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REGIONAL COOPERATION IN CULTURAL DIPLOMACY IN CENTRAL
ASIA: CHALLENGES AND OPPORTUNITIES
Saraev Samandar
Master’s degree studnet of World Economy and Diplomacy University
+998935773838
https://doi.org/10.5281/zenodo.16958807
Abstract:
Cultural diplomacy in Central Asia has become an important tool
for strengthening national identity, regional integration and international image.
The study shows the stages of its development: from the approval of symbols in
the 1990s to institutionalization within the CIS, SCO and TURKSOY, as well as the
digital transformation of recent years. The main problems are highlighted -
competition for heritage, language differences and external influence, as well as
opportunities through common cultural symbols and international
organizations.
Key words:
Central Asia, cultural diplomacy, national identity, regional
cooperation, soft power, international organizations, integration.
Introduction
In the Central Asian states, after gaining independence, cultural diplomacy
has become one of the key instruments for forming national identity and
strengthening the international image
1
. From the first years of independence,
cultural projects have become an integral part of the policy of legitimizing
power: in Uzbekistan, special attention was paid to the figure of Amir Temur, in
Kazakhstan - to the idea of the "Great Steppe" and the creative heritage of Abai
Kunanbayev
2
. These symbols served not only as a means of consolidating
society, but also as a foreign policy resource, allowing the new states to be
positioned as bearers of a unique historical and cultural heritage. At the same
time, multilateral cooperation platforms were being formed: within the
framework of the CIS, SCO, TURKSOY, and OIC, cultural programs aimed at
supporting common civilizational memory and strengthening regional solidarity
were actively developed.
The relevance of the study is determined by the fact that cultural diplomacy
in the context of Central Asia performs a dual function. On the one hand, it
promotes internal consolidation and strengthening of national statehood. On the
other hand, it becomes a means of "soft power" aimed at forming an attractive
1
Marat, E. Nation Branding in Central Asia: A New Campaign to Present Ideas about the State and the Nation. Europe-
Asia Studies, 61(7), 1123–1136. 2009.
2
Chang, X., & Bo, Y. The strategy of the state cultural policy in Kazakhstan: evolution, implementation, and efficiency.
Voprosy Istorii, 2023. https://doi.org/10.31166/voprosyistorii202312statyi51
DEVELOPMENT AND INNOVATIONS IN SCIENCE
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image of the region in the external environment, attracting investments and
developing tourism. Thus, cultural diplomacy acts as a link between identity
politics, economic modernization and international integration.
However, the practice of cultural interaction faces a number of serious
obstacles. First of all, this is competition around historical figures and cultural
heritage. For example, the legacy of Alisher Navoi is interpreted differently in
Uzbekistan and Tajikistan, which gives rise to disputes about the “ownership” of
cultural symbols
3
. A similar situation is developing around the images of
Jaloliddin Manguberdi or Babur. The second important factor is language policy:
de-Russification, the transition to the Latin alphabet, and the desire for linguistic
purism create barriers to interstate communication
4
. The third source of
tension is border and water disputes (for example, in the Fergana Valley), which
negatively affect the atmosphere of trust between the countries
5
. Finally,
external actors have a significant influence - Russia, China, Turkey and Iran, each
of which promotes its own cultural strategies, forming parallel and often
competing narratives in the region
6
.
The aim of the dissertation research is to analyze the processes of
formation and development of cultural diplomacy in Central Asia, identify its
institutional mechanisms, practical forms, main obstacles and opportunities for
deepening regional integration. The object of the study is the processes of
regional cultural interaction; the subject is institutional mechanisms, the role of
state and non-state actors, as well as discursive practices in the field of cultural
diplomacy.
The methodological basis of the study is based on classical and modern
theories of international relations: realism (interests and power), liberalism
(interdependence and norms), constructivism (identity and social practices), the
concept of "soft power" by J. Nye
7
, the theory of cultural hegemony by A.
Gramsci, the globalization approaches of A. Appadurai, as well as the methods of
Actor-Network Theory (ANT), which allow us to consider cultural diplomacy as
a result of the interaction of various actors - government agencies, international
3
Fierman, W. Identity, Symbolism, and the Politics of Language in Central Asia. Europe-Asia Studies, 61(7), 1207–
1228. 2009.
4
Edgina, G., Djumabekov, D., Zueva, L., Dosova, B., & Kozina, V. Language Policy in Kazakhstan in the Context of
World Practice. Journal of Nationalism, Memory & Language Politics, 17. 2023. https://doi.org/10.2478/jnmlp-2023-
0004
5
Karasik, S. Water, Conflict, and Cooperation in Central Asia: The Role of International Law and Diplomacy. Vermont
Journal of Environmental Law, 18, 400–432. 2017.
6
Niemiec, J.M. Preserving Common Ties: Turkey's Public Diplomacy in Central Asia. Annales UMCS, Vol. 9, 241–
262. 2024.
7
Papaioannou,
K.
Cultural
diplomacy
in
international
relations.
IJASOS,
3,
942–944.
2017.
https://doi.org/10.18769/IJASOS.367306
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cultural centers (British Council, Goethe Institute, Yunus Emre Institute), NGOs,
universities, diasporas, artists and digital platforms
8
.
The working hypothesis of the study is that cultural diplomacy can become
a factor in regional integration, provided that there is a transnational
interpretation of common heritage and the active involvement of new actors -
the diaspora, youth and digital communities. The development of digital
diplomacy is of particular importance, especially after the COVID-19 pandemic,
when online exhibitions, virtual festivals and digital archives have become the
main channel for promoting cultural heritage.
The practical significance of the work is that its conclusions and
recommendations can be used by ministries of culture, foreign policy agencies
and specialized institutes to develop joint programs, coordinate language
policies, prepare cross-border nominations for UNESCO lists, institutionalize
digital diplomacy and develop strategies for interaction with the diaspora
9
. The
structure of the dissertation includes an introduction, three chapters
(theoretical foundations, practice and problems, opportunities and strategic
approaches), a conclusion with recommendations and a list of references.
Main part
Cultural diplomacy in Central Asia has gone through several stages of
development since the collapse of the USSR, reflecting the internal and foreign
policy transformations of the region’s states. In the 1990s, the key task was to
form a national identity and symbolic legitimization of new states. In Uzbekistan,
the central place was occupied by the image of Amir Temur: his cult was actively
used in the official ideology, and 1996 was declared the “year of Amir Temur”,
which was accompanied by large-scale commemorative events and the creation
of the State Museum of the Temurids in Tashkent. During the same period,
Kazakhstan focused on the figure of Abai Kunanbayev and the concept of the
“Great Steppe”, which allowed it to establish cultural markers of national
identity in a multi-ethnic society
10
. Language policy also played an important
role: in Uzbekistan and Turkmenistan, the transition to the Latin alphabet began,
while in Kazakhstan, the policy of “Kazakhization” was aimed at strengthening
the role of the state language. These processes indicate that culture was viewed
as a strategic resource for nationalization and distancing from the Soviet past.
8
Yunus Emre Institute. The Role of Yunus Emre Institutes in the Educational and Cultural Diplomacy of Turkey.
Turkish Online Journal of Educational Technology, 23(3), 140–150. 2024.
9
UNESCO.
Silk
Roads
World
Heritage
Serial
and
Transnational
Nomination
in
Central
Asia.
https://whc.unesco.org/en/activities/870
10
Olcott, MB Kazakhstan: Unfulfilled Promise. Washington DC: Carnegie Endowment, 2002. p. 37.
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In the early 2000s, cultural diplomacy acquired institutional forms and
went beyond national borders. Kazakhstan launched the state program “Madeni
Mura” (2004), which included archaeological research, the publication of
hundreds of volumes of national literature, and the restoration of cultural
monuments
11
. This program became an example of a systemic cultural policy
aimed at both internal self-affirmation and international recognition, including
active interaction with UNESCO. During this period, Uzbekistan and Kazakhstan
began to actively hold bilateral cultural events, including “days of culture,” joint
exhibitions, and festivals. At the same time, the Shanghai Cooperation
Organization and the CIS consolidated the cultural dimension in their
institutions, making cultural exchange part of the official cooperation agenda.
A landmark event was the inclusion of Navruz in the UNESCO List of
Intangible Cultural Heritage of Humanity in 2009. This step emphasized the role
of common traditions as symbols of regional unity. In the 2010s, Central Asian
cultural diplomacy was increasingly used for global positioning. Uzbekistan
organized international exhibitions dedicated to Samarkand and Bukhara in
Paris and Berlin, collaborating with UNESCO and the Louvre
12
. Kazakhstan
developed a cultural dimension through participation in international expos,
and Turkmenistan used the symbol of the Akhal-Teke horse as a key element of
its image on the world stage.
Since 2016, cultural diplomacy has gained new momentum. Uzbekistan has
increased its focus on cultural cooperation within the framework of openness in
foreign policy, and contacts with international cultural centers have been
intensified. At the same time, Kazakhstan focused on “Rukhani Zhangyru”
(“Spiritual Renewal”), the program of which included projects to preserve
historical memory and promote cultural values in a global context. Kyrgyzstan
and Tajikistan focused on the Manas epic and the figure of Ismaili Somoni as the
foundations of national narratives, while trying to promote them through
international cultural formats.
Disputes over the legacy of historical figures, which are interpreted
differently in different countries, remain an important challenge for cultural
diplomacy. For example, the figure of Navoi can be perceived as a common
cultural symbol, but at the same time cause competition between Uzbekistan
and Tajikistan. Differences in language policies also create additional barriers:
some countries have switched to the Latin alphabet, while others have retained
11
Melich, J., & Adibayeva, A. Nation-Building and Cultural Policy in Kazakhstan. 2014.
12
Fierman, W. A Comparative Examination of Language Ecology and Language Policy in Post-Soviet Central Asia. Al-
Farabi, 2021.
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the Cyrillic alphabet
13
. Unresolved border and water disputes increase mutual
mistrust and limit the space for cooperation. An additional factor is the cultural
policy of external actors: Russia promotes the Russian language and Orthodox
heritage through Rossotrudnichestvo, Turkey expands its influence through the
Yunus Emre Institute, China uses cultural projects within the framework of the
Belt and Road initiative, and Iran appeals to Islamic and Persian cultural
heritage. All this forms a field of competing narratives and requires a delicate
diplomatic balance from the Central Asian states.
Despite these challenges, the region’s cultural diplomacy shows sustainable
potential. Shared symbols such as Nowruz and the Silk Road can serve as tools
for building a common identity, while international organizations such as
UNESCO, the SCO, TURKSOY, and the Organization of Turkic States provide
institutional mechanisms for implementing joint initiatives. The COVID-19
pandemic has shown new opportunities for digital diplomacy: events have been
moved online, virtual exhibitions and festivals have been created, opening up
prospects for further expansion of audiences and youth engagement. Thus,
cultural diplomacy in Central Asia is not only an image policy tool, but also an
important channel for regional integration based on a combination of national
interests and common cultural values.
Conclusion and recommendations
Cultural diplomacy in Central Asia in the post-Soviet period has become one
of the key instruments of both internal development and international
positioning of all five republics of the region – Uzbekistan, Kazakhstan,
Kyrgyzstan, Tajikistan and Turkmenistan. Over three decades, it has gone
through several stages: from the assertion of national identity in the 1990s to
the institutionalization of cultural cooperation in the 2000s, from global
branding in the 2010s to digital transformation and expansion of the actor
composition in recent years.
The key result is that culture has been transformed into a universal
resource. In the 1990s, each state chose its own symbols to legitimize its
sovereignty: in Uzbekistan, the figure of Amir Temur, in Kazakhstan, Abai and
the “Great Steppe,” in Tajikistan, Ismaili Somoni, in Kyrgyzstan, the Manas epic,
and in Turkmenistan, the image of the Akhal-Teke horse and ancient oases. In
the 2000s, cultural diplomacy reached the regional and international levels
through programs such as “Madeni Mura” in Kazakhstan, bilateral “days of
culture,” and the participation of all countries in the region in the CIS, SCO,
13
Izteleuova, E. Foreign Policy of Uzbekistan and Kazakhstan: Main Directions and Achievements. Journal of
International Relations and Regional Studies, 2023.
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TURKSOY, and OIC formats. An important unifying symbol was Navruz, which in
2009 was recognized by UNESCO as an intangible heritage of humanity and
became a platform for the collective representation of Central Asia on the world
stage. In the 2010s, the Silk Road gained particular importance as a regional
identity brand: states began to promote historical cities, epics, and traditions as
part of tourism and exhibition projects. After 2016, cultural diplomacy acquired
a new dimension - digital and multi-actor: diasporas, universities, international
cultural centers (the British Council, the Goethe Institute, the Yunus Emre
Institute) actively joined in, and the COVID-19 pandemic consolidated online
formats of cultural exchange
14
.
The main challenges of regional cultural diplomacy are related to
competition over historical heritage (for example, over the figures of Navoi,
Babur or Manas), differences in language policy (Latin/Cyrillic), unresolved
border and water issues, and the strong presence of external actors – Russia,
China, Turkey and Iran – promoting their cultural models and interests. These
factors limit the possibilities for a unified cultural policy, increase fragmentation
and create a field of competing narratives.
At the same time, significant potential remains. Central Asia has a unique
historical and cultural heritage that can be used as a unifying resource. Symbols
such as Navruz, the Manas epic, the image of Samarkand and Bukhara, the
heritage of the Somonids or the ancient cities of Turkmenistan can form a
common regional identity. International institutions (UNESCO, SCO, TURKSOY,
the Organization of Turkic States) provide platforms for coordination. New
digital technologies make it possible to broadcast culture beyond the region,
engaging a wide audience.
Based on this, three priority areas can be identified as recommendations.
First, the creation of a regional council for cultural diplomacy in Central
Asia, which will unite the efforts of all five republics in developing joint
strategies.
Secondly, the formation of a unified digital platform for Central Asia, where
cultural heritage, educational projects and festivals will be presented and
accessible to a global audience.
Thirdly, special attention should be paid to youth: developing interstate
exchange programs, supporting youth initiatives and involving new generations
in promoting the cultural identity of the region.
14
Yalinkiliçli, E. Uzbekistan as a Gateway for Turkey's Return to Central Asia. Insight Turkey, 20, 27–43. 2018.
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These steps will help transform cultural diplomacy from a set of individual
national projects into a real instrument of regional integration and
strengthening the global image of Central Asia.
References:
1.Marat, E. Nation Branding in Central Asia: A New Campaign to Present Ideas
about the State and the Nation. Europe-Asia Studies, 61(7), 1123–1136. 2009.
2.Chang, X., & Bo, Y. The strategy of the state cultural policy in Kazakhstan:
evolution,
implementation,
and
efficiency.
Voprosy
Istorii,
2023.
https://doi.org/10.31166/voprosyistorii202312statyi51
3.Fierman, W. Identity, Symbolism, and the Politics of Language in Central Asia.
Europe-Asia Studies, 61(7), 1207–1228. 2009.
4.Edgina, G., Djumabekov, D., Zueva, L., Dosova, B., & Kozina, V. Language Policy
in Kazakhstan in the Context of World Practice. Journal of Nationalism, Memory
& Language Politics, 17. 2023. https://doi.org/10.2478/jnmlp-2023-0004
5.Karasik, S. Water, Conflict, and Cooperation in Central Asia: The Role of
International Law and Diplomacy. Vermont Journal of Environmental Law, 18,
400–432. 2017.
6.Niemiec, J. M. Preserving Common Ties: Turkey’s Public Diplomacy in Central
Asia. Annales UMCS, Vol. 9, 241–262. 2024.
7.Papaioannou, K. Cultural diplomacy in international relations. IJASOS, 3, 942–
944. 2017. https://doi.org/10.18769/IJASOS.367306
8.Yunus Emre Institute. The Role of Yunus Emre Institutes in the Educational
and Cultural Diplomacy of Turkey. Turkish Online Journal of Educational
Technology, 23(3), 140–150. 2024.
9.UNESCO. Silk Roads World Heritage Serial and Transnational Nomination in
Central Asia. https://whc.unesco.org/en/activities/870
10.Olcott, M. B. Kazakhstan: Unfulfilled Promise. Washington D.C.: Carnegie
Endowment, 2002. p. 37.
11.Melich, J., & Adibayeva, A. Nation-Building and Cultural Policy in Kazakhstan.
2014.
12.Fierman, W. A Comparative Examination of Language Ecology and Language
Policy in Post-Soviet Central Asia. Al-Farabi, 2021.
13.Izteleuova, E. Foreign Policy of Uzbekistan and Kazakhstan: Main Directions
and Achievements. Journal of International Relations and Regional Studies,
2023.
14.Yalinkiliçli, E. Uzbekistan as a Gateway for Turkey’s Return to Central Asia.
Insight Turkey, 20, 27–43. 2018.
