Cold War Cultural Exchange and the Moiseyev Dance Company: American Perception of Soviet Peoples
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1 COLD WAR CULTURAL EXCHANGE AND THE MOISEYEV DANCE COMPANY: AMERICAN PERCEPTION OF SOVIET PEOPLES A dissertation presented by Victoria Anne Hallinan to The Department of History In partial fulfillment of the requirements for the degree of Doctor of Philosophy in the field of History Northeastern University Boston, Massachusetts May, 2013 2 COLD WAR CULTURAL EXCHANGE AND THE MOISEYEV DANCE COMPANY: AMERICAN PERCEPTION OF SOVIET PEOPLES by Victoria Anne Hallinan ABSTRACT OF DISSERTATION Submitted In partial fulfillment of the requirements for the degree of Doctor of Philosophy in the field of History in the Graduate School of Social Sciences and Humanities of Northeastern University Boston, Massachusetts May, 2013 3 Beginning in April of 1958, as part of the Lacy-Zarubin Agreement, the Moiseyev Dance Company visited the United States with performances in multiple cities including New York, Montreal, Toronto, Detroit, Chicago, Los Angeles, San Francisco, Cleveland, Washington, Boston and Philadelphia. The Moiseyev fascinated American audiences and Americans drew direct comparisons between themselves and their culture with that of the Soviet Union, as presented on stage by the Moiseyev dancers. The company evoked a multitude of responses, from protest to admiration, fear of cultural inferiority to enthusiasm for the United States to send over its own cultural representatives to demonstrate American cultural excellence. Newspapers and magazines widely discussed how the group influenced political relations, whether writers felt the company demonstrated that cultural performance was a non-political space in which mutual respect between the two superpowers could be achieved or that it was pure propaganda, and possibly even dangerous propaganda at that. This project revisits the role of cultural symbols and cultural diplomacy during the Cold War, using the US tours of the Soviet Union’s Moiseyev Dance Company as a case study. In particular, it examines the Company’s multicultural and Cold War messages as a framework for understanding the impact of cultural politics on American-Soviet relations. 4 Acknowledgements “Acknowledgments” does not seem like a strong enough word to truly express just how indebted I am to others in completing this project. “Sincere gratitude” would be more appropriate; without the aid and encouragement of many individuals and institutions this project simply would not have been possible. Northeastern provided a welcoming atmosphere and the History Department is where I found colleagues, friends, advice and help with academic and day-to-day issues that arose throughout the completion of my graduate work. Working with undergraduate students at Northeastern has been a true pleasure and taught me numerous lessons about what the many responsibilities of being an academic entail. Additionally, Northeastern’s University Excellence Fellowship provided the means for me to conduct much of my domestic research and progress through the graduate program. My research experience benefited enormously from the aid of enthusiastic librarians and archivists over the years. The Library of Congress and Performing Arts Division of the New York Public Library in particular laid the foundation of much of my research and the librarians at both institutions were always interested and essential to the research process. My international research experience, focused largely at the Russian State Archive of Literature and Art, proved an incredibly rich experience in terms of information gathered and the more personal experience of Russian culture and character. Throughout the past four years, various members of the Northeastern academic community supported me and served as guides and mentors for research and writing ideas related to this project. Of the Northeastern faculty, Jeffrey Burds and Ilham Khuri-Makdisi offered me new perspectives on my dissertation historiographical reading and how best to discuss Soviet- American relations. I am thoroughly indebted to Stacy Fahrenthold and Ross Newton for our 5 “dissertation writing parties,” which kept the writing process moving forward and during which I often got the best advice and ideas about how to do this whole “dissertation thing.” My advisors have been invaluable sources of inspiration, support and patience. Elizabeth Wood offered me the best tips and advice about Russian archives and the essential Soviet cultural and gender perspective that serves as a framework for my interpretations. Lynn Garafola enhanced my view of Russian, Soviet and folk dance in the time period I look at and in the long durée . With extensive and thoughtful critiques she filled in the gaps and issues to make this a truly better paper. Laura Frader served as mentor and advocate from the moment I came to Northeastern. As her teaching assistant, I learned so much about the teaching process and how to balance research and teaching. She has always been an advocate for graduate students, ensuring that their needs and ideas are voiced. Harlow Robinson always knew the right words of encouragement or thoughtfully worded criticism which ensured this project continued to move forward but with the right measure of work, consideration and depth. As a fellow proponent of cultural history, he considered my topic worthwhile but also emphasized that a cultural history case study needs to be properly grounded in order to enhance my own understanding and that of my audience. Throughout my academic career my family has always been there with physical, emotional and spiritual support. My parents have always had faith in my pursuit of a career in academia and I cannot stress enough how they have served as models for me in my professional and personal life. My siblings Kara and Rick have been my “go-to’s” for commiseration and rejuvenation both when they have lived in and outside of Boston and my brother Dean is my reminder of home and the comfort and consolation it affords. 6 And finally, my husband Sean has been the cornerstone of my confidence and persistence for the past eight years. Little did he know that our first meeting on Northeastern campus in September of 2004 would lead not only to marriage, but to life as a co-editor, personal and academic counselor, and sounding board for everything from the fairness of how I evaluated my students to the best way to tackle a variety of sources in multiple languages. He can assess a situation in almost any context and continually offers sage advice. He has witnessed the more mundane part of writing this dissertation and throughout maintained his and my own sense of humor, stamina and sanity. I dedicate this dissertation in memory of my grandfather, Dean Jones. He, and all my grandparents, offered me constant encouragement but he also ensured that I maintained a realistic perspective and did not take myself too seriously – these are vital qualities to adopt in academia and in life. 7 TABLE OF CONTENTS Abstract 2 Acknowledgements 4 Table of Contents 7 Preface 8 Abbreviations 11 Chapter 1: Fighting the Cold War through Cultural Exchange 12 Chapter 2: The State Academic Folk Dance Ensemble of the 43 USSR Chapter 3: American Reception of the Moiseyev Dance Company 116 Chapter 4: American Identity During the Cold War: Categories of 160 Reception Chapter 5: The Moiseyev Dance Company and American Notions 212 of Gender and Race Chapter 6: The American-Soviet Music Society: an American 263 Message of Multiculturalism Conclusion 306 Epilogue 311 Appendix A: Text of the Lacy-Zarubin Agreement, 27 January 1958 315 Appendix B: Early American Tour Repertoires (1958, 1965, 1970) 322 Appendix C: A Selection of Moiseyev Dances 325 References 328 8 Preface: Two Messages of the Power of Culture What is music for us today? Next to religion, it is the greatest manifestation of human soul and human emotions. And it is the only unifying element in our world today, for even in religion we find no unity of worship and belief… While the inconceivable possibilities, discovered in the atomic energy, poison the human mind and become a dangerous weapon in power politics, music remains a beacon, and a stronghold of good will, friendship and understanding among the peoples of the world. On this first anniversary of Victory, we recall the significance of music in the tragic years of war. We recall the immortal works created during the “Battle of Russia,” ranging from the depth of sorrow to exultation and the triumphant flight of the spirit of man…The music of heroic Russia stirred the hearts of American audiences. Today, American music heartens and stirs deep interest in the people of Russia. Today, we musicians feel that we have a right – more than anyone else – to raise our voice, because we give the inspiration and joy of music to all who want to share in it. Indeed, music, like a living stream, breaks all barriers between nations and carries its message of beauty and brotherhood of men. We, therefore, believe in the extreme importance and urgency of close cultural and artistic relations between America and Russia. The post-war world cannot exist without the friendship of these two great countries, vast in land, rich in woil [sic], young in spirit. And it needs the help of Art. For Art is universal and reveals the soul of a people. Let Art help overcome evil and political intrigue. Let Art help forge peace and unity between Soviet Russia and the United States of America. Together, these two giants among the family of nations will build a world of security and peace. 1 - Sergei Koussevitzky Our first performance at the Metropolitan Opera House in New York was an experience no member of our dance company is ever likely to forget. It was our first introduction to an American audience, and a more enthusiastic, more exciting one it would be hard to imagine. For us the welcome was doubly gratifying since we had come to dance for American audiences with some misgivings.