As the capital of a Soviet republic, Bishkek (which until 1990 had been named Frunze after the Soviet general who led the military conquest of the Basmachi rebels in the mid-1920s) was endowed with the standard cultural facilities, including an opera, ballet, several theater companies, and an orchestra, as well as a Lenin museum, national art and craft museums, and an open-air sculpture museum. Since independence, funding for those institutions has decreased dramatically, and the cultural facilities have also been hard hit by the departure of local Russians. It also is unclear whether younger Kyrgyz will continue their parents' substantial interest in classical music, which in the Soviet era led several generations to support the national orchestra.

In the Soviet-directed propagation of "all-union culture," Kyrgyz actors, directors, and dancers achieved fame throughout the Soviet Union. Chingiz Aitmatov, the republic's most prominent writer, became one of the best-known and most independent artists in the Soviet Union in the 1980s. The Kyrgyz film industry, which had been very productive while supported by Soviet government funds, essentially vanished after 1991. Film projects that survive, such as a large-scale production on the life of Chinggis Khan directed by noted Kyrgyz director T. Okeyev, do so through foreign financing (an Italian film company has supported production of the Okeyev film).

Perhaps the best indicator of the condition of the fine arts in postcommunist Kyrgyzstan is the fate of the open-air sculpture museum in Bishkek, which began suffering a series of thefts in early 1993. Because the targets were all bronze, presumably the sculptures were stolen for their value as metal, not as art. When a large statuary group commemorating Aitmatov's Ysyk-Köl Forum (a notable product of the early glasnost period) disappeared, the museum's remaining statues were removed to a more secure location.

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Source: U.S. Library of Congress