Durga covering her eyes in sorrow, while her lion stands guard over a woman’s lifeless body wrapped in a white sheet. The emotional tableau is unmistakable—a statement on the systemic failure to protect women, a reflection of the public’s grief.

A Clash of Public Art and Politics

Durga Puja is more than a religious celebration—it is a key economic driver for West Bengal. The festival’s 2019 economic impact was valued at $4.5 billion, nearly 3% of the state’s GDP. However, with this much at stake, artists and organizers must navigate the delicate balance between using the platform for protest and maintaining the celebratory spirit of the festival.

Neighborhood clubs, which organize the pujas, receive financial grants from the government, adding to the complexities of openly addressing sensitive political issues. Some clubs, like those affiliated with opposition parties, have taken a more vocal stance, while others remain cautious. For example, the Arjunpur Amra Sabai Club’s women-led team, which had already planned a Discrimination theme, felt the urgency of the doctor’s murder pushing them further. They have reframed their puja as a “pledge,” rather than a celebration, calling for a world where people no longer need to protest for justice.

Art Imitating Protest

Art as protest is not new, and this year’s Durga Puja draws comparisons to iconic movements in public art. From Jean-Michel Basquiat’s Defacement, which memorialized a police brutality victim, to contemporary figures like Banksy, artists have long used public spaces to provoke political and social reflection. Durga Puja, as one of the largest public art festivals in the world, is the perfect platform for such messages, especially when societal anguish runs so deep.

For some, like renowned artist Susanta Shibani Pal, the intersection of art and protest was inevitable, even if unplanned. His installation Biheen (The Void) immerses viewers in a space resembling a “black hole,” with Durga represented only by a flickering candle, echoing the candles of the ongoing vigils. Pal admits the tragic incident may have subconsciously influenced his work, but he maintains that the piece had already been conceptualized before the protests erupted.

The Spirit of Resistance

While some pandals are transforming into sites of protest, others are taking the protests into their homes. Chandreyee Chatterjee, a regular participant in the street demonstrations, is forgoing much of the usual celebration in her family’s Durga Puja this year. Their observance will be minimal, with rituals performed without the usual festive atmosphere. Instead, she and her friends have created badges emblazoned with a flaming torch and the words “We want justice” in Bengali, which they will distribute during their puja to remind people of the work still ahead.

As the festival unfolds, the intersection of art and protest in Kolkata’s Durga Puja speaks volumes about the power of public expression in times of tragedy. The celebration of Durga, a symbol of the triumph of good over evil, has taken on new layers of meaning in the wake of the doctor’s murder. What was once primarily a joyous occasion is now a platform for collective grief, outrage, and the demand for justice.

New Queen Elizabeth II and Prince Philip Sculpture – Plus Corgis – Sparks Mixed Reactions

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A new bronze sculpture of the late Queen Elizabeth II and Prince Philip, unveiled in Northern Ireland, has stirred divided opinions among the public. Installed in Antrim Castle Gardens, the artwork, created by artist Anto Brennan, shows Queen Elizabeth in a rural outfit alongside two corgis, with Prince Philip standing behind her.

While the Antrim and Newtonabbey Borough Council reported the statue has been “warmly received by most,” social media users have offered a range of reactions. Some praised the piece as “beautiful,” while others criticized the lack of likeness to the Queen, comparing it to other controversial portraits, like the infamous bust of Cristiano Ronaldo.

Despite the critique, the council emphasized the significance of the tribute and noted how it complements the garden setting, standing alongside Prince Philip’s statue and two “lovingly crafted” corgis. The debate over royal depictions is nothing new, as previous portraits of royal figures have also faced similar public division.