By Cadra Peterson McDaniel
American–Soviet Cultural international relations: The Bolshoi Ballet’s American Premiere is the 1st full-length exam of a Soviet cultural diplomatic attempt. Following the signing of an American-Soviet cultural trade contract within the past due Nineteen Fifties, Soviet officers resolved to make use of the Bolshoi Ballet’s deliberate 1959 American travel to awe audiences with Soviet choreographers’ nice accomplishments and Soviet performers’ great skills. hoping on vast learn, Cadra Peterson McDaniel examines no matter if the pursuits in the back of Soviet cultural trade and the explicit goals of the Bolshoi Ballet’s 1959 American travel supplied proof of a thaw in American-Soviet kinfolk. Interwoven all through this examine is an exam of the Soviets’ competing efforts to create ballets encapsulating Communist principles whereas at the same time reinterpreting pre-revolutionary ballets in order that those works have been ideologically applicable.
McDaniel investigates the explanation at the back of the production of the Bolshoi’s repertoire and the Soviet leadership’s goals and interpretation of the tour’s good fortune in addition to American reaction to the travel. The repertoire integrated the 4 ballets, Romeo and Juliet, Swan Lake, Giselle, and The Stone Flower, and Highlights courses, which integrated excerpts from numerous pre- and post-revolutionary ballets, operas, and dance suites. How the americans and the Soviets understood the Bolshoi’s good fortune offers perception into how either side conceptualized the position of the humanities in society and in political transformation.
American–Soviet Cultural international relations: The Bolshoi Ballet’s American Premiere demonstrates the ballet’s position in Soviet international coverage, a shift to "artful warfare," and hence emphasizes the importance of learning cultural alternate as a key element of Soviet overseas coverage and analyzes the continuing value of the humanities in twenty-first century Russian politics.
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Extra info for American-Soviet Cultural Diplomacy: The Bolshoi Ballet's American Premiere
10–11. 49. , 11. 50. , 41, 45 51. , 46–47, 163–164. The evidence used for this conclusion is a review of the American critics’ reports regarding the Bolshoi’s performance. The reports come from the major newspapers in the three major cities where the Bolshoi performed, New York City, Los Angeles, and San Francisco. See specific citations and reports throughout the study, Chapters 3–7. 53. Walter L. Hixson, Parting the Curtain: Propaganda, Culture, and the Cold War, 1945–1961 (New York: St. , Publishers, 2005).
2. John Ragni (Associate Librarian, Huie Library, Henderson State University, Arkadelphia, Arkansas), in discussion with the author, February 2014. 3. W. D. (Professor of Political Science, Department of Social Sciences, Henderson State University, Arkadelphia, Arkansas), in discussion with the author, April 2014. 4. William R. ” Il Politico 38, no. 4 (1973): 682–696. 5. Richard T. Arndt, The Last Resort of Kings: American Cultural Diplomacy in the Twentieth Century (Dulles, VA: Potomac Books, 2005), xxi.
The first major opportunity to discuss cultural exchange occurred during the Geneva Summit. This meeting grew from the British proposal that a meeting occur between the four major powers, the British, the French, the Americans, and the Soviets. 48 Eisenhower, however, remained reluctant to agree to a meeting until West Germany joined NATO. Though the British repeatedly pressured the Americans to hold a meeting with the Soviet leaders, Eisenhower withheld his consent until West Germany became a NATO member.
American-Soviet Cultural Diplomacy: The Bolshoi Ballet's American Premiere by Cadra Peterson McDaniel