The Soviet Union"s 1924-1929 Years Demarcation of Borders in Central Asia and Implications of National Identity: From Common Identity to Individual Identity

2021 ◽  
Vol 36 (3) ◽  
pp. 103-137
Author(s):  
Sejin Jung
Keyword(s):  
National Identity ◽  
Soviet Union ◽  
Central Asia ◽  
Individual Identity ◽  
The Soviet Union ◽  
Common Identity

Identity-building in Kazakhstan

2020 ◽  
Vol 65 (2) ◽  
pp. 327-358
Author(s):  
Alin Roman
Keyword(s):  
National Identity ◽  
Soviet Union ◽  
Central Asia ◽  
The Other ◽  
Internal Factors ◽  
The Soviet Union ◽  
Central Asian ◽  
The Republic ◽  
Central Asian Republics ◽  
Gradual Transformation

"As a young nation that came into existence following the collapse of the Soviet Union, the Republic of Kazakhstan undergoes a gradual transformation within its demographics. The issue of national identity within what was once an important and well-integrated part of the USSR continues to draw the involvement of its administrative apparatus that has to find the equilibrium between, on one hand, maintaining national integrity through various mechanisms and, on the other, managing the level of external and internal factors that may lead to the fate of its fellow Central-Asian republics. Keywords: nationalism, populism, Central Asia, statehood, post-Soviet identity"

Switching to Satr: An Ethnography of the Particular in Women’s Choices in Head Coverings in Tajikistan

2015 ◽  
Vol 2 (4) ◽  
pp. 367-387 ◽  
Author(s):  
Marintha Miles
Keyword(s):  
National Identity ◽  
Soviet Union ◽  
Central Asia ◽  
Early Years ◽  
Muslim Woman ◽  
Islamic Revival ◽  
Current Regime ◽  
The Soviet Union ◽  
Policies And Practices

In the early years of the Soviet Union, women in Central Asia were forcibly unveiled in an attempt to suppress Islam and create the “new Soviet woman.” A post-Soviet Islamic revival in Central Asia has brought with it the renewed practice of veiling. Women adopt hijab and other conservative head coverings for complex reasons as they seek identity and belonging in Tajikistan’s evolving society. Nevertheless, the current regime views the veiled Muslim woman as a threat to the imagined national identity. The sociopolitical elite perpetuates these policies and practices, subjugating women who choose to veil. This article explores how women experience the practice of veiling in post-Soviet Tajikistan.

New Materials for Studying Preparation and Staging of the 6th World Festival of Youth and Students in 1957

2018 ◽  
pp. 550-563
Author(s):  
Daniel Sawert ◽  
Keyword(s):  
Soviet Union ◽  
Central Asia ◽  
Trade Unions ◽  
Soviet Society ◽  
Unique Event ◽  
The Soviet Union ◽  
Archival Documents ◽  
Cultural Standards ◽  
The Cold War ◽  
Local Traditions

The article assesses archival materials on the festival movement in the Soviet Union in 1950s, including its peak, the 6th World Festival of Youth and Students held in 1957 in Moscow. Even now the Moscow festival is seen in the context of international cultural politics of the Cold War and as a unique event for the Soviet Union. The article is to put the 6th World Festival of Youth and Students in the context of other youth festivals held in the Soviet Union. The festivals of 1950s provided a field for political, social, and cultural experiments. They also have been the crucible of a new way of communication and a new language of design. Furthermore, festivals reflected the new (althogh relative) liberalism in the Soviet Union. This liberalism, first of all, was expressed in the fact that festivals were organized by the Komsomol and other Soviet public and cultural organisations. Taking the role of these organisations into consideration, the research draws on the documents of the Ministry of culture, the All-Russian Stage Society, as well as personal documents of the artists. Furthermore, the author has gained access to new archive materials, which have until now been part of no research, such as documents of the N. Krupskaya Central Culture and Art Center and of the central committees of various artistic trade unions. These documents confirm the hypothesis that the festivals provided the Komsomol and the Communist party with a means to solve various social, educational, and cultural problems. For instance, in Central Asia with its partiarchal society, the festivals focuced on female emancipation. In rural Central Asia, as well as in other non-russian parts of the Soviet Union, there co-existed different ways of celebrating. Local traditions intermingled with cultural standards prescribed by Moscow. At the first glance, the modernisation of the Soviet society was succesful. The youth acquired political and cultural level that allowed the Soviet state to compete with the West during the 6th World Festival of Youth and Students. During the festival, however, it became apparent, that the Soviet cultural scheme no longer met the dictates of times. Archival documents show that after the Festival cultural and party officials agreed to ease off dogmatism and to tolerate some of the foreign cultural phenomena.

scholarly journals Frontier Dynamics: Reflections on Evangelical and Tablighi Missions in Central Asia

2021 ◽  
Vol 63 (1) ◽  
pp. 212-241
Author(s):  
Mathijs Pelkmans
Keyword(s):  
Soviet Union ◽  
Central Asia ◽  
Kyrgyz Republic ◽  
Missionary Work ◽  
Ethnographic Fieldwork ◽  
The Soviet Union ◽  
Successes And Failures

AbstractMissionaries have flocked to the Kyrgyz Republic ever since the collapse of the Soviet Union. Evangelical-Pentecostal and Tablighi missions have been particularly active on what they conceive of as a fertile post-atheist frontier. But as these missions project their message of truth onto the frontier, the dangers of the frontier may overwhelm them. Based on long-term ethnographic fieldwork amongst foreign and local Tablighis and evangelical-Pentecostals, this article formulates an analytic of the frontier that highlights the affective and relational characteristics of missionary activities and their effects. This analytic explains why and how missionaries are attracted to the frontier, as well as some of the successes and failures of their expansionist efforts. In doing so, the article reveals the potency of instability, a feature that is particularly evident in missionary work, but also resonates with other frontier situations.

INDIA’S ROLE IN KAZAKHSTAN’S MULTI-VECTOR FOREIGN POLICY

2021 ◽  
Vol 22 (2) ◽  
pp. 043-049
Author(s):  
Punit GAUR ◽  
Anurag TRIPATHI ◽  
Shovan Sinha RAY
Keyword(s):  
Foreign Policy ◽  
Soviet Union ◽  
Central Asia ◽  
Soft Power ◽  
Mutual Cooperation ◽  
Industrial Enterprises ◽  
Complex Interdependence ◽  
The Soviet Union ◽  
State Economy ◽  
Near Future

After the disintegration of the Soviet Union, Kazakhstan’s economy was weak since most of the industrial enterprises were located in Russia. To attain economic growth, Kazakhstan crafted a unique foreign policy known as the multi-vector foreign policy, which facilitated an easy inflow of direct foreign investments into the state economy. After economic liberalization in 1991, India took a serious interest in Central Asia, and since then the two nations have come a long way marked by complex interdependence in the international arena. They have demonstrated a successful and sustained upward trend in their bilateral relationship through soft power, trade and long-standing historical connections. Thus, the prospects of mutual cooperation between Central Asia, particularly Kazakhstan, and India are quite promising in the near future.

Modern domestic cinema and the legacy of shaken Aimanov

Keruen ◽  
2020 ◽  
Vol 4 (69) ◽  
Author(s):  
A.S. Jumadilov ◽  
Keyword(s):  
National Identity ◽  
Soviet Union ◽  
National Culture ◽  
Film Industry ◽  
National Cinema ◽  
Soviet State ◽  
The Soviet Union ◽  
The World ◽  
History Of ◽  
First Time

Following the collapse of the Soviet Union, the post-Soviet state of post-Soviet autonomous republics turned out to be the ideology for which cinematographers and screenwriters have to make a film epic of epoch - national cinema. In this article, the author can only use the ever-present cinematography, the unmerciful nationalistic culture, the ideological orientation of the film industry, the uniqueness or national identity. It's a good idea to have a world-renowned artisan who is doing all the same, seeking internationalization and gloss? Another - cinematic and astrophysical art of Shaken Aimanov, whose works live in volumes or polls, and others. For many years, many changes have taken place in the national cinema, such as national culture, a national emblem of national culture. For the first time in the history of national cinema, national cinema and the world of cinema, the future and future films have been transformed into a lot of changes. The Concept of distinguished singer Shaken Aimanova is embodied in the volume, which, unlike the researchers and artists all over the world of cinema Shaken Aimnayev, the director of which, as long as he is a filmmaker, creates a film studio as part of national culture.

Denouement Of Borders

2019 ◽  
pp. 237-248
Author(s):  
Alyssa M. Park
Keyword(s):  
Soviet Union ◽  
Central Asia ◽  
North Korea ◽  
Northeast Asia ◽  
Border Region ◽  
Korean Population ◽  
Soviet State ◽  
Cultural Policies ◽  
The Soviet Union ◽  
Maritime Province

This chapter examines Soviet and Japanese disputes over the Korean population in the Maritime Province from the 1920s to 1945. It shows that heightened geopolitical tensions in Northeast Asia resulted in a renewed effort on the part of the Soviet Union to institute citizenship, migration and resettlement, and cultural policies among Koreans. Tensions inside the Maritime also escalated in the late 1920s and 1930s due to collectivization efforts and the Great Terror. Soviet policies culminated in the 1937 forced deportation of Koreans to Central Asia. The chapter argues that the deportation was an extreme attempt by the Soviet state to align its authority over territory and people in a sensitive border region. The chapter ends with a discussion of Korean migration, citizenship, and the border region between Russia, North Korea, and China after 1945.

Faith and Culture

2019 ◽  
pp. 303-314
Author(s):  
Atola Longkumer
Keyword(s):  
Soviet Union ◽  
South Asia ◽  
Central Asia ◽  
Religious Expression ◽  
Traditional Medicines ◽  
Nation States ◽  
The Soviet Union ◽  
Central Asian ◽  
Global Christianity

Of the two Asian regions, socio-economically, South Asia presents both prosperity and abject poverty, embedded in varying traditions. Central Asian states are well-endowed with natural resources and sustain a diverse cultural heritage against a backdrop of Islam. The indigenous shamanic cultures that have sustained myriad indigenous people (often described by terms such as tribals, Adivasis, minorities) for generations across South Asia need to be recognised along with its globalisation. Healing, use of traditional medicines, the position and role of women, caste hierarchy and the relationship with the other are incorporated into South Asian Christianity. ‘Anonymous Christians’ have also contributed to concepts such as ‘insider movements’ to discuss embedded followers of Jesus. In Central Asia, Charismatic Christianity is finding particular resonance. The relative freedom of religious expression has given opportunities for Christians to witness to the gospel. The potential ecumenical relationship with the existing Orthodox Church presents an opportunity for global Christianity. Christianity has received fresh interest in Central Asia since the collapse of the Soviet Union and the formation of the nation-states of Tajikistan, Kyrgyzstan, Kazakhstan, Uzbekistan and Turkmenistan. Theological creativity along with prophetic proclamation will be needed to balance these challenges of culture and faith in the region.

Dancing beyond the Cactus Curtain

2020 ◽  
pp. 222-252
Author(s):  
K. Mitchell Snow
Keyword(s):  
National Identity ◽  
Soviet Union ◽  
Performing Arts ◽  
International Borders ◽  
The Soviet Union ◽  
Direct Support ◽  
Mexican Government ◽  
Modern Dancers ◽  
The Moment

As the dance artists that the Mexican government created through its schools and companies matured, they carried its dances across international borders. The tensions between nationalist esthetics and more formal approaches to creating art were increasingly visible in Mexican painting, yet its fractious dancers proved established a unified front when it came to performing outside of Mexico. The resulting encounters with the official performing arts policies of the Soviet Union and China shifted their perspectives on issues of esthetics and technique. Their government’s concurrent discovery that the folk dances its modern dancers performed overseas provided positive press changed its perspective as well. Amalia Hernández and her independent Ballet Folklórico would garner the direct support of Mexico’s president and her success in providing potent stagings of national identity for audiences inside and outside her homeland marked the moment when Mexico’s dancers became the equals of its celebrated painters.

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