Zumrad Mirzalieva documents the decline of traditional Uzbek barbershops

The seed for Zumrad Mirzalieva’s latest series was planted when the photographer realised how much the streets of Uzbekistan were changing. And, more specifically, how traditional Uzbek barbershops were becoming harder and harder to come by. But it was not that the spaces were simply disappearing, instead, they were being replaced with what Zumrad describes as “trendy Western-like barbershops”. Concerned by the rapidity at which such culturally recognisable Uzbek institutions were being submerged into homogeneity, Zumrad set herself on capturing them – uncovering the diversity in interiors, and ensuring there would remain a visual record of such unique spaces.

Not only intent on capturing the visual aesthetics of the barbershops, Zumrad also wanted to investigate the social lives taking place within them, “the relationships between men” and “the intergenerational interactions”. Zumrad explains that Uzbek barbershops are predominately male-only spaces, where “masculine identity is shaped and manifested from a young age”. She continues: “The capacity of barbershops goes beyond mere grooming purposes, rather it is a space for men to socialise and discuss important topics.” Allowing herself into such a defined space therefore comes as an act of defiance, and Zumrad sought to explore the ways in which she could “challenge the existing gender dichotomy”.

Through her practice, Zumrad also endeavours to paint a more honest and realistic picture of life in Uzbekistan. Identifying how Central Asia is often simply reduced to a Post-Soviet country – often only appearing in the global conscious “when violence strikes” – Zumrad says that “I have witnessed a very unequal distribution of power in the process of shaping particular discourses about my region, while reproducing discriminatory colonial narratives.” And, on top of this, cultural practitioners from Central Asia are often excluded in disseminating their own knowledge, understanding and vital perspectives. Therefore, projects like Sartaroshxona Zumrad “strives to be at the forefront of addressing this gap”.

When starting the project, Zumrad didn’t have too much of a fixed aesthetic idea; she just really wanted to express how multi-layered and complex the interiors, exteriors, barbers and customers were. Travelling all over Uzbekistan to a number of different regions, Zumrad picks the ones taken in Samarkand as some of her favourites. Not only for their vibrancy, but the way in which they manage to be “on one hand complex and on the other hand simple”. Certainly, the images have a certain theatrics to them. In one, a man is depicted in profile, his face thickly lathered, the backdrop a deep red curtain. It looks more like a surreal scene from David Lynch’s infamous Twin Peaks than a man simply in the midst of a shave.

The series was also one full of surprises. Directing us to the images from Parkent, Zumrad recalls feeling sceptical that the boys would agree to having their photos taken, with how “unpredictable” teenagers can be. Instead, Zumrad found them to be “modest and humble”, arms around one another smiling into the camera – this is a fact she sees as evident in the final images. Overall a “lovely” experience, Zumrad believes the experience is one that not only she enjoyed, but all of the barbers and customers involved too.