Cultural interaction between Kazakhstan and France is gradually expanding beyond protocol visits and becoming an important part of the long-term strategy of both countries. Against the backdrop of global changes and growing interest in national identity, culture is emerging as a key instrument of foreign policy. In this context, the September 25 meeting in Paris between Aida Balayeva, Minister of Culture and Information of the Republic of Kazakhstan, and Rachida Dati, Minister of Culture of France, was not just a diplomatic event but a significant step reflecting the deep processes taking place in Kazakhstan's ideological agenda.
Kazakhstan is currently building its state strategy around three key pillars: national culture, healthy traditions, and a respectful attitude toward historical and moral values. Therefore, cultural diplomacy is no longer simply a form of "soft power" but a means of asserting its own cultural identity on the global stage. In this light, the working visit of the Kazakh delegation to France appears not as a formality, but as part of a well-thought-out policy aimed at strengthening the country's international authority through the language of art and joint projects. It's important to understand that the current Kazakh government's ideological platform is currently built around three key pillars: national culture, healthy traditions, and a respectful attitude toward historical and moral values. Cultural diplomacy, in this sense, is becoming more than just a tool of "soft power" but a means of asserting a national cultural identity on the global stage.
The talks once again demonstrated that both sides are focusing on deep cultural dialogue rather than formal exchanges. During the visit, the parties discussed the current state and future prospects of cultural cooperation, noting the steady growth of cultural and humanitarian ties between Kazakhstan and France.
A logical continuation of the discussion was Aida Balayeva's proposals to develop joint film production, animation, and children's content. These initiatives reflect a desire not only to master modern formats but also to convey national values ​​through them. Kazakhstani animation and cinema are not just an industry, but a medium through which the image of a country where traditions and modernization harmoniously coexist can be integrated into the global information space. Aida Balayeva noted the importance of exchanging experience in museum studies, archeology, and the preservation of historical and cultural heritage.
"I propose expanding scientific research cooperation, organizing internships for Kazakhstani specialists at leading cultural institutions in France, and developing joint projects in film production, animation, and children's content," Balayeva said.
The Kazakh side placed special emphasis on training specialists—from sound engineers and lighting designers to costume designers. This emphasis on crafts and technical professions is no accident. In the context of digitalization, preserving "living" professions is becoming a manifestation of concern for healthy traditions. This not only supports employment but also the continuation of a craft culture that values ​​craftsmanship, continuity, and respect for labor. Rachida Dati praised Kazakhstan's efforts to preserve cultural heritage and expressed her willingness to expand practical cooperation between the two countries' relevant institutions.
It should also be noted that the day before, Aida Balayeva, Minister of Culture and Information of the Republic of Kazakhstan, met with Ernesto Ottone, UNESCO Assistant Director-General for Culture, in Paris. The Minister presented Ottone with a draft nomination file for the mixed heritage site "Ustyurt: Landscapes and Aran Traps." The document, prepared by the Ministry of Culture and Information of the Republic of Kazakhstan, is being submitted to the World Heritage Centre for preliminary assessment prior to its inscription on the UNESCO World Heritage List.
It is logical that such initiatives are a natural extension of the cultural dialogue between Kazakhstan and France.
In recent years, cultural events—from large-scale exhibitions to musical concerts—have become key points of contact between the two countries, creating space not only for diplomacy but also for fostering long-term mutual interest. Through projects of this scale, Kazakhstan not only strengthens its presence on the global cultural map but also confirms its commitment to integrating national values ​​into the global context.
For example, a concert at UNESCO headquarters (Paris, September 2025), dedicated to the 100th anniversary of the great Kazakh composer Nurgisa Tlendiyev, attracted an international audience and presented the richness of the Kazakh musical tradition at one of the most important international cultural centers.
The Days of Kazakh Culture in France (2024–2025) became one of the most striking examples of how national art can resonate beyond the country's borders. Exhibitions of Kazakh arts and crafts, ethnic fashion shows, and film screenings of contemporary Kazakh directors in Lyon and Paris not only introduced French audiences to the republic's cultural heritage but also fostered lasting interest in its national identity. These projects demonstrated that Kazakhstani culture can be a modern, vibrant, and competitive phenomenon in the European cultural space.
The French Film Festival in Astana and Almaty was a logical response to this dialogue. Its program, including screenings of contemporary French films and retrospectives of New Wave classics, as well as lectures and master classes, not only strengthens educational and creative exchange but also allows Kazakhstani audiences to gain a deeper understanding of France's cultural heritage. This "reverse exchange" format makes cooperation truly reciprocal, with each side not only sharing its heritage but also enriching its own cultural environment.
Another symbol of rapprochement was the exhibition of French Impressionists at the National Museum of the Republic of Kazakhstan. The record number of visitors confirmed that global cultural heritage seamlessly integrates into the Kazakhstani context, creating a space where international classics meet national meanings. This experience strengthens Kazakhstan's position as a country open to global cultural processes while simultaneously preserving its own identity. Against this backdrop, the annual Francophonie Week in Kazakhstan is becoming more than just a series of events, but a permanent platform for dialogue between languages, theater, and literature. New joint projects are emerging here, extending beyond one-off events and forming a long-term strategy for cultural cooperation. Thus, all these initiatives are integrating into a unified system, where cultural exchange ceases to be a formality and becomes a tool for strengthening diplomacy and developing the creative industries of both countries.
It is worth noting that cooperation in museums, archaeology, and the preservation of historical and cultural heritage is acquiring particular significance, going beyond purely professional exchange. This is part of a broader strategy to strengthen identity through the study of the past.
Kazakhstan is demonstrating that the ideological foundation of the country's development is not a rejection of globalization, but the ability to integrate its traditions into the global cultural space on an equal footing. French partnerships in film, animation, and specialist training open up new opportunities for the exchange of experiences, while maintaining the central role of Kazakhstani meanings and values. Thus, the meeting between A. Balaeva and R. Dati is more than just agreements on joint projects. It is a manifesto: Kazakhstan is asserting its cultural identity, offering the world a dialogue based on respect for history, loyalty to traditions, and a willingness to innovate.