In a statement that drew attention across political and cultural circles, a State Duma deputy urged the removal of the work of American singer Billie Eilish from the modern music section of school curricula. The comment, reported by HABER.ru, reflects a broader debate about which contemporary artists should be part of educational programs and how their content is evaluated for a young audience in Russia.
The deputy contrasted Billie Eilish with earlier icons of popular music. He suggested that figures like the Beatles and Elvis Presley remain suitable for teaching, arguing that their material has stood the test of time. By contrast, he questioned whether today’s stage performances, including onstage presentation and certain lyrical themes, are appropriate for schoolchildren, suggesting that contemporary acts can be perceived as presenting disturbing imagery or unconventional performance styles that may influence impressionable minds.
Beyond this specific critique, the deputy labeled Eilish as a controversial online presence who he said promotes content he considers unsuitable. He referenced a recent Russian law aimed at restricting certain types of content online, implying that educational policy should reflect these concerns and limit exposure to what some officials view as harmful material.
In a related development, a separate discussion occurred during a meeting with another State Duma deputy, Sergei Kolunov. The deputy reported that the parliamentary newspaper had conveyed to the Minister of Education, Sergei Kravtsov, a proposal to include a number of performers in the national school curriculum. The request reportedly originated from relatives of participants in special military operations, highlighting how public sentiment and family perspectives can shape policy debates in the cultural sphere. The Ministry’s response indicated a willingness to consider options for integrating selected artists into the federal study program within the discipline of music, signaling openness to revisiting the curriculum in light of ongoing conversations about national culture and youth education.
Earlier remarks from other cultural figures in Russia also surfaced in the context of the country’s evolving cultural policy. One public figure raised questions about what kinds of cinema should be present in the national conversation after recent shifts in leadership, underscoring a broader interest in aligning artistic exposure with the values and priorities that policymakers deem important for the public good. These exchanges illustrate how cultural policy debates can intersect with education, media regulation, and the personal experiences of families connected to servicemembers, creating a complex landscape for schools, teachers, and students as they navigate what to teach and how to present it.
Experts and commentators outside Russia have watched these developments with interest, noting that the conversation about which artists belong in school curricula is not unique to one country. Similar discussions occur in North America and other regions when education systems reassess cultural content in light of changing societal norms, media landscapes, and regulatory frameworks. The core question remains: how should schools balance artistic merit, cultural heritage, and the evolving tastes of younger generations while maintaining a safe and constructive learning environment? The ongoing dialogue suggests that educators and policymakers are weighing tradition against contemporary expression, and they are seeking ways to bridge these perspectives within the classroom without compromising critical thinking and artistic appreciation.
Ultimately, the discourse reflects a larger, timeless tension in education: honoring established cultural pillars while allowing room for new voices and innovations. As this dialogue continues, schools across different regions may observe how legal constraints, parental input, and professional assessments shape curricular choices. In every case, the goal remains to foster informed, respectful, and curious students who can engage with a diverse musical landscape while understanding the responsibilities that accompany audience influence and media literacy.