
For Kazakhstan, this format is, of course, a great rarity, as the very concept of the “Games of the Future” project is based on something not yet familiar. The country has enormous organizational experience and, naturally, the Games were held successfully. A separate highlight of the program was the introduction of dance disciplines into the competition. Our website attended the final of the Phygital Dance 2026 tournament.
Once again, it was proven that dance is truly an expression of the dancer’s inner state. After all, participation in Phygital Dance was open to people who are passionate about choreography, while there are generally not that many professionals among them. And so it turned out that the final was primarily made up of gamers who had danced offline but now competed in a digital format.
The rules are simple: the participant’s dance must be as synchronized as possible with the movements projected onto huge screens. The final assignments were made available to the participants before the competition, at different times for each participant, according to the competitors themselves. For example, a representative of our country who took one of the prize-winning places noted that she received her assignment in her personal competition account 10 days in advance.
The appeal of participating in Phygital Dance 2026 was largely driven by its unprecedented prize fund, which became one of the reasons for such a broad international geography of participants. The winner, by the way, was a representative of Argentina.
The one who felt the rhythm best, the one who managed to make their body work in harmony with the screen and become a shadow of every movement projected onto it, was the one who made it to the final. And in the final, the participants were judged not by strict jury members, but by dancing experts. There, those competitors whose performances had become both exemplary and inspiring for the audience came face to face.

The wedding podcast is quickly finding its place in contemporary celebration programmes. The format began gaining attention in Kazakhstan at the end of summer, while the quieter autumn season gave organisers time to refine the idea for the year ahead. The DanceHub.kz team has already tested it twice and is ready to explain how it works. The podcast corner works best near the entrance to the banquet hall, close to the photo zone and welcome buffet. Recording inside the hall is more difficult: equipment is being checked, lighting and sound are being adjusted, and the service team is completing its final preparations. It is simply too noisy for a relaxed conversation. A small table, three microphones and a neat backdrop are enough to create the studio. Guests arrive, take commemorative photographs, enjoy the buffet and are then invited to record a short story about the newlyweds.

In the first part of our organiser's advice, we explained why a wedding welcome buffet deserves careful attention. Its appearance and presentation shape the first impression of the evening. Now it is time to consider the final touch: the tradition known as Keter Ayaq or Zhol Ayaq. This small ritual takes place at the end of the celebration. Sometimes it uses the same table that held the welcome buffet earlier in the evening. In an alcohol-free celebration, the tradition can be reinterpreted while preserving its most important purpose: seeing guests off with warmth, care and hospitality. The bride has thrown her bouquet, the band has taken the stage, and the second dance interval reflects the newlyweds' own musical taste. The first interval may have featured familiar favourites for the parents' friends and older guests, while the later programme becomes younger and more energetic.

Imagine being invited to a wedding and asked to buy a ticket for 20,000-25,000 tenge. The price includes your seat, the menu, drinks, a host and live entertainment. There is just one surprising detail: you know neither the people at your table nor the names of the newlyweds. The bride and groom may not have met before the evening either. This is the idea behind “NOT a Wedding”, a themed party already appearing in selected cities across Europe and the CIS. From the outside, it looks like a real celebration, complete with a welcome buffet, decorations, dinner, toasts and dancing. Its purpose, however, is not marriage. It is designed for conversation, new connections and an unusual cultural experience. Modern city life offers too few natural and comfortable ways for adults to meet. Social media helps people stay connected, but it cannot always replace a face-to-face conversation. “NOT a Wedding” provides a familiar structure in which strangers can introduce themselves, exchange experiences and spend an evening together without the awkwardness of formal networking.

A successful New Year corporate event begins long before December. Large companies often start planning in August, when HR managers research the market, compare suppliers and define the first requirements for the evening. Beginning early gives the team the freedom to choose rather than settle for whatever remains available at the end of the season. It is possible to source a venue, host, performers, decorators and technical crew independently, but doing so requires considerable time and experience. Companies therefore often entrust the project to a professional event agency responsible not only for suppliers but also for the overall logic of the occasion. An event agency is more than an intermediary between a client and performers. It acts as project coordinator, script team, venue administrator and crisis manager on the day itself.

The Kazakh National Academy of Choreography has concluded an intensive programme for a delegation from Tokyo's Yoshiko Takagi Ballet School. Twenty-two students and four teachers travelled to Astana to explore Kazakhstan's approach to choreographic education, work with the Academy's leading teachers and exchange professional experience. The Japanese guests followed a focused educational programme. Young dancers took part in masterclasses in classical and folk-stage dance and worked on classical variations drawn from the world's ballet repertoire. Each class offered more than technical practice. It also allowed the students to view familiar elements through a different teaching tradition. For young artists, this kind of exchange broadens their professional outlook and encourages closer attention to every detail of stagecraft.