GEID - Gender Equality for Inclusive Development
π¨Supporting creative youth development
πPromoting inclusive economic growth
βοΈFacilitating arts-based civic engagement
βοΈPreserving cultural heritage
10/06/2026
ΠΠ°Π²Π΅ΡΡΠΈΠ»ΡΡ Π²ΡΠΎΡΠΎΠΉ ΠΏΠΎΡΠΎΠΊ ΠΏΡΡΠΈΠ΄Π½Π΅Π²Π½ΠΎΠ³ΠΎ ΡΡΠ΅Π½ΠΈΠ½Π³Π° Β«ΠΠ°ΠΊ ΡΠ°Π±ΠΎΡΠ°ΡΡ Ρ ΠΊΡΠ»ΡΡΡΡΠ½ΡΠΌ Π½Π°ΡΠ»Π΅Π΄ΠΈΠ΅ΠΌ ΠΈ ΡΡΠ°Π½ΡΡΠΎΡΠΌΠΈΡΠΎΠ²Π°ΡΡ Π΅Π³ΠΎ Π² ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠ΅ ΠΈΡΠΊΡΡΡΡΠ²ΠΎ ΠΈ Π΄ΠΈΠ·Π°ΠΉΠ½Β».
ΠΠ΅ΡΠ²ΡΠΉ ΠΏΠΎΡΠΎΠΊ ΡΠΎΡΡΠΎΡΠ»ΡΡ Π² Π°ΠΏΡΠ΅Π»Π΅, Π° Π² ΠΈΡΠ½Π΅ ΠΊ ΠΏΡΠΎΠ³ΡΠ°ΠΌΠΌΠ΅ ΠΏΡΠΈΡΠΎΠ΅Π΄ΠΈΠ½ΠΈΠ»Π°ΡΡ Π½ΠΎΠ²Π°Ρ Π³ΡΡΠΏΠΏΠ° ΠΈΠ· 21 ΡΠ΅ΠΌΠ΅ΡΠ»Π΅Π½Π½ΠΈΠΊΠ° ΠΈ ΠΊΡΠ»ΡΡΡΡΠ½ΠΎΠ³ΠΎ ΠΏΡΠ΅Π΄ΠΏΡΠΈΠ½ΠΈΠΌΠ°ΡΠ΅Π»Ρ.
Π’ΡΠ΅Π½ΠΈΠ½Π³ Π±ΡΠ» Π½Π°ΠΏΡΠ°Π²Π»Π΅Π½ Π½Π° ΡΠ°Π·Π²ΠΈΡΠΈΠ΅ ΠΏΡΠ°ΠΊΡΠΈΡΠ΅ΡΠΊΠΈΡ
Π½Π°Π²ΡΠΊΠΎΠ² ΡΠ°Π±ΠΎΡΡ Ρ ΠΊΡΠ»ΡΡΡΡΠ½ΡΠΌ Π½Π°ΡΠ»Π΅Π΄ΠΈΠ΅ΠΌ Π² ΡΡΠ»ΠΎΠ²ΠΈΡΡ
ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠ³ΠΎ ΡΡΠ½ΠΊΠ°. Π ΡΠ΅ΡΠ΅Π½ΠΈΠ΅ ΠΏΡΡΠΈ Π΄Π½Π΅ΠΉ ΡΡΠ°ΡΡΠ½ΠΈΠΊΠΈ ΡΠ°ΡΡΠΌΠΎΡΡΠ΅Π»ΠΈ ΡΠΎΠ»Ρ ΡΠ΅ΠΌΠ΅ΡΠ»Π° Π² ΠΊΡΠ΅Π°ΡΠΈΠ²Π½ΠΎΠΉ ΡΠΊΠΎΠ½ΠΎΠΌΠΈΠΊΠ΅, ΠΎΠ±ΡΡΠ΄ΠΈΠ»ΠΈ Π½Π΅ΠΌΠ°ΡΠ΅ΡΠΈΠ°Π»ΡΠ½ΡΡ ΡΠ΅Π½Π½ΠΎΡΡΡ ΠΈΠ·Π΄Π΅Π»ΠΈΠΉ ΡΡΡΠ½ΠΎΠΉ ΡΠ°Π±ΠΎΡΡ, ΠΏΡΠΎΠ°Π½Π°Π»ΠΈΠ·ΠΈΡΠΎΠ²Π°Π»ΠΈ ΡΠΏΠΎΡΠΎΠ±Ρ ΠΈΠ½ΡΠ΅Π³ΡΠ°ΡΠΈΠΈ ΡΡΠ°Π΄ΠΈΡΠΈΠΎΠ½Π½ΡΡ
ΠΏΡΠ°ΠΊΡΠΈΠΊ Π² ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΡΠ΅ ΡΡΠ½ΠΊΠΈ ΠΈ ΠΏΠΎΠ·Π½Π°ΠΊΠΎΠΌΠΈΠ»ΠΈΡΡ Ρ ΠΈΠ½ΡΡΡΡΠΌΠ΅Π½ΡΠ°ΠΌΠΈ ΠΏΡΠΎΡΠ΅ΡΡΠΈΠΎΠ½Π°Π»ΡΠ½ΠΎΠ³ΠΎ ΡΠ°Π·Π²ΠΈΡΠΈΡ.
ΠΡΠΎΠ±ΠΎΠ΅ Π²Π½ΠΈΠΌΠ°Π½ΠΈΠ΅ Π±ΡΠ»ΠΎ ΡΠ΄Π΅Π»Π΅Π½ΠΎ ΡΠΎΠΌΡ, ΠΊΠ°ΠΊ ΠΊΡΠ»ΡΡΡΡΠ½ΠΎΠ΅ Π½Π°ΡΠ»Π΅Π΄ΠΈΠ΅ ΠΌΠΎΠΆΠ΅Ρ ΡΠ»ΡΠΆΠΈΡΡ ΡΠ΅ΡΡΡΡΠΎΠΌ Π΄Π»Ρ ΡΡΡΠΎΠΉΡΠΈΠ²ΠΎΠ³ΠΎ ΡΠ°Π·Π²ΠΈΡΠΈΡ ΠΌΠ΅ΡΡΠ½ΡΡ
ΡΠΎΠΎΠ±ΡΠ΅ΡΡΠ² ΠΈ ΠΈΡΡΠΎΡΠ½ΠΈΠΊΠΎΠΌ Π½ΠΎΠ²ΡΡ
ΡΠΊΠΎΠ½ΠΎΠΌΠΈΡΠ΅ΡΠΊΠΈΡ
Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎΡΡΠ΅ΠΉ. Π£ΡΠ°ΡΡΠ½ΠΈΠΊΠΈ ΠΈΠ·ΡΡΠΈΠ»ΠΈ ΠΏΡΠΈΠΌΠ΅ΡΡ ΠΏΠ΅ΡΠ΅ΠΎΡΠΌΡΡΠ»Π΅Π½ΠΈΡ ΡΡΠ°Π΄ΠΈΡΠΈΠΎΠ½Π½ΡΡ
ΡΠ΅ΠΌΡΡΠ΅Π» Π² ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΡΠ΅ ΠΊΡΠ»ΡΡΡΡΠ½ΡΠ΅ ΠΈ Π΄ΠΈΠ·Π°ΠΉΠ½Π΅ΡΡΠΊΠΈΠ΅ ΠΏΡΠΎΠ΄ΡΠΊΡΡ, ΠΎΠ±ΡΡΠ΄ΠΈΠ»ΠΈ ΡΡΡΠ°ΡΠ΅Π³ΠΈΠΈ ΡΠ°ΡΡΠΈΡΠ΅Π½ΠΈΡ Π°ΡΠ΄ΠΈΡΠΎΡΠΈΠΈ ΠΈ Π²ΡΡΠ°Π±ΠΎΡΠ°Π»ΠΈ ΠΏΡΠ°ΠΊΡΠΈΡΠ΅ΡΠΊΠΈΠ΅ ΠΏΠΎΠ΄Ρ
ΠΎΠ΄Ρ ΠΊ ΠΏΡΠΎΠ΄Π²ΠΈΠΆΠ΅Π½ΠΈΡ ΡΠΎΠ±ΡΡΠ²Π΅Π½Π½ΡΡ
ΠΈΠ½ΠΈΡΠΈΠ°ΡΠΈΠ².
ΠΡΠΎΠ³ΡΠ°ΠΌΠΌΠ° ΡΠ°ΠΊΠΆΠ΅ Π·Π°ΡΡΠΎΠ½ΡΠ»Π° Π²ΠΎΠΏΡΠΎΡΡ Π·Π°ΡΠΈΡΡ ΠΈΠ½ΡΠ΅Π»Π»Π΅ΠΊΡΡΠ°Π»ΡΠ½ΠΎΠΉ ΡΠΎΠ±ΡΡΠ²Π΅Π½Π½ΠΎΡΡΠΈ ΠΈ ΡΠΎΡ
ΡΠ°Π½Π΅Π½ΠΈΡ ΠΊΡΠ»ΡΡΡΡΠ½ΠΎΠΉ ΠΈΠ΄Π΅Π½ΡΠΈΡΠ½ΠΎΡΡΠΈ Π² ΠΏΡΠΎΡΠ΅ΡΡΠ΅ Π°Π΄Π°ΠΏΡΠ°ΡΠΈΠΈ ΡΡΠ°Π΄ΠΈΡΠΈΠΎΠ½Π½ΡΡ
ΠΏΡΠ°ΠΊΡΠΈΠΊ ΠΊ ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΡΠΌ ΠΊΠΎΠ½ΡΠ΅ΠΊΡΡΠ°ΠΌ.
Π’ΡΠ΅Π½ΠΈΠ½Π³ ΡΡΠ°Π» ΠΏΠ»ΠΎΡΠ°Π΄ΠΊΠΎΠΉ Π΄Π»Ρ ΠΎΠ±ΠΌΠ΅Π½Π° Π·Π½Π°Π½ΠΈΡΠΌΠΈ, ΡΠΊΡΠ΅ΠΏΠ»Π΅Π½ΠΈΡ ΠΏΡΠΎΡΠ΅ΡΡΠΈΠΎΠ½Π°Π»ΡΠ½ΡΡ
ΡΠ²ΡΠ·Π΅ΠΉ ΠΈ ΡΠΎΠ²ΠΌΠ΅ΡΡΠ½ΠΎΠ³ΠΎ ΠΏΠΎΠΈΡΠΊΠ° Π½ΠΎΠ²ΡΡ
ΠΏΠΎΠ΄Ρ
ΠΎΠ΄ΠΎΠ² ΠΊ ΡΠΎΡ
ΡΠ°Π½Π΅Π½ΠΈΡ ΠΈ Π²ΠΎΠ·ΡΠΎΠΆΠ΄Π΅Π½ΠΈΡ Π½Π΅ΠΌΠ°ΡΠ΅ΡΠΈΠ°Π»ΡΠ½ΠΎΠ³ΠΎ ΠΊΡΠ»ΡΡΡΡΠ½ΠΎΠ³ΠΎ Π½Π°ΡΠ»Π΅Π΄ΠΈΡ.
ΠΠ»Π°Π³ΠΎΠ΄Π°ΡΠΈΠΌ Π²ΡΠ΅Ρ
ΡΡΠ°ΡΡΠ½ΠΈΠΊΠΎΠ² Π·Π° Π°ΠΊΡΠΈΠ²Π½ΡΡ Π²ΠΎΠ²Π»Π΅ΡΡΠ½Π½ΠΎΡΡΡ ΠΈ Π²ΠΊΠ»Π°Π΄ Π² ΡΠΎΡ
ΡΠ°Π½Π΅Π½ΠΈΠ΅ ΠΆΠΈΠ²ΠΎΠ³ΠΎ ΠΊΡΠ»ΡΡΡΡΠ½ΠΎΠ³ΠΎ Π½Π°ΡΠ»Π΅Π΄ΠΈΡ Π’Π°Π΄ΠΆΠΈΠΊΠΈΡΡΠ°Π½Π°.
ΠΠ°Π½Π½Π°Ρ ΠΈΠ½ΠΈΡΠΈΠ°ΡΠΈΠ²Π° ΡΠ΅Π°Π»ΠΈΠ·ΡΠ΅ΡΡΡ Π² ΡΠ°ΠΌΠΊΠ°Ρ
ΠΏΡΠΎΠ΅ΠΊΡΠ° Β«Π¦ΠΈΡΡΠΎΠ²ΠΈΠ·Π°ΡΠΈΡ ΠΊΡΠ»ΡΡΡΡΠ½ΠΎΠ³ΠΎ Π½Π°ΡΠ»Π΅Π΄ΠΈΡ ΠΈ ΡΠ³Π½ΠΎΠ±ΡΠΊΠΈΡ
ΡΡΠ°Π΄ΠΈΡΠΈΠΉΒ» Π±Π»Π°Π³ΠΎΠ΄Π°ΡΡ ΠΏΠΎΠ΄Π΄Π΅ΡΠΆΠΊΠ΅ ALIPH () ΠΈ ΡΠΎ-ΡΠΈΠ½Π°Π½ΡΠΈΡΠΎΠ²Π°Π½ΠΈΡ ΠΠ²ΡΠΎΠΏΠ΅ΠΉΡΠΊΠΎΠ³ΠΎ Π‘ΠΎΡΠ·Π° ()
βββββββββββ
The second cohortEuropean Union in Tajikistany training "How to Work with Cultural Heritage and Transform It into Contemporary Art and Design" has successfully concluded.
Following the first cohort in April, a new group of 21 artisans and cultural entrepreneurs joined the programme in June.
The training was designed to strengthen practical skills for working with cultural heritage in contemporary market contexts. Over five days, participants explored the role of craft within the creative economy, reflected on the intangible value of handmade work, examined ways of integrating traditional practices into contemporary markets, and worked with tools for professional development.
Particular attention was given to how cultural heritage can serve as a resource for the sustainable development of local communities and as a source of new economic opportunities. Participants studied how traditional crafts can be reinterpreted as contemporary cultural and design products, explored strategies for reaching new audiences, and developed practical pathways for advancing their own initiatives.
The programme also addressed intellectual property protection and the preservation of cultural identity in the process of adapting traditional practices to contemporary contexts.
Throughout, the training offered a platform for knowledge exchange, stronger professional networks, and a shared search for new approaches to safeguarding and revitalizing intangible cultural heritage.
We thank every participant for their active engagement and their contribution to sustaining Tajikistan's living cultural heritage.
This initiative is implemented as part of the βDigitizing Cultural Heritage and Yagnobi Traditionsβ project with the support of ALIPH () and coβfunding from the European Union ().
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