As Kazakhstan’s cultural scene continues to develop, government oversight is becoming increasingly significant.
Many musical genres, including rock and pop, are subject to government scrutiny. Under Kazakh law, organizers of public sporting, cultural, and entertainment events are required to notify the local authorities, or Akimat, before holding such events. Although this requirement has existed for some time, it was not always strictly enforced, allowing so-called “undeclared” cultural events to take place.
Despite this relatively limited enforcement in the past, the authorities have recently strengthened their efforts to regulate and prevent undeclared events. A recent example occurred on Saturday, 11 July, when the band Goden Do and Despise and members of its audience were detained by authorities in Astana after performing an undeclared concert at the club Outsider. Following inspections for alcohol and other potential violations, the audience was released, while the organizers were fined 22,000 tenge (approximately €41). According to reports, enforcement efforts have focused particularly on events involving foreign artists.
Government oversight has also expanded to the film industry. Since 16 July, new procedures for reviewing films before their theatrical release have been introduced. According to the Minister of Culture and Information, the review panel includes specialists from the fields of health, education, and cinema. However, regardless of the panel’s recommendations, the final decision on whether a film may be shown in cinemas rests with the Minister.
The stated purpose of these reviews is to prevent the release of films that promote riots, pornography, violence, criminality, violations of national integrity, LGBT+ propaganda, or other material considered unconstitutional. Previously, while films were also subject to legal controls, they were not screened by such a commission before their theatrical release.
As government oversight has increased, some production companies have reportedly reconsidered their involvement in Kazakhstan’s film industry. For example, Tiger Films announced the termination of its contract in Kazakhstan. Its director, Almat Chadmat, stated that political developments and financial instability influenced the company’s decision to end its activities in the country. Previously, Tiger Films had also been criticized by Majilis deputy Yerlan Sairov, who accused its film Ruynin kim? of promoting division within society.
Last but not least, on 5 May 2026, artist Asel Kadyrkhanova’s artwork Machine (2013) was supposed to be exhibited at the 61st Venice Biennale, taking place in Almaty. The piece commemorates the Stalinist repression of Kazakhs during the 1930s, drawing on the imagery of a typewriter and reproductions of original arrest warrants. Instead, the artwork was dismantled without the artist’s knowledge or consent. This occurred following a decision by the Minister of Culture and Information.
Taken together, these developments suggest that Kazakhstan’s authorities are seeking greater oversight of the country’s cultural sector. Supporters argue that these measures protect public order and national values, while critics contend that they expand state control over artistic expression. Following increasing pressure on journalists and independent media, many observers believe that greater government regulation is now extending into the arts.
“Who controls the past controls the future. Who controls the present controls the past.” George Orwell, 1984
