India as a Media Civilization - From Folklore to Digital Formats: An interview with Devadathan Nair

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In India, media is not just a source of information — it is part of the cultural fabric, a fusion of traditional storytelling and digital technology. What defines the media environment of the world’s largest democracy? Why is the Indian diaspora in Russia becoming a media actor in its own right? And what does street theatre have to do with the metaverse? These are just some of the questions discussed in a conversation with media practitioner and founder of the Varta Patrika project, Devadathan Nair.

Devadathan Nair, President of the Organization Blizhniy Club – Indian Compatriots in Russia. He is a specialist in media management, government relations, and public relations, and an organizer of projects at the intersection of media, education, and intercultural communication. He graduated from the University of Kerala (Political Science) and RUDN Univer­sity (Journalism). He has worked as a broadcaster for the international service of Gosteleradio, a correspondent for Asia Net channel, and PR Director for a Russian pharmaceutical company. From 2007 to 2014, he implemented international media projects promoting India in Russia, including collaborations with Rossiyskaya Gazeta and the Times of India Group. From 2012 to 2020, he oversaw the Indian segment of the edu.ru project aimed at promoting Russian education abroad. He heads the Blizhniy Club non-profit organization, which unites the Indian diaspora in Russia and implements international cultural, educational, and awareness-raising programs. He is the publisher of the Ayurveda magazine and the author of the Varta Patrika initiative – a multimedia project focused on Russian-Indian cooperation and Indian compatriots in Russia.

– How would you describe the media landscape of contemporary India? What makes it unique in a global context?

– India’s current media sphere is both a mirror of and a driving force for its profound transformation. It weaves together ancient narratives with cutting-edge digital technologies, operating across a multifaceted, multilingual, and decentralized landscape. There’s no single media standard in India – rather, there are countless cultural and linguistic lenses through which society experiences reality.

Media here is part of culture itself – it is its very breath. Folk media forms – street theatre, oral storytelling, wall painting, baul music, kathakali dance – are not merely forms of expression but systems for transmitting memory, emotion, and values. These are “pre-media” forms –practices that today are regaining relevance. In a world fatigued by clichés and algorithms, it’s authenticity that wins.

At the same time, India is a country of digital enthusiasm: millions of young users don’t just consume content – they create it. And yet a kind of media patriarchy persists – print journalism, especially in regional languages, still holds great importance for millions, particularly in rural areas.

– You’ve worked for years at the intersection of Indian and Russian media. How different are the two media systems? Where do you see points of convergence?

– The media systems in India and Russia differ due to their historical, cultural, and institutional roots. India’s media ecosystem is more fragmented and commercialized, with strong regional characteristics: each language has its own newspaper, TV channel, and YouTube scene. In Russia, the media space is more centralized, with strong government involvement and a dominant federal narrative. Yet both countries recognize the strategic role of media in cultural policy and diplomacy.

The clearest points of convergence lie in the realm of soft power – in cultural exchanges, educational initiatives, and image-building projects. These provide not formal but human feedback. And at that point, it’s no longer just an exchange but the co-creation of new humanitarian meaning – something valuable to both India and Russia.

One vivid trend bringing our media environments closer is the demand for sincere, “human” communication. This is particularly visible in the rise of micro-influencers – not necessarily media stars, but individuals trusted within their professions or local communities. These are the voices now bridging our two countries. I believe India should not be spoken of only by institutions or federal media, but by the people themselves – those who’ve had real encounters with Indian culture, who studied, worked, traveled, made friends.

When a blogger, young entrepreneur, or student shares their experience with emotional involvement and genuine respect, it creates a completely different level of perception. When India is spoken of in a space of trust, free from clichés, through the language of lived experience – it’s more powerful than any official campaign. That’s the media model of the future: informal, participatory. India and Russia – despite their differences – are moving toward a new ethics of communication, where what matters isn’t scale but openness, not volume but authenticity.

– Which media formats are most effective in presenting Indian culture to Russian audiences?

– In my experience, the most impactful formats combine visual richness and emotional depth: documentary and feature films, mini-series, cultural festivals, live events, and short-form video content – reels, shorts, music, dance, and craft videos.

Films and series allow for a deeper immersion into India’s philosophies, traditions, and customs. Russian viewers especially connect with themes of family, spirituality, and self-discovery – central motifs of Indian storytelling. A striking example is S.S. Rajamouli’s film RRR (2022): an epic of heroism, friendship, and freedom that unexpectedly resonated in Russia. RRR played in cinemas across the country, sold out at special screenings, and became a social media phenomenon thanks to its visual flair, music, and the now-iconic Naatu Naatu dance, which won India its first Oscar.

The film shattered the old stereotype of “vintage musicals” and revealed a modern India – technological, vibrant, steeped in heritage and spirit. It clearly proved that culture is a powerful driver of recognition and national image.

Large-scale events are also effective – India Days in Moscow, exhibitions, culinary and music festivals. They create living cultural contact that transforms interest in India from surface-level to deeply personal. That said, in such formats, it’s vital not to translate India literally, but to interpret it in a culturally resonant language – so it’s perceived not as exotic, but as a space of ideas, inspiration, and meaning.

– What role does the diaspora play in India’s media representation abroad – particularly in Russia?

– The diaspora is not just a connecting thread between India and the world – it’s a full-fledged media actor, with its own voice, its own audience, and its right to interpretation. In recent years, we’ve seen an increase in diaspora-led projects in Russia – not merely participatory, but as initiators and producers of media: from documentaries to educational programs and cultural festivals. This was especially visible during diplomatic anniversaries – for example, in 2022, when India celebrated 75 years of independence and 75 years of India-Russia diplomatic ties, dozens of joint media events took place with the diaspora playing a key role.

One such project was the India-Russia Dosti Utsav festival, launched by the Indian diaspora in Moscow with support from the Indian Embassy, Rossotrudnichestvo, and several Russian universities. It created a vibrant media context where India was represented by the voices of its own people – living and working in Russia.

– One of the notable voices of the diaspora has been the Varta Patrika media project.

– It was born in response to a need: The Indian diaspora in Russia needed a platform for dialogue, self-expression, and representation – both among themselves and to Russian society. We wanted to create a space for meaning and human stories that reflect the real voices and sentiments of Indians living and working in Russia.

The word varta in Sanskrit and Hindi means conversation, news, or narrative. And patrika means journal or gazette. So literally – it’s a “journal of conversations”. We cover opportunities in education, business, culture, and media. We publish success stories, event reports, interviews with people from both countries. Cultural diplomacy plays a special role in our work, because often, a personal story speaks louder than official statements. The first issue of Varta Patrika was timed to coincide with Russia Day – June 12, 2025. We wanted to emphasize that the Indian diaspora feels itself part of Russian reality, contributing energy and respect for tradition – while also preserving its own identity.

I believe that such initiatives are more than media – they’re bridges of trust, open in both directions: from India to Russia, and from Russia to India.

– How are Russian audience demands for information about India evolving today? Has the tone, depth, or nature of interest changed?

– Yes, the demand has significantly evolved. In the past, interest in India in Russia was often focused on classic symbols of the global image – yoga, Ayurveda, Bollywood, spices, Goa. But now we’re witnessing a shift from admiration to thoughtful curiosity.

Russian audiences now want to understand structures: how Indian society functions, how its economy works, the peculiarities of its education system, and what’s happening in its media, tech, and culture scenes. It’s an interest aimed at cooperation. Against the backdrop of growing political and economic ties, India is no longer perceived as a “distant land” but as a real, modern partner.

The tone has changed, too. India is no longer seen as a country of the past: more and more people view it as a country of the future – young, dynamic, and tech-savvy. Interest is rising in the creative industries, in Digital India, in education programs, the labor market, and startups. All this calls for a different media approach – deeper, more precise, and respectful of the reader’s intellectual expectations. So yes – the quality of interest has grown, and with it, the responsibility of those of us who work with Indian-themed media.

– How can media projects contribute to the development of the creative economy between our two countries? Is there potential for sustainable cooperation?

– Media projects are becoming key channels for shaping the creative economy. We live in an era where content is currency, and storytelling is the foundation of trust and commercial success. Today, media is the bedrock of image, reputation, and cultural capital.

When it comes to India-Russia synergy, the potential is enormous. Both nations have deep cultural traditions, strong educational foundations, and growing creative industries. But for these assets to meet, we need a platform for interaction – and media can serve that role. Joint documentaries, podcasts, exhibitions, digital magazines, cross-cultural festivals – all these open up new economic models: in tourism, education, design, IT, video and audio production.

It’s crucial to understand that the creative economy is built on trust and curio­sity – and media is what awakens and sustains that interest. We already see successful cases – from Indian series dubbed in Russian to international forums like WAVES where real B2B agreements are signed. The participation of Indian representatives at the St. Petersburg International Economic Forum (SPIEF) is also significant, as is growing collaboration between the Skolkovo Foundation and Indian startups in media technology, education platforms, and creative solutions. The potential for sustainable cooperation is real—and it starts with smart, meaningful, and two-way media communication.

– Are Russian media outlets currently ready to cover India in a productive, stereotype-free way? How can we move beyond the ‘exotic’ image?

– The exoticized image of India – distant and mystical – still exists. It’s convenient, recognizable, and has marketing power. But we’re hearing deeper, more meaningful narratives more often – especially in niche publications, cultural projects, academia, and educational media.

Still, we have yet to fully develop systematic and sustained coverage of contemporary India. This is often due to a lack of current content, trained professionals, and sometimes the basic language barrier. India is profoundly layered: it’s not one story but millions. To truly understand and communicate its essence, we need not only interest but ongoing work – dialogue, research, translation, analysis.

When Russian audiences see India not as a relic of the past, but as a country of startups, digital ecosystems, youth trends, and independent cinema, the exoticism fades. A good example is the ITEC (Indian Technical and Economic Cooperation) program, which annually invites participants from many countries, including Russia, for training, exchange, and professional dialogue. Thanks to ITEC, participants from various fields – from media to digital economy – get to see India from the inside, through practice, not myth. It’s one of India’s most effective tools of soft power and helps form the image of a modern, professional, and tech-driven India. That, I believe, is also the core message from the Indian diaspora. That’s why our team at Varta Patrika and in other projects focuses on real stories – of contemporary designers, entrepreneurs, scientists, and students. These are the true bridges between our cultures.

– As both a practitioner and educator, what do you believe students need most if they want to engage in international media professionally?

– First and foremost: an understanding of cultural codes. International media communication requires the ability to “translate” not just language but meanings, contexts, emotions. This isn’t just a skill – it’s a mindset that must be nurtured from the start. While today’s media space is globalized, perception remains deeply shaped by culture. Students must learn to distinguish between news and narrative, between text and subtext.

Second: critical thinking and the ability to navigate an ever-changing information environment. The world is flooded with content, but there’s still a deficit of meaningful messages. So students need to be trained not only to create media but to understand its impact – on audiences, on perceptions of countries, peoples, conflicts, and values.

And finally, empathy and real intercultural experience. Without live dialogue – whether through classroom cases, internships, or exchange programs – it’s impossible to become a true media communicator.

– If you had to describe India’s place in the global media landscape with one metaphor or story, what would it be?

– I’d liken India to a living pavilion at a world expo of civilizations – a space where every corner breathes history, yet it’s here that past and future meet in dialogue, not as museum exhibits.

Imagine a tent stitched from thousands of multicolored fabrics – languages, traditions, beliefs – and inside it, virtual symposia on neural networks, sustainable development, and Martian architecture. Here, ancient epics are not forgotten – they’re woven into the digital structure of the new world.

This pavilion is open to all – it’s not closed off or dogmatic. It constantly transforms, absorbing the new without losing its roots. It’s a media environment that values not volume but meaning, not spectacle but depth. This media pavilion isn’t utopian – it’s already the reality of India in the global media picture. And in this sense, it embodies Marshall McLuhan’s idea that media are extensions of human senses, body, and mind.

Perhaps this is India’s message to the world: that the synthesis of tradition and technology, cultural memory and innovation – is not only possible, but essential, if we hope to build a humane, sustainable, and mutually understanding future.