Art And Geopolitics: A Delicate Balance

Shuktara Goswami, Christ University

Following the recent militant attack in Pahalgam, Kashmir—widely attributed to cross-border elements—the Indian government has taken a series of retaliatory measures against Pakistan. These steps include economic sanctions, trade and mail suspensions, maritime and airspace restrictions, and diplomatic downgrades.

Additionally, cultural connections have once again come under strain, with renewed bans on Pakistani artists and social media content in India.The Indian military reportedly launched “Operation Sindoor,” targeting nine sites in Pakistan and Pakistan-administered Kashmir. This has led to the worst escalation between the nuclear-armed neighbors in more than two decades, igniting fears of prolonged conflict.

Now, Historically, the India-Pakistan relationship has been likened to that of a fractured family—bound by shared history, but divided by ideology and mistrust. In such a landscape, art and culture often become unintended casualties. While politics may draw borders, art traditionally dissolves them. Unfortunately, in times of national crisis, the lines between patriotism and artistic freedom blur, and artists—often seen as soft targets—pay the price.

The ban on Pakistani artists in India is not a recent phenomenon, but may be traced back to 2016 following the Uri attack, when film industry bodies—backed by political groups such as Shiv Sena and Maharashtra Navnirman Sena—called for a boycott of Pakistani performers and disrupted the release of films featuring them. The 2019 Pulwama attack further entrenched this stance, reinforcing a cultural divide. Though positioned as an act of national solidarity, the ban signaled a turning point where artistic collaboration became increasingly tethered to the waves and flow of geopolitical tensions.

While national security is a critical priority, the banning of artistic collaboration raises questions about the long-term cultural cost. Pakistani artists like Hania Aamir, Ali Zafar, Mahira Khan, Fawad Khan, and Rahat Fateh Ali Khan—beloved by audiences across India—have long been distanced from Indian screens, despite their work bearing no relation to political ideology or conflict.This situation underscores a dilemma: should governments treat art as an extension of diplomacy, or should it be protected as a space for human connection, even amid crisis?

As this conversation continues, one truth remains clear—art, when respected for its own sake, can serve not only as a source of entertainment, but also as a quiet force for peace, understanding, and dialogue in even the most divided regions.To understand the cultural perspective more deeply, I spoke to three well-known Artist to gather their views on the impact of this political tension on the artistic freedom and collaboration.

Joi Barua, a noted singer and composer with experience performing in Kashmir and alongside Indian Army events, shared a deeply personal reflection:

“The subcontinent, especially India, has shown a lot of respect to Pakistani artists over the years. However, this act of violence in Pahalgam is a desperate act of violence, and I will not say it’s a war, but a desperate act of violence by Pakistan. At this point, more than anything else, there has to be a feeling of humanity, peace, and an understanding of the nature of the violence and the pain of the victims and their families.

I have been part of events in Kashmir, both as an artist and through work around the border with the Army. I’ve performed in two Kargil Diwas concerts, including the 35-year celebration last year. Right now, there’s artistic exchange as commerce, but that cannot happen. There can only be art for the sake of peace.

Now is the time for artists to come together and voice what has happened, but not for commercial purposes. If it’s merely transactional— ‘you sing a song, we pay’—that is not the kind of art we need to encourage right now. There should be deep introspection about how we pursue artistic endeavors with Pakistan.”

Manjyotsna Mahanta Goswami, a noted vocalist and performer, emphasized the contrast between political decisions and artistic values: “Apart from the current political scenario, I would say artists have no geographic boundaries. The current situation between India and Pakistan has led to a war-like atmosphere. To protect and defend national interest, the Indian government has taken statutory steps, including the banning of Pakistani artists and social media channels in India.

Politically, there may be valid reasons. But art and sports do not always have political roles, nor should they lead to destruction. Artists must always work to unite nations. Most of the time, art assembles—politics disperses.”
Rupam Bhuyan, a prominent musician from Assam, offered a grounded and heartfelt view:

 “Being a musician from Assam, it’s hard for me to evaluate the situation. But personally, as a music lover, nothing will change for me—I can listen to my favorite artists anytime. And yes, of course, the artist community has always been a soft target.”

These voices remind us that while national security is paramount and the government’s actions reflect geopolitical exigencies, the arts represent something higher—human creativity, shared identity, empathy, and unity. Art should ideally serve as an independent lens that challenges power and fosters peace—not be subjugated by political agendas.

In the end, one truth stands out: conflict may divide borders, but art continues to reach across them. Artists and their work should be seen not as threats, but as bridges. As we grapple with this crisis, let us not close the door entirely on dialogue, especially through culture—a realm where humanity often finds its most honest voice.

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