Name: Inma Valencia
Nationality: Spanish 
Profession: Director of Cantabria’s Representation Office in Brussels 

Inma Valencia, Director of Cantabria’s Representation Office in Brussels, is a leading figure in the field of European relations. A law graduate from the University of Cantabria, she went on to specialise in European Affairs. Her solid academic background has given her an in-depth understanding of the mechanisms of the European Union and public policy.

Following her studies, Inma began her career as a lawyer, first at a prestigious law society in Brussels and then working for the Consejo General de la Abogacía Española, the representation of Spanish lawyers to the EU. She quickly rose through the ranks thanks to her expertise and dedication. In 1998, she was appointed Director of the Cantabria office in Brussels, a strategic position that allows her to defend her region’s interests with the European institutions. 

Inma has also served as Director General of Economy and European Affairs in her region, overseeing the management of the ERDF Operational Programme 2007-2013, negotiating the 2014-2020 ERDF programme, acting as the Managing Authority for the SUDOE Territorial Cooperation Programme, and serving as a member of the Committee of the Regions where she was a ver y active member. She also managed the Presidency of the Atlantic Arc Committee for 4 years when Cantabria chaired this organisation. 

As Director of the Brussels Office, Inma plays a crucial lobbying and networking role. She works tirelessly to promote Cantabria’s projects and initiatives, facilitating access to European funding and international partnerships. Under her leadership, the Cantabria office has succeeded in building strong relationships with key players in the EU, bringing many economic and social benefits to the region.

A concrete example of this success is Cantabria’s participation in the CPMR (Conference of Peripheral and Maritime Regions) and other important EU regional networks. Thanks to Inma’s efforts, Cantabria has been able to fully integrate into these networks, leading to fruitful collaborations and funding for innovative projects in the region. This integration has strengthened Cantabria’s position as a leader in several sectors at European level.

Working in the European bubble of Brussels means that the region can benefit from a whole range of European funding, from regional policy (ERDF) to research and innovation, to name but a few. Inma Valencia: ‘In practical terms, the presence of the regional offices in Brussels offers them a whole range of opportunities. I can give you just a few examples of concrete achievements for my region. Firstly, access to European funding. Our presence in Brussels has made it easier to obtain European funding for various regional projects, enabling the development of infrastructure and local initiatives. What I can also highlight is the strengthening of partnerships. My role as a regional networker has enabled me to establish strategic partnerships with other European regions and institutions, which has led to joint projects and exchanges of good practice. The example I would take is the GALACTEA PLUS project, which is part of the Enterprise Europe Network and supports Cantabrian SMEs in their internationalisation’. 

Inma Valencia’s role is also one of monitoring, representing and defending the interests of her region. ‘This mission of representing and influencing European public policy is THE most important part of my job, because it’s been ongoing from morning to night for the past 25 years’, she tells us.

Based just a stone’s throw from the Schuman roundabout, the Cantabria office not only hosts working meetings, but is also a stopover for regional politicians, various administrative departments and delegations from Cantabria. All this work helps to raise Cantabria’s profile on the European stage, attracting investment and economic opportunities.

Inma Valencia is recognised not only for her professional skills, but also for her sociable and communicative nature. She is appreciated for her collaborative approach and her ability to inspire trust. Her leadership and experience make her an invaluable asset to Cantabria, ensuring that the region continues to prosper and develop on the European stage.

The post Portrait: Inma Valencia, a ‘regional lobbyist’ at the service of her region: Cantabria appeared first on Brussels Express.

Fancy a trip to Knokke for the festive season? Two books, published twenty years apart, explore the fascinating history of this seaside resort: Alain Zenner‘s ‘La Côte belge de Knokke à La Panne, guide ludique et érudit’ (2024) and Marc Pasteger‘s ‘La mer qui se souvient: Les plus belles histoires de la Côte belge’ (2004) offer unique insights into Knokke’s transformation from barren wasteland to popular destination.

A. Zenner takes us on a journey along the Belgian coast, highlighting Knokke’s architectural evolution and the anecdotes that have shaped its identity. In particular, he recalls the ambitious project of Paul Lippens, who hoped to discover coal or oil in the subsoil of Knokke. The failure of this venture did not prevent Knokke from becoming the chic seaside resort it is today. The train arrived in Ostend in 1834 and the city became known as ‘The Queen of the Beaches’ thanks to this new accessibility. It arrived in Blankenberge in 1963 and did not reach Knokke before 1920. From barren, uncultivated land, worthless at the time and sought after only as a hunting ground, it was transformed into wonderful boulevards that enabled investors to realise huge capital gains ».

A. Zenner’s book also highlights the importance of nature reserves for the Belgian coast, with Knokke being home to the Zwin, a nature reserve that has been extended in 2019 and which attracts many visitors. In total, there are around 40 of these protected areas on the Belgian coast, offering a peaceful alternative to the hustle and bustle of the seaside resorts.

Whether you’re a history buff, a nature lover or just looking for a relaxing getaway, Knokke will charm you. 

M. Pasteger, meanwhile, immerses us in the captivating stories that have marked the history of the Belgian coast, from the royal love affairs of Leopold II to the promising debut of Charles Aznavour. These anecdotes, rich in detail, transport us into the past and give us a better understanding of the soul of Knokke.

The post Holiday Charm in Knokke: A Blend of History and Natural Beauty appeared first on Brussels Express.

Since 2022, the municipality of Grez-Doiceau, 28 kilometres south of Brussels in the Walloon region, has been working with other municipalities in Europe to create a European cultural route on the theme of Saint George and the Dragon. In August 2023, a delegation from the municipality travelled to Beesel (Netherlands) to meet representatives of other towns celebrating St George and the Dragon across Europe. In addition to the host town of Beesel, the partner municipalities are Furth im Wald (Germany), Montblanc (Spain) and Monçao (Portugal). Together with Grez-Doiceau, they have ratified a letter of intent to set up this European network around Saint George and the dragon.

What is a European cultural route?

It’s a programme launched in 1987 by the Council of Europe, which aims to demonstrate that the heritage of different European countries contributes to the common heritage. Today, there are 47 cultural routes, each promoting a common cultural heritage between different countries, around a specific theme, such as the ‘Pilgrim’s Way to Santiago de Compostela’, the ‘Viking Route’, the ‘Route of the Impressionists’, etc. Discover the list of existing European cultural routes here.

Cultural routes are networks that promote fundamental European values such as democracy, human rights, diversity, cultural identity and mutual exchange across borders. To be registered as a European Cultural Route, the network must meet a number of criteria, including: highlighting a European cultural and heritage legacy, bringing together at least 3 Council of Europe member countries, highlighting European values, drawing on scientific research, contributing to cultural and educational exchanges for young people and promoting sustainable tourism through innovative projects.

Why Saint George and the Dragon?

The theme of Saint George and the dragon is an important cultural heritage from Europe’s past. It is represented in numerous traditions throughout the continent, and the symbolism of the battle between good and evil is recurrent. By registering this heritage as a European Cultural Route, the local authorities are seeking to highlight this legacy of tradition and sharing, as well as promoting European diversity and tourism.

Meeting in Monçao, Portugal

After Beesel in August 2023, a meeting was held this year in Monçao with partner municipalities, with the aim of making progress towards this forthcoming bid. The meeting also provided an opportunity to pool the similarities and convergences between the different traditions in the cities and communes in the network. They also have their own specific characteristics, depending on the country or town where the festivities are celebrated. Although the battle between Saint George and the dragon remains a central element, each town has its own legend and organises a wide variety of activities.

What next?

Each cultural route must have a legal personality to manage and coordinate the network. To this end, an association called ‘Saint-Georges and the Dragon’ is being set up. Issues such as branding and communication still need to be addressed before the various municipalities can submit a joint bid to set up this European cultural route. The bid is due to be submitted in 2026. 

The post On the way to creating a European ‘Saint-George and the Dragon’ cultural route appeared first on Brussels Express.

“Scratch a Belgian and you will find a Surrealist,” wrote British travel writer Antony Mason in his book, Xenophobe’s guide to the Belgians.

There’s no way to prove that scientifically. But if you use your powers of observation, you will no doubt gather enough visual data to corroborate the theory.

Surrealism is so much a part of Belgium’s character that when Belgians are doing something surrealistic, they probably aren’t even aware of it. They’re just being, well, Belgian.

What other country has the spunk to tell the world, “Behold one of our national icons: a tiny, naked boy who does nothing but urinate all day in public,” and not give a hoot how the world will take it.

This is, after all, the nation that gave birth to surrealism masters like René Magritte and Paul Delvaux or avant-garde painters like James Ensor who specialized in bizarre themes like fighting skeletons and grotesque masks.

But Belgian surrealism does not only show itself in bold and garish ways. More often than not, it hides within the subtleties of everyday life.

If you don’t look hard enough, you may easily overlook those quiet expressions of delightful absurdity that could add a ton of humor and spice to your day.

Here are some tips on how and where to go hunting for signs of Belgian surrealism the next time you take a walk around Brussels or any part of Belgium.

1.    Watch the sidewalks closely

Something’s bound to jump out at some point, whether it’s a plant padlocked to the front wall of a house, a sidewalk garden, or a faucet jutting out of a sidewall.

Belgians are quite deft at improvising, and how they address some of life’s most mundane problems can be downright surreal.

In 2006, Brussels-based artist David Helbich began taking pictures of insanely devised makeshift solutions to everyday situations in Belgium.

The project went viral in 2009 and eventually led to the publication of Belgian Solutions, a collection of more than 300 images proving how crafty Belgians can be at problem-solving.

Who says you can’t hold an art exhibit on a lamppost?

2.    Keep an eye out for lampposts

In Belgium, lampposts and basically any kind of street pole can perform a number of roles.

You would be wrong to think the only purpose of their existence is to shine a light on the street.

Nope. They can also masquerade as sign hangers, bulletin boards, bike stands, and venues for art exhibits.

In a country where surrealism is a way of life, any object can serve more than just a single function. Count on the Belgians to make something interesting out of anything ordinary.

3.    Check out the windows

Windows are another ripe stage for Belgian surrealism. What kind of trinkets are people placing on their window sill for the world to see?

Take a peek at the glass screens you pass by along the street and see what peeks right back at you.

Plants and flower pots are the most common choices. But every once in a while, something unexpected just might peep out from behind those panes.

French photographer Jean-Luc Feixa made it a personal mission to capture queer and quirky window displays in Belgium.

After hunting for months, Feixa came up with a collection of 160 wonder-inducing photographs now featured in his book, Strange Things Behind Belgian Windows.

4.   Pay attention to the architectural mishmash

Various styles of architecture from different time periods have no problem existing side by side in many parts of Belgium.

Classical, Gothic, Baroque, Art Deco, Art Nouveau can all live harmoniously in one place. Sometimes, two divergent styles can even exist in one building.

Take the Grand Place, for example. How we gush over and gawk at this magnificent structure, which actually combines two disparate architectural styles.

In Brussels, there are several spots in the city center that will expose you to buildings both old and new, ancient and modern all in one sitting. It’s like traveling through time without actually traveling through time.

On one of your strolls, take notice of architectural styles that don’t seem to belong or as if they just popped out of nowhere.

Such sightings are so common in Belgium that if you stay in the country long enough, you may eventually cease to notice them.

But take another look around you. Doesn’t the architectural mishmash make you feel like you’re in a weird wonderland or some scene from a Michel Gondry film?

5.    Don’t ignore the mailboxes

Now, this is where some real surrealistic action could be taking place, and you don’t want to miss any of them.

Where people are habitually surrealistic, you can expect to see something unfamiliar in anything as familiar as a  mailbox.

In his book, You’ve Got Mail, Dutch photographer Peter Schouten compiled more than a hundred snapshots of the zaniest and most bewildering letterboxes ever seen in Belgium.

Just steal a glance at what type of receptacle your neighbors are using for their post. You could be in for a real treat.

So what’s the best way to make sure those Belgian moments of amusing incongruity won’t escape you?

Let’s hear it straight from Maestro Magritte: Be on the “lookout for what has never been.”

The post How to spot Belgian surrealism when it’s hiding in plain sight appeared first on Brussels Express.

In 1432, Flemish painter Jan van Eyck applied the finishing strokes on a painting that he began six years earlier with the help of his brother, Hubert.

This was no ordinary painting. The artwork was a single collection of 26 individual paintings organized into a polyptych that measured 15 by 11 feet.

Even by today’s advanced standards and sophisticated tastes, what Jan van Eyck accomplished would have been considered one hell of a painting.

It had to be that fabulous because the work was commissioned for the Church of St. John the Baptist in Ghent. And not just for a wall or some obscure section of the building, but for the altar itself.

The Adoration of the Mystic Lamb, more famously known as the Ghent Altarpiece, took the world of art by storm soon as it was unveiled.

The revolutionary artwork was the first to demonstrate the remarkable potentials of oil painting. It inspired the birth of Renaissance art and planted the seeds that would later blossom into the artistic movement called Realism.

What Jan van Eyck could never have foreseen was that one day, his masterpiece would achieve the kind of fame reserved only for the most pilfered and abused work of art in history.

Belgium is the rightful owner of the much-coveted painting not just because it was made in Ghent, but also because its creator was born in Maaseik, a medieval town now part of the Belgian territory.

He did not know it yet at the time, but Jan van Eyck was destined to be Belgian by way of historical developments and the redrawing of borders in Europe.

The world’s most plundered work of art

Today, the Ghent Altarpiece resides in St. Bavo’s Cathedral, which took the place of St. John the Baptist’s church in the 16th century.

From then until now, the polyptych altarpiece has kept its place as one of the most precious creations of humanity.

So precious in fact that many have attempted and succeeded to kidnap the painting and hold it for ransom.

According to art historian Noah Charney, the Ghent Altarpiece has been the target of 13 crimes and seven thefts ever since it was installed.

Since the 16th century, parts of the painting have been taken, recovered, and retouched several times.

Napoleon’s men lifted some of the panels during the French Revolution. German forces looted the painting during World War I. And the Nazis joined in during World War II.

Although much of the painting has been recovered and restored over time, the artwork which had been broken over and over again remains broken to this day.

The Ghent Altarpiece is still missing a panel, which was stolen in 1934 and later replaced with an imitation.

What is it about Jan van Eyck’s painting that arouses awe and incites greed?

Let’s explore the anatomy of the Ghent Altarpiece and discover the immortal treasures housed within its panels.

The post The Belgian masterpiece that became the most stolen work of art in history appeared first on Brussels Express.

If you want to witness snow in all its glory, the most ideal place would be somewhere dark.

No, we don’t mean a place that’s bleak or shady but one where heavier shades of color like blue or brown dominate.

Snow becomes fully visible when it lands on a dark-colored surface. The contrast between light and dark is what makes those tiny ice crystals shine like magic.

In and of itself, snow isn’t really all that remarkable. But against a deep-shaded background, it reigns supreme.

Notice how on a snowy evening, everything looks bright outside. The whiteness of snow lights up against the sea of darkness.

To appreciate the beauty of something, you have to be able to see it in the first place. And snow resting on a cream-painted sidewalk is hardly noticeable.

And that brings us to why Brussels lends itself so fabulously to snow…

If you’ve lived in this city long enough, you would agree that it is rather grey. And not just because of the weather.

Brussels isn’t the kind of place that is saturated with warm and vibrant hues.

If you take a closer look, you will notice that the colors prevailing in the city are often of a cooler and more subdued nature.

Even the redness of a brick structure or the beigeness of a building facade is usually of a shade more sober than flashy.

So when it starts to snow, Brussels can really transform into a winter wonderland.

All those grey and somber colors provide the kind of backdrop that snow needs to come into full view.

White and green go well together

The abundance of nature is another feature that makes Brussels so compatible with snow.

Green spaces span more than half of the capital region’s territory. Parks of all sizes are everywhere, and most streets are lined with trees and grass verges.

Snow becomes all the more pronounced against the green shades of foliage or the brown barks of a tree.

Not all places look great in a gown of snow. Brussels may be grey, but she definitely shines on a snowy day, and we’ve got pictures to prove it.

Prepare to be dazzled.

Abbaye de la Cambre Gardens in Ixelles

Place du Luxembourg in the European Quarter, Brussels City

The ageless and ever formidable Atomium (more photos here)

Jardin du Roi, Ixelles

Petit Sablon, Brussels City

View from Pont Gray along Avenue de la Couronne

Ixelles Ponds

Mont des Arts

Brussels Park

St. Michael and St. Gudula Square

Bois de la Cambre

And this is what King Leopold II looks like with a snowy beard (in case you were wondering)

The post Why Brussels dazzles on a snowy day appeared first on Brussels Express.

Even after a year of prize winning professors at UCLA, it wasn’t every day that I got the chance to attend an event with the likes of Crown Prince Haakon and Crown Princess Mette-Marit of Norway, the Guest of Honor at this year’s Frankfurter Buchmesse, Margaret Atwood, recently announced Booker Prize winner 2019, and renowned award-winning authors Maja Lunde, Elif Shafak, Colson Whitehead and Ken Follett.

Amidst the enormity, I most enjoyed talking to one of the Norway writers who was concentrating on things really small. Anne Sverdrup-Thygeson, a Norweigian scientist and the author of Buzz, Sting, Bite: Why We Need Insects (Simon and Schuster), described our dependence on insects along with fascinating facts about seemingly normal creatures like the house fly. Did you know it has tongues underneath its feet?

“When they walk on your food,” she said, “that’s because they want to taste, ‘Maybe this is something nice for me to eat’.”

The fair was really nice, albeit very professional. With publishers promoting particular ways of thinking, some for the greater good, many just for profit via books on an incredible variety of subjects inviting my mind to wander, it didn’t take long to realize I was in a two-birds-one-stone situation, since one of my best friends from the European School was studying nearby in Leipzig.

The more I thought about Ben and my childhood growing up in Brussels, the more I longed for the old days at the European School with its diverse and very open-minded culture, due to all the different languages and ways of thinking from original sources (kids!) from different countries. In my Brussels days, my friends were from Germany, France, England, Greece…mostly ‘mixed’ like me. We shared our common ground because we were all different, but living in the same place. Ben is half German and half Nicaraguan, from Brussels, like me.

I decided to sacrifice a few hours of sleep to go see Ben for a night in Leipzig. The train took about three hours. I watched the green countryside, garden houses and occasional industrial buildings go by as I read my books. My mind kept wandering to what a long time it had been since I’d seen Ben–almost four years–and then he was there in front of me! We were really happy to see each other. Ben hadn’t changed much; he’s still a student. I told him about the power of the self and what I believe to be true inside, not according to the book or just what’s outside in current society, or only possible scientifically according to certified organizations. We stayed up all night, then slept for two hours before I had to catch the train. On the way back, I told myself, it’s OK if we don’t see each other every day, but whenever I get the chance to see him in these types of situations, I will.

The post Traveling to the Frankfurt Book Fair and on to see a Brussels friend appeared first on Brussels Express.

This is a gap that we are attempting to fill with The Refugee Journal.

We are pleased to share with the Brussels Express community and exclusive early release of our new “Refugee Journal” this magazine has been created for you by the Refugees who attend our programs in Lebanon and Brussels.

The vision of the journal is to serve as a platform for the individuals in our community to share with each other and the work their thoughts, skills and talents – putting the power of the narrative about refugees back into their hands.

Here is an excerpt from a young girl at the Bukra Ahla centre in Beirut writing a letter to her future self:

“So, even with all the impediments in your life, and in your education, you overcome it by trusting yourself, and by the people who you support ,who give you strength and hope. So , trust in yourself, and just be yourself, and tell yourself who encouraged you, and who gave you all kinds of love. You’re the creative girl in the world not the failure.”

By clicking on the link you will have access to the full content of our first issue. This inaugural issue features primarily the voices of the youth that we support in Brussels and in Lebanon, in honor of them and International YOUTH Day.

Every two months we will be releasing a new edition. All of the content has been curated by our colleagues in Lebanon that work closely with our community in paying attention to every last detail. The magazine is composed of experiences, customs and creative expressions of the youth and women we work with. We will be including different types of material including, art, writing, photos, crafts, recipes.

Not only can you enjoy the work shared in the Journal, in this digital format it is something that the women and youth can be proud of and share with their friends and family.

I hope you enjoy it as much as we have enjoyed the process of creating this unique journal for you!

The post Exclusive early release of The Refugee Journal appeared first on Brussels Express.

I meet Marek on a chilly afternoon in downtown Brussels. He has spent a few weeks as a writer in residence at Passa Porta House of Literature, and I’m curious to know what his routine has been like while living here. I want to pry into his creative universe. I want know what magic he’s been able to find in the city.

“I want to show you something,” he says, after reflecting on my question for a while. “I believe it’s one of the places that captures the essence of my being here.”

We walk on Rue de Flandre until the traffic light, then cross Rue du Marché aux Porcs. The brown and yellow leaves lie scattered and crushed on the pavement. “This is it,” he says, as we reach the alley of Rue de la Cigogne. “In the afternoons, after working on the manuscript, I would come here for some quiet. Whenever I needed to recharge, this place right here is where I would come.”

The alley is empty. Only a few bicycles stand next to the water pipes, the trees that have crept and followed a trail close to the walls, and Marek looks at all of this as if there lay a secret meaning he wanted to decipher.

During his residency he also enjoyed going out for a run on Antoine Dansaert and up Mont des Arts, past the Place Royal and further into the park where he would try to untangle his thoughts while giving a few laps around, nodding from time to time to other fellow runners.

Marek had been to Brussels before, in 2017, when he attended the Passa Porta Literary Festival and talked about his book Mapa Anny (The Map of Anna). The book is not only a multifaceted portrayal of the main character, Ana, but also an adventurous exploration form. Conceived as a set of stories told from different points of view, The Map of Anna continue to reveal the multi-dexterity of Šindelka as a poet, novelist, and short story writer.

The Dutch edition of Material Fatigue is on the short list for the Europese Literatuurprijs (European Literature Prize). In the Czech Republic it won the prestigious Magnesia Litera Prose Book of the Year Award, and when I ask about the genesis of the book he recounts, as if it were yesterday, how on a sunny day in 2015 he had been playing with his first daughter, a toddler, and the news of a truck with 70 dead people in Austria appeared in the news. All of them migrants.

“I was shocked,” Marek says. “I had my daughter sitting in my lap. She was babbling something, chewing a toy, and we were enjoying our time, feeling happy. And then the news arrived. I thought, How could this be happening in Europe?”

The shock, he continues, only grew when he started to see the reactions in the Czech Republic. “Some people were even celebrating it. That’s how far the media and some politicians had gone. That made me really angry and sad at the same time. I felt I had to do something about it.”

Shortly after, he began interviewing migrants and refugees, mainly from Syria and Afghanistan. But soon he realized he couldn’t possibly write the book as a documentary retelling someone else’s story. He chose to use all of those experiences to inform the novel, to create the fictional world of the two main characters. “Because if someone came to me and asked, ‘What’s the most horrible thing that has happened to you?’ I wouldn’t do it, I wouldn’t tell them. For my novel I didn’t want to use someone else’s suffering just for effect.”

Material Fatigue tells the story of two brothers, fleeing from an unnamed country which is being ravaged by war. They’ve lost their home and family. They’ve lost their sense of direction. Professional traffickers have smuggled them into Europe. At the start of their long journey they get separated. The novel contains passages that suffocate, narrow spaces that push the limits of what many readers can tolerate.

“I’ve received letters from readers saying that they cannot finish the book because they feel claustrophobic,” he says. “I’m totally fine with that. I just wanted them to experience, even if for a short while, what it feels like to be in a place like that. A refugee camp.”

In the Czech Republic he’s faced difficult moments with people who disagree with his ideas. After the success and media attention that followed the Magnesia Litera Prose Book, he received hundreds and hundreds of hate emails. He had to disable the contact form on his webpage.

“There is too much disinformation these days. The Czech Republic accepted twelve asylum seekers in total. Twelve. Where is the Islamic invasion many politicians like to talk about?”

These days the situation in the Czech Republic has slightly improved as many people have realized that the data and information provided by certain politicians was misleading. They wanted to use the migration crisis to their advantage. Fear can be a powerful currency in politics.

Can literature help us understand each other better, the competing emotions and contradictory behaviors each and every one of us is susceptible to?

In the study where he has been working in his latest project, he tells me about someone close to him who, in the midst of anti-migrants campaigns in Prague, decided to buy a gun. “It’s totally crazy, you know, because I know he is a good person. That’s how complex human beings are.”

Despite the current climate of polarization in different parts of Europe and the US, Marek continuous to focus on his work. He remains hopeful. “It might be naive to think that a book can change how people live but that’s what I can do, and so I choose to do it.”

Before I leave his study on the Rue du Vieux Marché aux Grains, I ask him what souvenir will he take with him when he boards the plain for Prague. “A sore throat,” he replies, and we both laugh. “I take with me the feeling of the colorful and lively city Brussels is. People of all cultures and backgrounds live right here in the center of town, which is not the case in the center of Prague, I can tell you that much. Brussels offers a cultural mix in a city that’s unique.”

The post « I take with me the feeling of the colorful and lively city Brussels is » — Marek Šindelka at Passa Porta appeared first on Brussels Express.

All the way to Saty, a village located south east of Almaty, strings of horses appeared left and right of the road, often scattered like insects on the backs of the hills. They grazed in peace, shook their tails and pricked their ears in alert, a spasm sometimes running across their flanks.

In the fall I traveled to the Almaty Region in Kazakhstan to explore some of its natural treasures, learn more about its nomadic ancient traditions. The horizon was clear and expansive, only the velvety plains and the ragged surface of the mountains were constant companions. I felt as if I had landed on a friendly asteroid or a verdant planet in a distant galaxy.

Saty is one of the first villages in Kazakhstan to adopt the model of Community Based Tourism (CBT), in which the village families join efforts with tour operators to offer food and board, entertainment, arts and crafts workshops, all of it conducted by the local community. It’s a way to get everyone involved and develop a sense of belonging and caring for their place of origin. The Kazakh government has invested in the improvement and extension of the highways and roads so that convenient access from cities such as Almaty can bring not only tourism to the region, but also goods and services.

Inside a yurt, the traditional nomadic home of the Kazakh nomadic people, I enjoyed typical songs performed by a music teacher from the local school who played the dombra, a traditional string instrument, as well as a dance by young girls and boys. One thing that caught my attention about the yurt was the center of the ceiling which has a circular shape and is called Shanerak. It is, symbolically, the most important part of the dwelling and its shape means union. Union of the family but also of the nation. A family-size yurt can be disassembled in about 2 hours by people familiar with its structure, which has a weight of approximately 350 kilos. The yurt can be transported on the back of either one camel or a couple of strong horses.

It is believed that the horse was originally domesticated by the Scythians, a group of peoples living in this area of Central Asia as far back as the 11th century BC. The Scythians were so deft at horse riding that some scholars have entertained the possibility that the myth of the Centaur, created by the Greeks, found its origin in this part of the world.

At the table I tried the manties (dumplings filled with vegetables or spiced meat), as well as tomato and cucumber salad. There was also Kurt, which is made from dried salty cheese and has a very sour taste. Several kinds of sweets we offered for dessert including irimshik and zhent which are sweets made with a mix of millet flour, curd and sugar.

After dinner, when everyone had gone to bed, I went for a walk near the compound where the cabins stood, and even if the cold air gave me a runny nose, I stopped for a moment under the moonlight and filled my lungs with the smells of the night, a blanket of peace falling over me. Only the murmur of the Chilik river could be heard.

On the voyage I encountered landscapes of sheer dramatic beauty. The turquoise waters of the Kaindy lake with its solitary trees standing like frozen sentinels draw an image I will never forget. Formed after an earthquake in 1887 which destroyed a natural-formed dam upstream, the lake holds a snapshot of nineteenth century Kazakhstan: the trunks of the trees still standing in the middle of the lake’s waters date from a time when the Russian Empire still lay claim to these lands.

Not far from Kaindy, one can also visit the Kolsai lakes. Found only a few kilometers from the border with Kyrgyzstan, the three Kolsai lakes are at altitudes of 1700, 2500 and 2800 meters respectively. One can reach the first one by car and from there, hiking to the second lake would take about two and a half hours. A final stretch of two hours would be needed to reach the final one. Horses for rent are also available on site during the high season.

To reach Saty and the lakes, travelers can either rent a car in the city of Almaty or contact a tour operator. At this time, bus transport services are still being planned and developed. To Almaty I flew via Istanbul where I was able to see the brand new airport. “It’s a city within a city,” told me a flight attendant from Turkish Airlines when I asked her about it. The ceilings are high and stylized, and they look like the inner skeleton of a futuristic beast. During my couple of hours layover, I saw droves of people walking by, shopping for souvenirs, slurping soda, and in the maelstrom of so many passengers plenty had difficulty finding a seat. But despite its monumental size, the place was kept impeccable by the cleaning services team.

On the drive back to the city of Almaty I saw shepherds on horses looking after their sheep. On the face of the hills, they seemed like tiny fluffs of cotton pinned to the surface. Not far from them attentive dogs barked. They ran back and forth like short-tempered foremen. Far away into the distance I saw the silhouette of two solitary horses, and I wondered why they were so isolated from any other string of horses. After a moment I saw one of them raise its front legs and mount the other one. They had become a single shape.

The largest city in the country, Almaty is nevertheless full of trees and green areas. Because Almaty lies at the foot of the mountains, several streams run through the city — the melted snow feeds the Bolshaya Almatinka, Malaya Almatinka and Esentai rivers. There is a legend stating that in the 19th century, men could only get married after having planted a dozen trees. Not for nothing is Almaty also referred to as the Garden City.

On a day trip from Almaty, I visited a Kazakh Ethno Village called The Huns where I was able to know more about the nomadic traditions. I saw horse riders, both men and women, demonstrate acrobatic tricks and traditions. For instance there is Kyz Kuu, or “Girl chasing”, a game where the horseman can either steal a kiss or get a whipping from the horsewoman.

There are also simulated man to man fights while they ride their horses. Travelers can visit the Ethno Village for half a day or spend the night. There are yurtages (yurt + cottage) for those wanting additional comfort, and guests can choose to go on a horseback riding tour, relax in the steam room, follow masterclasses on “how to be a nomad”, or simply wander around and enjoy the sweet fragrance from the apple tree orchards. The juicy Aport, which is a mix of Russian and Kazakh varieties, grows in these fields.

Also on the outskirts of city, I visited a falconry where I learned about the Golden Eagle and why it is the national symbol of Kazakhstan. Nomadic tribes saw the need to protect their herds from the attacks of wolves and began taming and training eagles. Young eagles would be trained to hunt wolves by the neck or at least deter them from getting near the livestock. For centuries the tradition has passed on and thus the eagle symbolizes the nomadic culture of the country.

On the last day, I visited the Green Bazar (Zelionyj), which sits close to the intersection of Pushkin Street and Zhibek Zholy Avenue. Inside I tried dried apricots and figs and different nuts offered by chatty sellers, many of them Uzbek or Tajik, whose hands are always full of dried fruits for every passerby.

One can find pickled vegetables (carrot, peppers, cucumbers) as well as honey and many different kinds of dairy products, including the famous kumis or fermented horse milk. Before leaving I glanced one last time at the stands full of fresh fruits and vegetables all of them streaked by the mid-morning sunlight and I took with me the sounds, the smells, hoping to be back again in Almaty.

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