Tasqyn Studio is a full-cycle animation studio in Almaty that says it was formed in the summer of 2022. Its official website describes work from scripts and concepts through voice acting and music, with a mission to promote the Kazakh language and cultural identity. This profile draws on the website checked on October 24, 2026, and dated team interviews; historical business figures should not be treated as current audited accounts (tasqyn.kz).
How Tasqyn Studio Took Shape
The studio’s own account describes a group of like-minded people and graduates of creative disciplines who came together around making local cultural stories accessible through animation. Almaty is identified as its working location. Its catalogue spans children’s series, short films, stories associated with traditional instrumental music, and comics. Describing Tasqyn as the maker of just one cartoon would therefore miss much of its stated scope (tasqyn.kz).
An April 2024 interview with The Astana Times names Madina Sutbayeva, Aigerim Abdramanova, and Yerkezhan Bekzhigitova as founders. It describes their roles at the time as director, producer, and process manager, respectively. A November 2024 Manshuq interview also presents the three women as the studio’s management team. These interviews document roles at particular dates; they are not a current register of shareholders or ownership percentages (astanatimes.com; manshuq.com).
What Appears in the Catalogue
“Kunshikter” follows a brother and two sister puppies as they interact with family and travel around Kazakhstan. The website describes a Kazakh-language family series with five-minute episodes made using 2D cutout animation. “Bes Tai-Tai” adapts traditional stories into adventures for contemporary children. Its listing also identifies a short family format and Kazakh as the main language (tasqyn.kz).
“Seriktes” follows two detectives investigating a missing necklace. Its catalogue entry specifies a nine-minute running time and frame-by-frame animation. “Aldar” takes an adventure-comedy approach to Aldar Kose and his companion Mergen. Such descriptions establish the studio’s range of genres, but do not by themselves confirm a current release calendar or availability on every third-party service (tasqyn.kz).
Another strand concerns the stories associated with traditional instrumental works. The website presents “Akku” and “Dala Shyrqauy,” connecting animation to cultural narratives. The latter describes historical events and values reflected in musical compositions. These projects show that the catalogue extends beyond preschool entertainment, while their listing should not be confused with a claim that every planned installment has been released (tasqyn.kz).
The comics “Adamtas” and “Jastyq Shaq” use different stories: a character looking for the way home, and a young writer who encounters an unusual ghost. The official website links to Kazakh and English versions on Netshards and Tapas. Readers looking for a particular title can begin with those official catalogue links rather than assume every work has the same distribution arrangement (tasqyn.kz).
The broader market is explored in our analysis Animation in Kazakhstan: Studios, Financing, and Why Turning Cartoons into Sustainable Businesses Is Tough.
How Production Is Organized
In a July 15, 2025 interview with Forbes Kazakhstan, Sutbayeva discussed adopting Scrum and Jira to organize production. Tasks were assigned estimates of complexity, while the digital system made project progress and workloads visible. This was an account of the studio’s own experience, rather than a comparative study of the entire animation industry (forbes.kz).
The interview contrasts two measures: an episode had previously taken up to five months, while the same team could later produce up to 20 minutes of animation per month. An episode and a minute are different units. Those remarks cannot be converted into a precise universal productivity multiplier. The documented point is the use of structured task management, not a promise that every type of animation can be produced at an identical speed (forbes.kz).
The official catalogue lists cutout, frame-by-frame, and limited animation, alongside comics. Differences in format and running time matter when reading production statistics. Likewise, undated employee and team counters on the website should not automatically be presented as the headcount for October 2026. A catalogue description and a dated management interview answer different questions (tasqyn.kz).
How the Business Was Funded
In the 2025 interview, Sutbayeva identified private investment, licensing, sponsored projects, and merchandise among funding sources. She put content sales at roughly 10–15% of income, with merchandise and YouTube together accounting for about 10%, and partnerships and integrations supplying the main share. These are her historical figures from that interview, not audited revenue shares for 2026 (forbes.kz).
The interview identifies Aset Akhmetov and his family as early investors, with Freedom Holding and Timur Turlov later appearing among partners. Financing and creative management are distinct roles. An investor’s name alone does not establish current ownership percentages or involvement in individual creative decisions. The available accounts should not be turned into a shareholder structure that the sources do not provide (forbes.kz).
According to the same interview, the team completed seven partnership projects during 2024 and the first half of 2025. The described formats included sponsored episodes and collaborations with brands. That account presents a business with more than one revenue channel: licensing a work to a distributor is different from building a commercial integration into a project, and both differ from platform viewing income (forbes.kz).
Related parts of the market are examined in Creative Industries in Kazakhstan: 46,000 Businesses, 143,000 Workers—and Where the Money Actually Flows.
Where to Find Official Projects
The official website links animation projects to YouTube and comics to Netshards and Tapas. The 2025 interview also mentioned distribution through Kinopoisk, Ivi, TV+, Khabar, Air Astana, and Air India. Those references describe distribution at that time, rather than guarantee that a particular work remains available on each service today (tasqyn.kz; forbes.kz).
For proposals, the website lists studio@tasqyn.kz; applications for open positions are directed to tasqynstudio@gmail.com. A contact address is a route to discuss a proposal, not a published price list or a promise of licensing terms. Similarly, an address for job applications does not establish that every role a candidate might want is currently open. Current opportunities should be checked against the studio’s own announcement (tasqyn.kz).
Frequently Asked Questions
Where is Tasqyn based? The studio identifies Almaty. When was it formed? Its website says summer 2022. Who founded it? The 2024 interview names Madina Sutbayeva, Aigerim Abdramanova, and Yerkezhan Bekzhigitova. What does it produce? It describes a full animation pipeline, and its catalogue also includes comics (tasqyn.kz; astanatimes.com).
Are all published numbers current? No. Undated website counters and figures from older interviews need to retain their time limits. Understanding the company requires reading its official catalogue, production roles, and dated explanations of the business model together, while keeping those different types of evidence distinct.
