From October 20th to 24th, Astana hosted the National Animation Film Week—a large-scale cultural project organized with the support of the Ministry of Culture and Information of the Republic of Kazakhstan and the Kazakhanimatsiya creative association at the Shaken Aimanov Kazakhfilm Studio. The event not only introduces viewers to the rich heritage of domestic animation but also highlights its importance as an independent and dynamically developing industry that shapes the cultural code of the modern country.

The Week provided an opportunity to discuss the current path of Kazakhstani animation, the topics that concern creators today, and why cartoons are more than just entertainment, but part of national identity. Aiken Dzhambulova, head of the Kazakhanimatsiya creative association, spoke to Qazaq Culture about this and much more.

Aiken, please tell us what was the underlying idea behind the National Animation Film Week? Is it a celebration of art or an attempt to draw attention to the development of the industry?
- Thank you for your interest in the industry. The main idea of ​​the "Week" is to showcase the richness and development of domestic animation, bringing together classics and contemporary projects. It's not only a celebration of art, but also an opportunity to highlight the importance of supporting animation as a sector that shapes Kazakhstan's cultural identity.
How do you assess the current state of Kazakhstani animation? Can we speak of the formation of our own "Kazakh school"?
- This is a very profound topic. Domestic animation has deep roots. Back in the 1960s, the first cartoons appeared at the Kazakhfilm studio, and director Amen Khaidarov became the founder of the national school, creating iconic films like "Why Does the Swallow Have Horns on Its Tail?"
Back then, it was a work of enthusiasts, but today animation is developing as a full-fledged industry—with a production base, educational programs, and international partnerships. Studios such as Balapan, Sak Studio, Toonbox Kazakhstan, and Kazakhanimation, among others, operate in the country. We can confidently speak of the emergence of a modern Kazakh school—one with a recognizable style, a focus on national symbols, traditions, and a visual language that makes our animation distinctive and competitive.

And here a natural question arises: what themes preoccupy Kazakh animators today? Do they continue to seek inspiration in folk myths and tales, or are they increasingly turning to contemporary stories that reflect the spirit of a new generation of viewers?

Today, creators are boldly experimenting with genres and meanings. This year, the Kazakh Animation Association launched twelve pilot projects—from the folk horror film "Su perisi," which addresses environmental issues, to the philosophical dramedy "Shanyrak" and the crime thriller "Kolenke." There are fantasy films, dramas, comedies, series like "Aibyndy Aul" (The Village of Aul) and original films like "Tears of Umai" and "Ghostly Nauryz." This speaks of maturity and freedom—Kazakhstani animation today is not limited to the "children's genre."
This raises the next logical question: to what extent is our animation technically and professionally prepared to compete on the international stage?
- Kazakhstani studios are equipped to meet modern standards, and our specialists are proficient in all cutting-edge technologies. We are actively developing our talent: we held a series of international master classes with experts from Canada, France, and Armenia.
The topics covered everything from visual storytelling to financial project planning. This allowed us to systematically strengthen our professional foundation and take the quality of our work to a new level.
Now that the industry is confidently gaining momentum, it's especially interesting to know: what films will viewers be able to see during the National Animated Film Week?
- The program combines classics and contemporary films. It includes digitized masterpieces by Amen Khaidarov—"Why Does a Swallow Have Horns on Its Tail?", "Aksak Qlan," "Forty Untold Tales," "Wisdom and Wealth"—and new feature films such as "Altyn Adam," "Muzbalaq," and "Kultegin."
Viewers will see the journey of Kazakhstani animation—from the first hand-drawn sketches to computer graphics and 3D technology.
It's all so captivating that I want to know who's behind these projects? Are there any young names worth keeping an eye on?
- Thank you. All the films were created by the "Kazakh Animation" creative association at Kazakhfilm. The program features directors Turdybek Maidan, Tilek Toleugazy, Adai Abildinov, Kuanysh Nagyz, Janadil Baidarbekov, and Azamat Yernazarov.
In addition to established artists, new debutants are emerging, working on pilot projects. We are confident that among them are future stars whose works will soon be recognized and loved by audiences.
We understand that animated films are not just entertainment, but a powerful tool for conveying values, worldviews, and national identity to a new generation of viewers. What role do you think animation plays in shaping Kazakhstan's cultural identity?
- Yes, animation is not just for children. It is a language understood by all generations. Through cartoons, we can discuss national values, language, and traditions.
Our projects often become tools of cultural diplomacy, representing Kazakhstan at international festivals and showcasing our culture to the world through visual imagery. It's worth noting that Kazakhstan's vast and diverse geography, from the southern steppes to the northern plains, creates a unique cultural palette. Each region has its own legends, heroes, and visual codes that inspire artists and directors. Therefore, holding such events in various cities across the country can contribute not only to the popularization of animation but also to cultural integration and dialogue between regions. Against this backdrop, a logical and symbolic question arises: why was Astana chosen as the venue for the National Animated Film Week?
Yes, Astana has indeed become a key hub for creative industries, and this is no coincidence. In addition to being home to the Kazakh Animation management team, the capital boasts a number of structural advantages that make it a logical choice for the National Animated Film Week.
First, infrastructure. Astana boasts a concentration of modern screening venues, professional studios, coworking spaces, and post-production centers—those technical hubs that allow not only to showcase completed works but also to host master classes, workshops, and joint labs in a "work & learn" format. This enhances the efficiency of interaction between creators, producers, and experts.
Secondly, there's the city's human resources and educational potential. Educational initiatives—courses, internships, and international exchange programs—are developing in the capital, providing an influx of young professionals and raising the industry's professional level. The presence of specialized educational platforms accelerates knowledge transfer and the implementation of modern practices.
Finally, there's the city's strategic role in cultural policy. Holding the Week in the capital signals that animation is viewed not only as entertainment but also as a tool for cultural diplomacy and national brand building. The festival program can convey visual codes that represent Kazakhstan internationally while simultaneously stimulating internal cultural dialogue between regions. Thus, the choice of Astana is a combination of practical factors (infrastructure, personnel, communications) and strategic goals (visibility, cultural export, centralization of initiatives), making the capital a natural platform for the large-scale and professional promotion of Kazakhstani animation.

So, can we say that the Week of National Animated Films will become an annual event?
- We hope so. This event inspires young creators, brings together professionals, and fosters interest in domestic projects. Our goal is to make such initiatives permanent and support the production of new national films.

Finally, how do you envision the future of Kazakhstani animation?
- In the next 5-10 years, the industry expects to develop education, create an animation laboratory, and collaborate with international co-productions. We strive to make Kazakhstani cartoons recognizable not only domestically but also globally.

And speaking personally, for me, the spirit of our animation is best captured by two films: Amen Khaidarov's "Aqsak Qulan" and "Altyn Adam." The first is because it contains living mythology and traditions, the second is because it shows how national history can speak in the language of modern cinema.