Policy Update
Nomula Pranay Goud
Introduction
The history of cultural and artistic exchange between India and Russia is very old, as far as in the beginning of the 20th century the Russian artists, thinkers and performers were under the strong influence of the Indian heritage, and the Indian thinkers and writers were under the influence of Russian literature, music and art.
Through the roles of Nicholas Roerich and his son Svetoslav on their travels around India, the imprint that the Russian ballet, theatre, and literature had on the Indian culture life, these exchanges established a rich bond of cultural exchange. Presently, as the world relations are transforming, both nations are trying to recover and re-invigorate this artistic discourse by joint exhibitions, film festivals, cultural delegations, and educational courses. This re-establishment of relationships does not only reinforce diplomatic relationships, but also re-establishes people-to-people relationships based upon creativity, aesthetics, and common values of cultural diversity.
Russian ballet which was presented by touring companies and cultural delegations had supporters in Indian cities and influenced local dancers and choreographers to explore new modes of stage movement. On the same note, Russian literature which had been translated to English and Indian languages was also extensively read in colleges and among the intellectuals. Indian readers found the works of Tolstoy, Dostoevsky, Chekhov, Gorky and Pushkin resonant and influenced further discussions on morality, spirituality, social justice and human condition. All these cultural imports formed a fertile ground of artistic exchange between Russians and Indians that have continued to have a lasting impact on the creative and intellectual life of India.
Functions
1. Strengthens people-to-people bonds beyond politics and economics. Portrays the two countries to the world in terms of cultural diversity, which enhances the perception toward one another. Revives enjoyed the same passion about literature, cinema, painting, music and dance customs.
2. Rekindles the heritage of Nicholas Roerich, Svetoslav Roerich and other innovators in culture. Still keeps the tradition of Russian translations of Indian classics (Tagore, Kalidasa) and Indian translations of Russian classics (Tolstoy, Pushkin, Dostoevsky). Maintains cultural memory of Soviet-era love for Indian cinema and art.
3. Encourages academic research, student exchanges, and cross-cultural learning in art, theatre, film, and literature. Promotes language learning (Hindi & Sanskrit in Russia, Russian in India). Supports joint workshops, lectures, and artistic residencies for young creators.
4. Helps to form joint ventures in film production, visual arts, performing arts and publishing. Expands market access for Indian cultural industries in Russia and vice versa. Showcases cultural festivals (e.g., Festival of India in Russia and Days of Russian Culture in India).
5. Serves as a people-based, non-political means of strengthening diplomatic relations. Complements strategic partnerships in defense, energy, and trade with a softer cultural foundation. Maintains relationships though even in the face of changing world arrangements.
6. Promotes cultural tourism (visits to museums, festivals, heritage sites). Creates opportunities for artists, performers, and cultural entrepreneurs.
Enhances the tourism geography through the promotion of art routes (Roerich legacy, Bollywood fame in Russia, Russian ballet presence in India).
Performance
1. Indian classical dance, music and crafts were gathered at Bharat Utsav (Moscow, July 2025). The number of Russians attending was in thousands and there was a high interest in the audience, which re-established the cultural soft power of India in Russia.
2. The Nicholas Roerich Museum in Naggar (Himachal Pradesh) and exhibitions in Russia (e.g. the Hermitage Museum, St. Petersburg) still receive international visitors and artists. These locations are living cultural bridges.
3. The Indian cinema is still one of the best types of connections. Awara (1954) and Disco Dancer (1982) left a legacy that is alive to date. In 2024, Russia initiated Indian Summer Film Week in Vladivostok and brought back the glory of Bollywood to the contemporary audience.
Emerging Issues
1. The nostalgia of the Soviet era towards Bollywood, Indian dance troupes and Russian literature is dying out among the young audiences.The gen Z in both countries is more influenced by Western/global pop culture in comparison with Indo-Russian traditions.
2. Reduction in trained translators Russian/Hindi/Sanskrit/other Indian languages. English has a way of working as a medium of exchange, watering down pure cultural enjoyment. The Russian language departments in Indian universities are experiencing funding/interest problems although there have been recent attempts to revive it.
3. Majority of the India-Russia cultural interactions remain offline (festivals, exhibitions, stage shows). Absence of digital platforms (OTT collaborations, virtual museums, co-produced web content) will result in a lack of access to the young, tech-savvy audiences.
Contrast: the cultural diplomacy of India and the U.S. or Japan has adopted the digital mediums more.
4. Western sanctions on Russia (post-Ukraine war) affect funding, travel, and exchange logistics. India needs to find a way to balance cultural relationships with Russia without overworking relationships with the western partners.
Threat: Cultural diplomacy can be drowned in more significant political conflict.
5. Certain limitations on tourism are visa problems, very expensive traveling, and lack of direct connectivity. The so-called cultural tourism locations (Roerich heritage sites, film trails) are not widely popularized abroad. Lack of digital marketing strategies for Indo-Russian cultural tourism.
Way Forward
1.Cultural Diplomacy as an Institution: Create a long term India-Russia Cultural Council at the Ministries of Culture and External Affairs to organize annual artistic activities.
Festivals in Russia Annual Festival of India Festival of Russia in Russia to showcase cinema, dance, painting, theatre and literature. Launch combined cultural missions in the framework of BRICS and SCO to enhance visibility.
2. Promoting Tourism & Heritage: Visa Reforms & Direct Connectivity: Rapidly advance the visa-free tourism accord (under negotiation 2025) and broaden direct flight-lines.
Cultural Tourism Routes: Develop heritage circuits—Roerich Legacy Trail (Kullu & Bangalore), Bollywood-in-Russia tours, Russian Ballet-in-India residencies. Recreate the examples of such digital rebranding as the digital rebranding of Rajasthan based on the stories, reel, VR tour, and co-branded Indo-Russian tourism portals.
3. Locate cultural exchange as apolitical diplomacy that is not subject to penalties or great-power competition. Protect Indo-Russian artistic cooperation even in the face of political difficulty through multilateral forums (BRICS, SCO, UNESCO). Strengthen Track-II diplomacy through academic, artistic, and people-to-people platforms.
4. Launch “Indo–Russian Young Creators Residency Program” for artists, filmmakers, and musicians to co-create. Encourage online projects and partnerships- films, animation and games with the themes of Indo-Russian. Establish annual Indo-Russian Cultural Start-up Grants for entrepreneurs in music, crafts, design, and media. Crossover gaming, like co-esports tournaments or a game developed with the other, would exploit the booming youth gaming market in both markets.
5. Use AI, AR and VR to design virtual museums, exhibitions and immersive storytelling between Indo-Russian. Establish an Indo-Russian Online Cultural Library to store archives on cinema, Roerich works, Soviet era Indo-film and translations.
References
About the Contributor
Nomula Pranay Goud, Master’s student in International Relations at Manipal University Jaipur, and a Research intern at Impact and Policy Research Institute (IMPRI).
Acknowledgment: The author sincerely thanks the IMPRI team for their valuable support.
Disclaimer: All views expressed in the article belong solely to the author and not necessarily to the organization.
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