On October 5, 2025, Almaty officially received the status of "World City of Crafts" from the World Crafts Council (WCC). This event marked a significant milestone not only for the southern capital but for all of Kazakhstan—recognizing the deep roots of national craft traditions and the contemporary contribution of artisans to the development of the creative economy.
This status opens up new opportunities for international cooperation, the exchange of experience, and the promotion of the country's cultural heritage on the global stage.
We spoke with Aizhan Bekkulova, President of the Union of Craftsmen of Kazakhstan, an expert in cultural diplomacy, and a pioneer in the revival of the crafts movement in the country, about what this recognition means for Kazakhstan's craft community, the next steps to strengthen its status, and why Almaty is considered not just a center of crafts, but a city where tradition becomes part of modernity. Aizhan, please tell us what the status of "Global City of Crafts" means for Almaty? What do you think lies behind this recognition—a symbolic title or real opportunities for artisans?
- For us, this status isn't just a fancy title, but the result of many years of work and tremendous teamwork. Back in 2018, we began preparing the first application, which in itself was an important step in understanding how modern Almaty preserves and develops craft traditions. Back then, we had to convince the city administration of the significance of this process, since applications are submitted by the city administration. Then the pandemic hit, priorities shifted, and the project was temporarily postponed. But we didn't abandon the idea. Last year, together with the Almaty Chamber of Crafts, we revisited the application, accepted an international commission, and conducted extensive work to gather evidence that Almaty truly thrives on crafts—from workshops in the old center to modern creative clusters. And when, in October 2025, the World Crafts Council officially awarded us the status of World Craft City, we felt not only pride but also responsibility.
This status is international recognition that Kazakhstan's craft heritage is not simply preserved, but actively developing and adapting to modern conditions. It means that Almaty artisans have joined a global network where they can exchange experiences, participate in exhibitions, residencies, and international collaborations.
But perhaps most valuable is that we are now being talked about as the cultural center of the region. Almaty is perceived not only as a metropolis with a dynamic economy, but also as a city where traditions are part of the creative ecosystem. This is an important step in shaping Kazakhstan's image as a country where culture is not a thing of the past, but a living resource for the future. We want Almaty to become a center of cultural attraction.
What specifically will change for the city with this status?

First and foremost, the status of "World City of Crafts" creates a completely new level of opportunity for Almaty. We no longer simply talk about crafts as a cultural heritage—we view them as part of the city's economic and educational strategy. This status guarantees that the city administration and government agencies will systematically support artisans.
We expect the emergence of new craft centers, applied arts museums, specialized schools, and programs for developing traditional crafts—from jewelry and leatherwork to textiles, pottery, and wood carving. Such spaces will not only become focal points for artisans but also places where crafts can be passed on to the younger generation, becoming part of the city's identity.
Almaty has long been a center of craftsmanship—it is home to the best artisans, strong educational institutions, and a rich artistic scene. This potential has always been there, but now it has received international recognition and new prospects for growth.
It is important to understand that this is not just a cultural project. This is about creating an ecosystem where artisans become participants in the creative economy, where crafts are integrated into tourism, design, education, and exports. And this is precisely the vector that makes Almaty a competitive city not only in Central Asia but also globally.
What role did Kazakhstani artisans and organizations play in obtaining this status?
- This status is the achievement not of a single organization, but of the entire crafts community of Kazakhstan. We submitted a huge package of documents, which included lists of artisans, their dynasties, associations, and creative organizations active throughout the country. After all, to gain recognition from the World Crafts Council, we had to prove that crafts in Kazakhstan are not just a cultural phenomenon, but a vibrant, developing community with strong traditions and continuity.
In this sense, the contribution of the artisans was decisive. Many of them represent true dynasties, where knowledge and skills are passed down from generation to generation. We organized a large exhibition, which brought together over a hundred artisans from all regions of the country. It was a vivid demonstration of the diversity and richness of our craft culture: jewelers, potters, weavers, leather, felt, and wood craftsmen—all demonstrated that crafts are alive and well in Kazakhstan. In terms of numbers, there are several thousand artisans across the country today, a significant number of whom are concentrated in Almaty. This is not surprising—the city has become a magnet for talent, boasting a well-developed infrastructure, active craft associations, workshops, and exhibitions and fairs.
It's fair to say that it is thanks to these people, their enthusiasm, and dedication that Almaty has received international recognition. After all, the status of "World City of Crafts" is, above all, recognition of the work of the artisans themselves, who, with their own hands, create a vibrant culture that unites tradition and modernity.

Can we expect new programs, exhibitions, fairs, and international collaborations?
- Absolutely. We are already considering a number of new initiatives, one of which is the creation of an international organization that will unite cities with similar WCC status. The main goal is to develop tourism potential through crafts, exchange experiences, and foster sustainable cultural ties. We want Almaty to become an active participant in this network—a city that not only preserves traditions but also shares them with the world.
Our plans include holding craft tours, training programs for young artisans, exhibitions, and fairs featuring both Kazakhstani and international participants. This, of course, requires the support of the city administration—we need venues, museums, and contemporary art spaces where crafts can thrive not only as a memory of the past but also as part of everyday culture.
We would like to create a full-fledged museum of decorative and applied arts in Almaty. The Union of Craftsmen already has a large collection of works reflecting the unique diversity of Kazakhstan's regions. And when we talk about our rich heritage, it's important that it's not stored in collections, but made accessible to people—children, students, tourists, and researchers.
Almaty rightfully deserves to be a city where crafts become part of cultural education. We believe that it is through initiatives like these that we can shape a new generation—a generation for whom culture and traditions are not just part of their identity, but a source of inspiration, self-realization, and pride in their country.
Can you give examples of artisans or projects that have already become Almaty's calling card?
- Yes, such examples are becoming more and more common, and this is encouraging. Recently, the Kasteyev State Museum of Arts hosted an international exhibition where we presented the best works of the finalists of the "Sheber" competition. This event demonstrated the high level of contemporary Kazakhstani crafts and how seamlessly it blends tradition and modernity.
At the exhibition, guests could see products that could very well become Kazakhstan's brand—designer jewelry, textiles, felt compositions, and decorative items. The works of masters such as Bota Zemelkhan and Aigul Turalieva attracted particular interest. The latter, for example, has revived the ancient technique of kurak korpe—a traditional Kazakh patchwork technique that had once almost disappeared. In her practice, it is no longer just a craft, but a true art, where every detail becomes part of a complex, thoughtful composition.
Visitors were particularly drawn to the work of jeweler Dulat Ashimov—an exquisite ring called "Orteke." It is not just a piece of jewelry, but an artistic statement that combines ancient symbols, mythology, and contemporary design.
This exhibition was clear proof that Kazakhstani artisans are capable of not only preserving heritage but also creating new cultural meanings. The works presented at the Kasteyev Museum are not copies of the past, but a contemporary interpretation of tradition, crafted with great taste and love.
We truly have every reason to be proud of our artisans. Today, Almaty is growing a generation of artisans who work to world-class standards, meaningfully addressing their roots, and at the same time, developing a visual language understandable to a global audience. And it is these people who make our city recognizable—not only as a center of art, but also as a space where tradition becomes a source of inspiration for the future.

Finally, Aizhan, how do you envision the future of Kazakhstani crafts and Almaty's role in this story? What needs to happen for this status to become more than just a title, but a driving force for the country's cultural development?

I am convinced that this is only the beginning. The status of "World City of Crafts" is not a final destination, but a new stage that sets the direction for development. It is important that this title be followed by tangible steps: support for artisans, infrastructure development, and the integration of crafts into education, tourism, and the economy. Then, crafts will cease to be perceived as a niche sector and will become part of the country's creative industry. Almaty is a natural leader in this regard. Our city has the potential to become a platform for cultural exchanges, international exhibitions, festivals, and art residencies. It is through initiatives like these that Kazakhstan can establish itself not only as a guardian of traditions but also as a creator of new cultural meanings.
We want the younger generation to know that crafts are not just a thing of the past; they are an opportunity for self-realization, creativity, and professional growth. If we can combine tradition, education, and contemporary creativity, crafts will become the living source from which Kazakhstan will draw inspiration for its cultural future.