By Mohamed Cassimjee*
In just a few weeks, the historic city of Samarkand, Uzbekistan, will host the 43rd UNESCO General Conference, welcoming delegates from 194 countries. It’s the first time in forty years that this global gathering takes place outside Paris—and the choice of Samarkand is no coincidence.
Once the glittering heart of the Silk Road, Samarkand has long been a meeting point of civilizations—where trade, learning, and culture flourished across continents. It remains a city that embodies what UNESCO stands for: exchange, understanding, and the shared pursuit of knowledge.
Yet as the world turns its gaze toward Uzbekistan, there is another story worth telling—one that stretches from Central Asia to Africa. Despite the miles that separate them, Africa and Uzbekistan share deep-rooted connections in art, trade, food, and music. Their intertwined pasts remind us that creativity and cultural expression have always been global currencies.
Centuries ago, merchants, scholars, and artisans from Africa were part of the vast networks that made up the Silk Road. African gold, ivory, and spices traveled eastward, while Uzbek silk, ceramics, and craftsmanship journeyed west. This was more than commerce—it was cultural cross-pollination.
You can still see the echoes of that exchange. The intricate mosaics of Samarkand’s Registan Square carry motifs that trace back to North Africa and the Middle East. Meanwhile, the vivid geometry of Uzbek Suzani embroidery finds its counterpart in African textiles such as kente and mud cloth. These artistic resonances speak to a timeless dialogue of color, pattern, and meaning—a shared aesthetic that transcends geography.
Today, this centuries-old relationship is being rediscovered through art, culture, and collaboration. African and Uzbek artists are joining forces at exhibitions, residencies, and festivals that celebrate storytelling, craftsmanship, and community. These exchanges go beyond nostalgia. They show how creative diplomacy—anchored in shared heritage—can be a modern tool for global connection. In a world fractured by conflict and inequality, such partnerships demonstrate soft power at its best.
For Africa, where the creative industries already contribute over $50 billion to GDP and employ millions, investing in international collaborations is not just cultural—it’s strategic.
The same dialogue plays out at the table. Uzbek cuisine, shaped by centuries of Silk Road trade, blends flavors from Persia, China, and the Middle East. Its national dish, palov—rice simmered with meat, vegetables, and spices—bears a striking resemblance to West Africa’s jollof rice or East Africa’s pilau. The similarities are not accidental. They tell the story of ancient routes that carried both goods and ideas, influencing what people ate, how they cooked, and how they gathered.
Culinary festivals and chef exchanges now explore these parallels, turning food into a language of connection. In both regions, food is more than sustenance—it’s storytelling, identity, and diplomacy on a plate.
Music and dance form another powerful link. Across Africa, rhythmic drumming and call-and-response singing have shaped global music genres from jazz to afrobeats. In Uzbekistan, the maqom—a classical musical form blending poetry and melody—is recognized by UNESCO as Intangible Cultural Heritage. Both traditions celebrate rhythm, improvisation, and emotion. And both have found new life through performances where African and Uzbek artists blend instruments, movement, and rhythm into something fresh and transformative. These artistic conversations remind us that while languages differ, the human pulse is universal.
As the world convenes in Samarkand under the leadership of Gayane Umerova, Chair of Uzbekistan’s National Commission on UNESCO, Africa should see itself not merely as a participant, but as a partner and leader in this global conversation. Both Africa and Uzbekistan recognize the urgency of preserving heritage while embracing innovation. Yet Africa, with its youthful population and thriving creative industries, holds a distinct advantage: it can transform culture into a powerful engine for growth, investment, and global influence.
The 43rd UNESCO Conference offers an opportunity to deepen cooperation—through cultural exchanges, educational partnerships, and joint creative ventures. From film and fashion to digital art and design, Africa’s cultural power can be amplified through South–South collaboration with heritage-rich nations like Uzbekistan.
This aligns closely with Africa’s 2026 Tourism Agenda, which calls for cultural tourism and creative industries to drive sustainable development across the continent. The Samarkand conference can help advance this vision—by strengthening Africa’s cultural diplomacy, attracting investment in creative tourism, and positioning the continent as a global hub for heritage and innovation.
Samarkand’s mosques, madrasas, and markets tell a story that resonates deeply with African history: that greatness comes from connection, not isolation. As delegates gather there this October and November, the city will once again serve as a bridge between worlds—linking Africa and Central Asia through dialogue and vision.
If the Silk Road once connected continents through trade, today the world needs a new Silk Road of creativity and ideas. Africa should seize this moment to lead—not as a receiver of influence, but as a source of it. By investing in cultural diplomacy, empowering its artists and educators, and building partnerships with nations that share its commitment to heritage and innovation, Africa can shape a global cultural agenda that reflects its values and vision.
As the 43rd UNESCO General Conference unfolds in Samarkand, Africa’s message should be clear: our creativity is not just our past—it is our future. And that future begins when we connect, collaborate, and create together.
* Cassimjee is an advisory board member of the South Africa–UK Chamber of Commerce in London. He is a former senior South African diplomat, having served in Germany, the United States, Uganda, and Senegal.
