The true test of a civilization lies not in its monuments, but in its kitchens. It is there, amid the simmering pots and the fragrant steam, that cultures engage in their most honest dialogue. So when word reached me of SANA’s arrival at Jumeirah Mina A’Salam – a contemporary Uzbek restaurant promising a reimagining of the Silk Road for Dubai’s exacting audience – my curiosity, much like those ancient caravans, began its journey eastward.
The notion of ‘contemporary Uzbek’ is itself a delightful provocation. In a city saturated with culinary concepts, where every new opening claims to be revolutionary, the ambition to elevate a cuisine known for its hearty, communal traditions to the standards of global luxury is either folly or brilliance. I went to discover which.
The Vision: A Harbour of Peace on the Silk Road
The name Mina A’Salam, meaning ‘Harbour of Peace’, feels particularly apt. This sand-coloured resort, with its wind towers and waterways paying homage to Arabian fishing traditions, provides a serene backdrop for what founders Boris Kofman and Alexander Kolobov have envisioned. Their BIK Hospitality Group has transplanted the legacy of the iconic Uzbekistan Restaurant in Moscow onto Dubai’s shores, but this is no mere replica.
“This is more than the opening of a restaurant; it is the beginning of a cultural experience between Moscow, Uzbekistan, and Dubai,” Kolobov states. There is a palpable sense of bridging worlds here – not just geographically, but temporally. They have taken a cuisine steeped in history and made a compelling case for its relevance in our cosmopolitan present.
The Culinary Architect: Chef Glen Ballis and the Art of Translation
The man tasked with this delicate act of culinary translation is Chef Glen Ballis, whose career – tracing its way through London, Melbourne, Moscow, and Asia – reads less like a CV and more like a modern-day Silk Road map. He is a chef perfectly suited to our age of globalised taste, a master of both heritage and innovation. “With SANA, my vision was to stay true to the rich traditions of Uzbek cuisine while making it accessible and comfortable for Dubai’s diners,” Ballis tells me, his demeanour reflecting the very balance he describes. “It’s about respecting tradition and letting the ingredients shine.”
This is the central thesis of SANA: food that feels both familiar and full of discovery. He has worked closely with a team of authentic Uzbek and Asian chefs, ensuring the preservation of technique while allowing his global perspective to provide a subtle, refined nudge. It is a culinary diplomacy that respects the past without being bound by it.
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The Menu: A Narrative on a Plate
To read SANA’s menu is to be invited on a journey. It showcases the richness of Uzbek cuisine while guiding you gently toward modern interpretations. The journey begins with the tandir non, clay-oven-baked bread served with artisanal dips. This is not mere sustenance; it is a ritual. The bread is a testament to the timeless allure of craftsmanship, its crisp exterior and pillowy interior a perfect vehicle for the vibrant accompaniments. From there, one is compelled to explore the dumplings – delicate parcels that belie their robust fillings – and the wood-fired shashlik skewers, which carry the smoky signature of open flames and expert seasoning. These are dishes that speak of steppes and nomadic feasts.
The main attractions, however, are the slow-cooked spectacles. The plov, prepared in the traditional style, is a glorious celebration of rice, meat, and carrots – each grain distinct, yet part of a harmonious whole. For those seeking a more audacious fusion, the Kamchatka crab belyash with truffle is a masterstroke. It takes a classic form and elevates it with luxurious ingredients – a move that could feel forced but here comes across as a natural evolution. The larger celebratory dishes – the braised leg of lamb or the whole roasted baby lamb – are a reminder that some pleasures are, and should remain, grandly communal. They are served with a generosity of spirit that reflects the famed Uzbek hospitality.
The Stage: An Ode to Transportive Design
A meal at SANA is as much about the space as it is about the food. The restaurant is a composition of distinct environments, each with its own mood and purpose. The grand domed dining hall provides an atmospheric setting for up to 110 guests, its architecture subtly echoing the Islamic geometric patterns of the region without resorting to cliché. Yet the true magic for me lies in the floating terrace. Dining al fresco with serene water views, surrounded by the relaxed social atmosphere of shisha, one feels suspended between Dubai’s gleaming present and the timeless flow of its coastal heritage.
Tucked away within the venue is its most intriguing secret: Moon by SANA. This speakeasy-inspired lounge and event space – accommodating up to 80 guests – is designed for late-night cocktails and private gatherings. It is the hidden heart of the operation, a place where the journey continues long after the last plate is cleared. The interiors throughout are defined by earthy palettes and artisanal textures. It feels both transportive and welcoming, a timeless setting that aligns perfectly with Dubai’s global standards of luxury while retaining the soulful warmth of its inspiration.
A New Culinary Compass Point
In the end, SANA succeeds not by shouting, but by seducing. It avoids the trap of becoming a museum piece of Uzbek cuisine, instead presenting it as a living, breathing tradition that is both luxurious and soulful. In a city as competitive as Dubai, it is a bold and intelligent addition
As I took my leave, the words of Boris Kofman lingered: “Our vision is to honour tradition while creating a space where people come together, celebrate life, and feel at home.” In this, SANA has triumphed. It is more than a restaurant; it is a harbour – a beautiful, flavourful harbour of peace on the endless Silk Road of our collective appetite. It is a destination worthy of your discovery.
