Recently, an exhibition by the Association of Museums of Almaty City titled “Continuity of Traditions: Heritage of Ancestors” was opened in Amsterdam — a large-scale cultural project presenting the history, music, and art of Kazakhstan to the European public.

The opening ceremony was attended by representatives of the diplomatic corps, leaders of international and public organizations, cultural and art figures, as well as representatives of the media.

This event became an important step in strengthening cultural ties between Kazakhstan and the Netherlands, as well as a wonderful opportunity to introduce the rich heritage and contemporary art of Almaty to European audiences. The editorial team of Qazaq Culture took a comment from Lyazzat Kudaybergen, director of the State Communal Governmental Enterprise “Association of Museums of Almaty City,” about how exhibitions of this level help expand the perception of Kazakhstan as a tourist destination and whether there will be new international exhibitions in the future.

Lyazzat, an important direction of our work is the development of international relations. How did the idea to present the collection of Almaty museums in Amsterdam come about?

• Yes, you noted correctly. An important direction in the work of the Association of Museums of Almaty City is the development of international relations and the promotion of Kazakhstan’s cultural heritage on the global stage. As part of a forward-looking plan, we have been purposefully expanding cooperation with foreign partners to create platforms for cultural exchange and dialogue between peoples.

Over the past three years, we have signed 19 memorandums of cooperation with international organizations and held 12 major exhibitions in countries such as South Korea (Seoul), France (Paris), Austria (Vienna), Italy (Naples), the Czech Republic (Prague), Serbia (Belgrade), Hungary (Karcag), Turkey (Istanbul), and finally, in the Kingdom of the Netherlands — Amsterdam.

The exhibition in Amsterdam became a logical continuation of this systematic work aimed at activating international exhibition activities and expanding cultural cooperation. We strive not merely to showcase museum exhibits but to create a living cultural space where the traditions and modernity of Kazakhstan are perceived in the context of a global dialogue.

This project gained special significance thanks to the support of the Almaty city akimat (local government), the Yunus Emre Institute in the Netherlands, and the Embassy of the Republic of Kazakhstan in the Netherlands. Through joint efforts, we managed to realize the exhibition “Dәstүr zhalğastığı: Babalar amanaty” — “Continuity of Traditions: Covenant of the Ancestors.”

This exposition not only acquaints the European audience with national costumes, household items, decorative and applied arts, and artifacts but also conveys the philosophy of Kazakh culture, its internal harmony between past and future. Through the prism of art, we show that traditions are not a static history but a living code of identity that continues to evolve and unite generations.

Thus, the idea of the exhibition in Amsterdam became not only the result of international cooperation but also an expression of Almaty’s aspiration to become a cultural bridge between East and West, between ancient traditions and contemporary art.

What was the starting point for international cooperation within the framework of this exhibition?

• The starting point for international cooperation within this exhibition was the consistent development of external relations of the Association of Museums of Almaty City and the successful implementation of large-scale cultural projects that laid a solid foundation for further international dialogue.

In recent years, Almaty has established itself as one of the centers of museum diplomacy in Kazakhstan. The experience of holding exhibitions at UNESCO headquarters in Paris, as well as in leading museums in South Korea, Italy, Austria, Turkey, Hungary, and other countries, has allowed us to form not only professional connections but also mutual trust between cultural institutions of different states. These projects demonstrated that Kazakh art and heritage evoke genuine interest among international audiences.

Thus, the exhibition “Dәstүr zhalğastığı: Babalar amanaty” in Amsterdam became a natural continuation of the already established international strategy. It combined the experience of previous initiatives and opened a new stage of cooperation, shifting the focus from showcasing national art to deep intercultural dialogue.

It can be said that it was the accumulated experience, professional contacts, and recognition of the Kazakh museum school on the international stage that became the starting point enabling the realization of this project. The exhibition in Amsterdam is not only a cultural event but also a symbol of the maturity and openness of Kazakh museum diplomacy, where art becomes a language of mutual understanding between peoples.

What significance does participation in such a project on the international stage have for Almaty?

• The implementation of such projects has strategic importance for Almaty as it strengthens the city’s image as Kazakhstan’s cultural capital and a dynamic center of international cooperation. Today, culture is becoming the most important instrument of soft power, and Almaty’s participation in such initiatives demonstrates to the world that our city not only preserves a rich heritage but also actively develops a contemporary cultural space open to dialogue and innovation.

The exhibition in Amsterdam is not just an exchange of exhibits. It is an opportunity to proclaim Almaty’s creative and spiritual potential, to present a unique heritage in the context of world culture, and to show that Kazakhstan is a country where traditions harmoniously coexist with modernity.

Moreover, such projects contribute to the development of international relations between museums, researchers, artists, and curators, opening new formats of cooperation. For Almaty, this means expanding its cultural presence abroad, strengthening the city’s status as a magnet for cultural initiatives, and forming a positive image of the country as a whole.

Thus, participation in international exhibitions is not only a matter of prestige but also a contribution to the development of Kazakhstan’s cultural diplomacy, with Almaty acting as an ambassador of national identity, uniting East and West through the language of art.

Can we say that this is a step towards positioning the city as a cultural center of Kazakhstan and Central Asia?

• Absolutely. Such projects allow Almaty to take its rightful place on the international map of cultural centers, contributing to the formation of the city’s image as the “cultural capital of Kazakhstan and Central Asia,” open to dialogue and cooperation.

Which specific museums of Almaty were part of the Association of Museums that presented their exhibits abroad?

• At the exhibition “Dәstүr zhalğastığı: Babalar amanaty,” held in Amsterdam (Kingdom of the Netherlands), unique exhibits from the collections of the Almaty Museum and the Ykhlas Museum of Folk Musical Instruments, both part of the Association of Museums of Almaty City, were presented.

What was the main goal of the exhibition “Continuity of Traditions: Heritage of Ancestors”?

• The main goal of the exhibition was to acquaint the European audience with Kazakhstan’s rich cultural heritage and to demonstrate that the traditions of the Kazakh people are not merely memories of the past but a living, evolving phenomenon that continues to influence contemporary art, fashion, design, and worldview.

The project “Continuity of Traditions: Heritage of Ancestors” sought to show that Kazakh culture is a holistic system of symbols, forms, and meanings through which the spiritual history of the people is revealed. The exposition combined authentic artifacts, household items, jewelry, elements of national clothing, decorative and applied arts, and modern interpretations of traditional motifs.

What message did you want to convey to the European audience through Kazakhstan’s cultural heritage?

• We aimed to show that Kazakh culture is an integral part of world culture as well as a universal language of human values: respect for ancestors, harmony with nature, and creativity.

What feedback did you receive from visitors and organizers in the Netherlands?

• The feedback was overwhelmingly positive. Visitors noted the depth of symbolism and the aesthetic expressiveness of the exhibits, while organizers emphasized the high professional level of the exhibition’s preparation.

Were European specialists interested in Kazakh traditions and crafts?

• Yes, there was particular interest in traditional Kazakh crafts, musical instruments, and items of decorative and applied arts of the Kazakh people. After the exhibition, proposals were received for further cooperation and exchange of exhibition projects with other museums in Amsterdam.

Which symbols or artifacts became central to the exhibition and impressed the foreign audience the most?

• A central place in the exhibition was occupied by Kazakh national costumes, folk jewelry, and musical instruments symbolizing the spiritual heritage and richness of Kazakh traditions. Special attention from visitors was drawn to the traditional bride’s headdress — the saukele — embodying beauty, nobility, and deep family and spiritual values passed down from generation to generation.

Are similar exhibitions planned in other European countries?

• Certainly, the international activities of the Association of Museums will continue. Currently, negotiations are underway with museums in China, the USA, and European countries.