Monitoring the situation and the state of creators in Belarus is one of the main priorities of the Belarusian Council for Culture. We commission special studies to understand the reasons and processes taking place in the country. We prepared this report based on conversations with artists working in various fields of culture in Belarus. It gives an idea of what and how is happening in the country now. In 2025, when free self-realization is impossible and even dangerous.
Russian cultural expansion
Belarus now looks like a country that is gradually being sold ideologically, informationally and infrastructurally. The Russian presence is felt literally everywhere: from shopping tours and sanatoriums to complete dominance in the cultural space.
The Belarusian music market is almost entirely occupied by Russian artists, and the performers are mostly those who openly supported the war in Ukraine. They sell out two or three concerts in a row. There is practically no alternative.
At the Book Fair in Minsk there were no independent Belarusian publishers, books from the EU and the USA, or even from Israel. The shelves are filled with Russian publications, including military-patriotic ones.
In the field of cinema, Belarusian financing and infrastructure serve Russian projects. Private Belarusian studios work as a technical complement to the Russian industry.
Censorship and control
Every public event in Belarus must be approved by the authorities. Not only the programme, but also the passports of all participants and links to their social networks must be submitted. If there is a “check mark” in the KGB, the performance is prohibited. “You have a check mark” is the standard answer.
Holidays such as Valentine’s Day and Halloween are prohibited, even Kupalle in Dudutki has been cancelled. Events agreed upon in advance can be cancelled because they can be reported to authorities. Concerts, exhibitions and festivals are cancelled even on the day of the event.
The creative and technical staff of theatres and studios are agreed upon with the security forces. This agreement may not be obtained due to disloyalty to the regime. In independent cinema, there is almost complete stagnation due to the lack of legal mechanisms for work.
Self-censorship and fear
Fear has permeated the entire field. Creative people have become accustomed to thinking not about success, but about risk: “Will I get punished for this?” Even photographers and publishers admit: “We’re oppressed by fear”.
Rules and grey schemes
Events are mainly held through a number of institutions that have official rights. Such structures act as intermediaries.
The income of organizers and artists has decreased significantly. Money is earned mainly from the Russian audience. Local artists, even those with a name, are in financial uncertainty.
New stage, old isolation
Despite the pressure, new names are emerging in Belarus. But young artists often do not know their predecessors, do not have a context and inspiring examples. There is no professional criticism. There are no opportunities for growth and exchange of experience.
The memory of famous actors and actresses is gradually disappearing: those who left are losing their recognition, and those who remained are banned. The theatrical repertoire is sterile, without sharp themes and experiments.
The Belarusian language is a challenge and an opportunity
Creating a cultural product in Belarusian is risky. But there is demand: business is interested in the Belarusian language as a distinctive feature. At the same time, the state is trying to use the national language to create a manageable “successful” image.
Survival strategies
Cultural figures are looking for a variety of adaptation options and combine several different strategies to preserve their identity. Each of these options is connected with extreme conditions and has different manifestations:
– partially stop their creative work;
– work underground;
– adapt to the authorities for the opportunity to work;
– live in Belarus, but work for foreign clients;
– imitate loyalty;
– openly work for the regime.
There is also a willingness to work with “soft” topics: crafts, folklore, or children’s literature. Sometimes it is done through state publishing houses. There is also a passion for working with young people, sharing experience and building a community.
Requests from those inside the country
Even in the darkest times, creative people have a need to capture and create, if not for a wider audience, then at least for the very fact of creation. Therefore, among the most common requests are:
– support for creativity without publicity (residencies, scholarships);
– capturing everyday life and accumulating cultural memory;
– educational and translation projects;
– maintaining contact with Belarusians abroad;
– inviting foreign specialists to Belarus;
– mentoring support for domestic initiatives;
– publishing important books without state subsidies;
– supporting projects related to traditional culture.
Bridges across the border
Belarusians on both sides of the border are ready to cooperate, but they need:
- Support for real dialogue;
- Organization of joint projects;
- Recognition of the expertise of those working inside Belarus;
- Understanding of the context and different living conditions.
Despite the fear and divisions, there are many people inside the country who continue to keep culture alive. They need not only resources, but also hope that they are remembered and heard.
Belarusian culture has not disappeared. It is in a state of resistance and, at the same time, in search of new forms of life.
