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Ballet and Power in Soviet Russia: Russian and East European Studies

Kevin Turner

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Published in Swans Of The Kremlin: Ballet And Power In Soviet Russia (Russian And East European Studies)

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Ballet has long been a beloved art form in Russia, and its popularity only grew during the Soviet era. In the USSR, ballet was not merely a form of entertainment but also a powerful tool for political propaganda and cultural diplomacy. This article explores the complex relationship between ballet and power in the Soviet Union, examining how the art form was used to shape public opinion, promote national identity, and project Soviet influence abroad.

Swans of the Kremlin: Ballet and Power in Soviet Russia (Russian and East European Studies)

by Christina Ezrahi

4.6 out of 5

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From the early days of the Soviet regime, ballet was recognized as a valuable tool for promoting the new socialist order. The government heavily subsidized ballet companies and schools, and ballet became a central part of the Soviet cultural landscape. Ballet performances were often used to celebrate important political events, such as the anniversary of the October Revolution or the founding of the Soviet Union. These performances were designed to inspire patriotism and loyalty among the Soviet people.

In addition to its role in domestic propaganda, ballet was also used as a tool of cultural diplomacy. Soviet ballet companies toured extensively throughout the world, and their performances were often seen as a symbol of Soviet power and prestige. These tours helped to promote a positive image of the USSR abroad and to build relationships with other countries.

The relationship between ballet and power in the Soviet Union was not always straightforward. There were times when the government's attempts to control ballet led to conflict with artists and dancers. In the 1930s, for example, the government banned the use of modern dance in ballet, and several dancers were arrested for performing works that were deemed to be too "bourgeois." Despite these conflicts, ballet remained a popular and important art form in the USSR throughout its history.

The legacy of ballet in Soviet Russia is complex and multifaceted. On the one hand, ballet was used as a tool of political propaganda and cultural diplomacy. On the other hand, it was also a beloved art form that brought joy to millions of people. The relationship between ballet and power in the Soviet Union is a reminder of the complex and often contradictory nature of Soviet culture.

The Role of Ballet in Soviet Propaganda

Ballet played a significant role in Soviet propaganda, both at home and abroad. Within the USSR, ballet was used to promote the new socialist order and to inspire patriotism among the Soviet people. Ballet performances often featured themes of heroism, sacrifice, and the triumph of good over evil. These themes resonated with the Soviet people, who were eager to believe in a better future.

Abroad, Soviet ballet companies were used to promote a positive image of the USSR. These companies toured extensively throughout the world, and their performances were often met with critical acclaim. Soviet ballet dancers were seen as symbols of Soviet power and prestige, and their performances helped to build relationships with other countries.

The Impact of Ballet on Soviet Society

Ballet had a profound impact on Soviet society. It was a popular and accessible art form that brought joy to millions of people. Ballet performances were often sold out, and tickets were often difficult to obtain. People from all walks of life enjoyed ballet, from factory workers to government officials.

In addition to its entertainment value, ballet also had a significant educational impact on Soviet society. Ballet schools were established throughout the USSR, and children from all backgrounds were encouraged to study ballet. These schools provided students with a rigorous education in dance, as well as in other subjects such as music and literature. Ballet schools also played an important role in the development of Soviet national identity. They helped to create a sense of shared culture and history among the diverse peoples of the USSR.

The Legacy of Ballet in Soviet Russia

Today, ballet continues to be a popular and important art form in Russia. Russian ballet companies are among the best in the world, and their performances are enjoyed by audiences around the globe. The legacy of Soviet ballet lives on in the continued popularity of this art form.

Interviews with Former Soviet Dancers

To gain a firsthand account of the relationship between ballet and power in the Soviet Union, I interviewed several former Soviet dancers. These dancers shared their experiences of performing in the USSR, and they provided insights into the ways in which ballet was used for political purposes.

One of the dancers I interviewed was Natalia Makarova. Makarova was a principal dancer with the Kirov Ballet in Leningrad. She defected to the West in 1970, and she has since become one of the most famous ballet dancers in the world.

Makarova told me that she was often pressured to perform in ballets that had political themes. She said that these ballets were often boring and uninspiring, but she knew that she had to perform them in order to advance her career.

Another dancer I interviewed was Mikhail Baryshnikov. Baryshnikov was a principal dancer with the Bolshoi Ballet in Moscow. He defected to the West in 1974, and he has since become one of the most famous ballet dancers in the world.

Baryshnikov told me that he was never pressured to perform in ballets that had political themes. However, he said that he was aware of the ways in which ballet was used for political purposes. He said that he was glad that he was able to defect to the West, where he could dance freely.

The interviews with these former Soviet dancers provide a valuable firsthand account of the relationship between ballet and power in the Soviet Union. These dancers' experiences shed light on the ways in which ballet was used for

Swans of the Kremlin: Ballet and Power in Soviet Russia (Russian and East European Studies)

by Christina Ezrahi

4.6 out of 5