Transforming Nostalgia: How Russias Festivals Foster Subtle Patriotism Amid War Fatigue

«Motherland, white birch / For me, it’s Holy Rus, for others just a splinter,» Tatyana Kurtukova crooned from the stage at Moscow’s Poklonnaya Gora, which is home to a museum celebrating the Soviet victory in World War II.

As she sang the folk-inspired song «Matushka» a cappella, thousands in attendance joined in harmony.

Kurtukova was part of a festival commemorating Moscow’s anniversary, which featured Lyube, a rock band thought to be favored by President Vladimir Putin, as one of the main acts.

«People no longer approach this with irony—they genuinely enjoy it. There’s a growing interest in our cultural roots and values,» a concertgoer mentioned to The Moscow Times, wishing to remain unnamed.

«This trend is mostly seen among the younger generation—they’re beginning to connect with Russian identity and culture, taking a greater interest in traditional songs,” she elaborated.

With the ongoing war in Ukraine now entering its fourth year, officials are subtly encouraging loyalty by emphasizing entertainment and cultural heritage rather than the aggressive military propaganda that characterized the early stages of the conflict.

Cultural experts assert that during times of social turmoil and crisis, expressions that celebrate collective identity tend to resonate more with the public.

“People are weary of the unending war, leading to a shift from militaristic patriotism to a preference for escapism,” noted music journalist Artemy Troitsky. “Many, especially the youth, have grown disillusioned with wartime propaganda, favoring entertainment and nostalgic themes instead.”

This year, Russian authorities have orchestrated numerous cultural events nationwide, with summer festivals increasing by over 30 percent compared to the previous year.

In Moscow, the government introduced a program called Summer in Moscow, touted as “the largest urban initiative,” which offered a wide range of free cultural, charitable, and sports activities.

Residents who spoke to The Moscow Times expressed that these events aimed to create an uplifting atmosphere, suggesting the city felt like “the best place on earth.”

“There were DJs, activity zones, a wealth of entertainment, and trendy cafés—basketball hoops were set up, animators were present, and beanbag chairs were laid out across the lawns for relaxation, along with painting workshops and easels. Everything was free, the crowd was pleasantly sized—not overcrowded,” one attendee recounted.

This individual noted that the authorities leveraged musical events, with the current trend favoring folk-inspired songs, while direct pro-war anthems were largely absent from major public gatherings.

Nevertheless, many cultural festivals across Russia carry subtle political implications, partly due to restrictions on anti-war performers.

Alongside the non-political events, a number of military-patriotic festivals took place this summer in both Moscow and other regions.

Festivals included events like the Avtomat i Gitara (Rifle and Guitar) festival in Omsk, grenade toss events in St. Petersburg, the patriotic song festival “Our Land—My Russia” in Tyumen, and a patriotic song contest held by the United Russia party in Udmurtia.

Even in festivals not directly orchestrated by the government, the state’s influence is noticeable.

At the VK Festival, organized by the Russian tech firm VK in Moscow, St. Petersburg, and other major cities, attendees were greeted with banners promoting expedited entry for those who downloaded the state-supported MAX messenger—a domestic alternative criticized for sharing data with authorities.

“One attendee described the VK Festival as grand in scale, and noted it featured several stages with continuous performances along with many free attractions, catering to families and children from various regions.

“Before the final act, everyone sang the Russian national anthem,” she observed.

Oshank Hashemi, a researcher on Russian culture, suggested that the Kremlin seems to collaborate with cultural figures to harness the collective emotions stirred by the war.

“In wartime, people often display stronger support for the state and emphasize identity markers—like wearing or painting the Russian tricolor on their faces,” Hashemi explained.

“Such times often see individuals clinging more tightly to what instills pride and unity. The Kremlin clearly invests in and endorses artists who embody these sentiments,” he added.

While the exact expenditures on cultural propaganda since the war began are unclear, reports indicate that the Kremlin has allocated around 161 billion rubles (approximately $1.7 billion) toward patriotic and pro-war initiatives since 2022.

Official figures reveal that the number of patriotic events, competitions, and festivals rose from 514 in 2023 to 905 in 2024.

Troitsky remarked that political messaging from the state can only succeed if it resonates with the public’s emotions.

One notable instance is Intervision, the revived Cold War-era song contest, intended to serve as a counterbalance to Eurovision this year.

While Putin stated that the contest aimed to “promote cultural dialogue and strengthen friendship among nations,” critics perceived it as a politically motivated event, with actors being hired to bolster the audience numbers.

The contest appeared to be closely managed by the Kremlin, with Putin’s domestic policy chief Sergei Kiriyenko overseeing it and holding a press conference alongside Foreign Minister Sergey Lavrov and Deputy Prime Minister Dmitry Chernyshenko.

Russia was represented by the country’s leading patriotic singer, Shaman, who requested that judges from 23 nations—including China, Kazakhstan, and Brazil—not score his performance, suggesting he could not risk being seen as losing as Russia’s representative, as a win could diminish the contest’s intrigue.

Troitsky commented that Shaman represents “the only relatively successful” initiative concerning pro-war musical propaganda.

“However, this is still a modest accomplishment, especially considering the substantial amounts of state funding that have been directed toward pop propaganda,” he noted.

Even so, while debates around Shaman’s talent and performance continue, themes of patriotism and national pride seem to resonate with some attendees.

“I never used to appreciate [patriotic songs], but this time I felt moved,” shared a woman who attended Kurtukova’s concert.

“I find it wonderful that people are embracing love for their country—not for the government, but for the country itself: its landscape, culture, education, and people. That’s truly commendable,» she said. «Let people cherish what they have—detached from politics, focused on the positive aspects.”