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Islam, Identity and Politics: Kazakhstan, 1990–2000
Published online by Cambridge University Press: 20 November 2018
Extract
The organizers of the international conference entitled “The Cultural Contexts of Kazakhstan: History and Contemporaneity,” held in Almaty between 7 and 10 September 1997, chose as the logo of their conference one of the stills from Rustam Khalfin's film Lazy Cinema (Lenivoe Kino). It was the still representing a handful of earth. The choice was far from whimsical, for, as the writer Auezkhan Kodar, one of the organizers of the conference noted, the intention was “to underline the amorphous state of contemporary culture which needs to acquire a precise shape, characteristic to Kazakhstan alone.”
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References
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1. Auezkhan Kodar and Zama Kodar, eds, Kul'turnye Konteksty Kazakhstana: Istoriia i sovremennost' (Almaty: Nisa, 1998), p. 4.Google Scholar
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41. This ad appeared in Bizness Kur'er, 9 October 2000.Google Scholar
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45. C. Farah, op. cit., pp. 241–243.Google Scholar
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48. Temirlan Zhiengaliev, “Ne nado delat' iz Islama pugalo,” Soldat, 2 November 1999.Google Scholar
49. V. Ivanov and la. Trofimov, op. cit., p. 2i. The complaint of the imam of Sariozek mosque in Almaty about a young bard, Amangeldi Tolibaev, who uses his talent to spread religion through song may be yet more evidence about the manifestations of popular Islam. See Nurakhmet Baybolattegi, “Aqinba elde missioner me?”Google Scholar
50. Kazis Toguzbaev, “Demokratiia v religii,” 450° Po Farengeitu. Irtysh, No. 9, 1999.Google Scholar
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