Olga Lyubimova, Minister of Culture of the Russian Federation, graduated from the Theatre Journalism Department of Russian Institute of Theatre Arts (GITIS) with a degree in theatre studies. For many years she worked on television. In 2018, she headed the Department of Cinematography of the Ministry of Culture, since 2020 she has been the head of the department.

In the summer of 2024, Russia hosted the Days of Culture of the United Arab Emirates and Vietnam. How did these events go?

The objectives of the Days of Culture remain unchanged: to demonstrate their national heritage and patrimony. We have always welcomed our colleagues from foreign countries. Do you know how many fans of the culture of the BRICS countries there are in our Russia? As for the Days of Vietnamese Culture, this year a wonderful event was organised in Zaryadye. Our colleagues presented samples of contemporary art, as well as classical and national works, and there was a large photo exhibition. It is also worth noting the high level of organisation of the UAE Culture Days. Various national handicrafts and artists’ works were presented, and musicians performed. In turn, we are preparing reciprocal programmes to be shown in Vietnam and the United Arab Emirates. It is impossible to overestimate the contribution of such events to the development of relations between the countries.

How are the preparations for the cross cultural years of Russia and China 2024-2025 going?

This period is very important and expected for all sides: ministries, representatives of professional communities and spectators. There is no event in the cultural life of both countries that would not be included in the programme. Only by the end of the second year we will be able to give the exact number of events that have taken place. Initially 60 events were planned, now there are more than 200, and the number of events is only growing. It is worth noting that this is not only the work of the relevant departments, but also of all stakeholders. Our colleagues travel to Russian cities, getting acquainted with leading theatres and orchestras. Events are coordinated and prepared. Chinese cinema is of particular interest to Russian audiences. However, there is also feedback from the PRC. The Chinese love for Soviet and Russian cinema has a long history. No less close ties exist in music and painting. Large-scale cross-cultural projects are being realised.

What impact do TV series and films produced in the BRICS countries have on the development of the BRICS creative industries?

The amount of funds for film development is growing, as is the number of quality films. This year, when we travelled to Brazil with “Russian Seasons”. Our colleagues were very pleased when I told them what a boom there was in Russia for Latin American serials, how our villages were jokingly called fazendas. In fact, this is an occasion to do something together, because there are common values. The audience responds to the aesthetics of Indian films too. All this opens us up to co-production opportunities. In turn, our films are warmly received at Indian film festivals where we are always welcome guests.

Is there a need to create an online platform where the production of BRICS and BRICS+ countries would be collected?

– Yes. And it is not difficult to do so. It is not just about audiovisual content. The project could include broadcasts of various cultural events and activities. The Bolshoi Theatre season has just begun. We made a big premiere of Sleeping Beauty, the online broadcast of which was shown in one hundred cinemas across Russia, from Kaliningrad to Novosibirsk, and six big screens in Moscow on City Day. It also premiered in Dubai.

How did the “Russian Seasons” take place in Brazil? How did the local audience receive our artists?

The leading representatives of opera and ballet came, including Nikolay Tsiskaridze and Eldar Abdrazakov. At the same time, a branch of the Russian Choreographic School has been working in Brazil for many years. Thus, “Russian Seasons” presents an opportunity to meet outstanding soloists of the Bolshoi Theatre and touch Russian culture. In turn, Eldar Abdrazakov conducted masterclasses. He helped the young artists, talking about the specifics of working with the voice. Such work is very important, and we see a warm response in return.

I held a meeting with the director of the National Museum in Rio de Janeiro, where there was a fire that burnt down the palace and destroyed the entire collection. Immediately after the tragedy, there was an offer of help from the State Historical Museum in Moscow. It is planned to organise a joint project. In turn, the Russian Ministry of Culture will provide administrative and financial support for its realisation. We will invite our Brazilian colleagues to the St. Petersburg Cultural Forum. Joint work between museums, particularly those from SCO and CIS countries, is extremely important and valuable.

Are there any plans to hold “Russian Seasons” in other BRICS+ countries in the near future?

The programme for next year has already been announced. This time “Russian Seasons” will take place where it has never been held before – in the Middle East. Performances are planned in Bahrain and Oman. We are preparing a serious programme of inter-museum cooperation with Oman. This country has already held exhibitions in Russia. In turn, the Tretyakov Gallery and the Moscow Kremlin will show their collections in Oman.

In our work with all countries, we are now paying special attention to children’s programmes and performances by puppet theatres, including the State Academic Central Puppet Theater S. V. Obraztsov. Our colleagues come with events aimed at audiences of various ages, not only with performances, but also with masterclasses. We adapt the programme for each country in terms of local etiquette. You have to understand and respect the traditions of the country that is hosting us, so that the performance can be a real celebration.

What details must be taken into account when organising such large-scale events as “Russian Seasons” abroad?

We are constantly working on these issues with ambassadors, in addition to the ministries of culture of our partner countries. It is important not to offend our colleagues, to respect the traditions and spiritual and moral values of the countries that are waiting for our artists to arrive. We need to understand the nuances that are important in terms of symbols and colour schemes. For example, when organising the Year of Chinese Culture in Russia, we were in constant contact with the embassy. All these details allow us to build a dialogue based on mutual understanding and respect for the country we are working with.

What areas of cooperation with the BRICS countries can be promising?

Everyone is very interested in the sphere of education in the field of art and culture. For example, the Gulf countries are planning to establish their own state orchestras. Foreign colleagues are also asking for help in choreography, in training theatre directors. There are proposals to organise joint projects. In addition, there are always those wishing to receive musical education in Russia. In Perm and Vladivostok, educational spaces are being created where Russian students and children from Asia could study together.

Another promising area is libraries. Thanks to the national Culture project, we already have thousands of modern libraries, which have become points of attraction for people of all ages and interests. There are 42 thousand such institutions in Russia. The problems of developing education and creative industries are issues of concern both to us and to our foreign colleagues.

Photo: TV BRICS