Pub Date : 2020-12-17DOI: 10.1093/OSO/9780190051365.003.0005
Adalyat Issiyeva
This chapter considers the formation of an early-nineteenth-century Russian discourse about Russia’s own Orient. It focuses on how the Decembrist movement, with its particularly favorable perception of Caucasian mountaineers, shaped the view of oriental “others.” The growth of nationalism and imperial expansion and the influence of western European Orientalism complicated the issue. The chapter delineates a category of purely Russian musical portraits of the “other” in the repertoire of art songs by Alexander Aliab’ev (1787–1851). Aliab’ev’s personal experience with authorities, years in exile, and travel to the Caucasus—during which he became acquainted with new sonorities, scales, and rhythms—resulted in the unique musical language he assigned to the oppressed non-Russians living in the empire’s southern and eastern outskirts. His art songs, based on original transcriptions and inspired by Decembrist literature, allowed subjugated minorities to sing with their own musical and linguistic accents.
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Pub Date : 2020-12-17DOI: 10.1093/OSO/9780190051365.003.0002
Adalyat Issiyeva
This chapter unpacks the sociopolitical atmosphere in which the Russian popular view of its own Orient was born. It discusses how Russian images of eastern and southern “others,” crystallized in maligned form in bylinas, historical, and children’s songs, were promoted through the publication of song collections and how these representations generated hostile attitudes toward Russia’s eastern and southern neighbors. During the time of conflicts within Russia and wars in the east, the folk songs describing “evil Chechens,” monstrous Tatars, and aggressive Turks camouflaged Russia’s own internal problems. The chapter notes the changes in collections of Russian folk songs that occurred at the end of the nineteenth century: some of Russia’s ethnic minorities who embraced Orthodox Christianity and adopted a Russian way of life (e.g., Cheremis) were included in collections of “Russian” (russkii) folk songs. Due to the shift in imperial projects, different ethnic minorities, despite their cultural differences, were embraced as members of the multiethnic empire.
{"title":"Unveiling Tradition","authors":"Adalyat Issiyeva","doi":"10.1093/OSO/9780190051365.003.0002","DOIUrl":"https://doi.org/10.1093/OSO/9780190051365.003.0002","url":null,"abstract":"This chapter unpacks the sociopolitical atmosphere in which the Russian popular view of its own Orient was born. It discusses how Russian images of eastern and southern “others,” crystallized in maligned form in bylinas, historical, and children’s songs, were promoted through the publication of song collections and how these representations generated hostile attitudes toward Russia’s eastern and southern neighbors. During the time of conflicts within Russia and wars in the east, the folk songs describing “evil Chechens,” monstrous Tatars, and aggressive Turks camouflaged Russia’s own internal problems. The chapter notes the changes in collections of Russian folk songs that occurred at the end of the nineteenth century: some of Russia’s ethnic minorities who embraced Orthodox Christianity and adopted a Russian way of life (e.g., Cheremis) were included in collections of “Russian” (russkii) folk songs. Due to the shift in imperial projects, different ethnic minorities, despite their cultural differences, were embraced as members of the multiethnic empire.","PeriodicalId":344965,"journal":{"name":"Representing Russia's Orient","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133882684","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-17DOI: 10.1093/OSO/9780190051365.003.0003
Adalyat Issiyeva
This chapter gives an overview of the history of the development of ethnography in Russia. It includes brief discussions of official policies on ethnic minorities, individual and institutional forces that influenced them, and the channels through which ethnographies were disseminated (publications and exhibitions). It also discusses various features that shaped Russian ethnography’s particular pattern (exile ethnography, the contribution of Russia’s inorodtsy to orientology, the focus on byt) and points out some of its differences from European writings. Some Russian ethnographies on inorodtsy culture and music challenged the popular, predominantly derogatory representation of Russia’s newly acquired citizens, while others reinforced these biases. Case studies of ethnographies about Russian nomads (Aleksei Levshin), Siberian peoples (Alexander Middendorff), and Muslims living in the Volga-Kama region (Alexander Rittikh) and Russian Turkestan (August Eichhorn) reveal that the tone and approach to Russia’s inorodtsy varied according to the academic affiliation, bureaucratic position, or individual interests that stood behind the research.
{"title":"Building Images of the “Other”","authors":"Adalyat Issiyeva","doi":"10.1093/OSO/9780190051365.003.0003","DOIUrl":"https://doi.org/10.1093/OSO/9780190051365.003.0003","url":null,"abstract":"This chapter gives an overview of the history of the development of ethnography in Russia. It includes brief discussions of official policies on ethnic minorities, individual and institutional forces that influenced them, and the channels through which ethnographies were disseminated (publications and exhibitions). It also discusses various features that shaped Russian ethnography’s particular pattern (exile ethnography, the contribution of Russia’s inorodtsy to orientology, the focus on byt) and points out some of its differences from European writings. Some Russian ethnographies on inorodtsy culture and music challenged the popular, predominantly derogatory representation of Russia’s newly acquired citizens, while others reinforced these biases. Case studies of ethnographies about Russian nomads (Aleksei Levshin), Siberian peoples (Alexander Middendorff), and Muslims living in the Volga-Kama region (Alexander Rittikh) and Russian Turkestan (August Eichhorn) reveal that the tone and approach to Russia’s inorodtsy varied according to the academic affiliation, bureaucratic position, or individual interests that stood behind the research.","PeriodicalId":344965,"journal":{"name":"Representing Russia's Orient","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115947973","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-17DOI: 10.1093/OSO/9780190051365.003.0006
Adalyat Issiyeva
This chapter focuses on Milii Balakirev’s role in the formation of the Russian musical Orient. It discusses how the leader of the Mighty Five and other members of his circle approached and incorporated folk melodies of Russia’s inorodtsy into their music and how some elements previously associated with the East became an inherent part of Russian musical identity. Multiple examples of musical appropriation or syncretism of Russian and eastern styles demonstrate this transition. Deep respect for the peoples living in the Caucasus, combined with Balakirev’s desire to learn about their culture and music, not only had a stimulating effect on his originality but also inspired a large number of works written by the members of his circle, which transcended the “otherness.” Toward the end of his life, Balakirev’s approach to the Orient became more complex: through his settings of oriental poems he criticized Russia’s official policies in the East and expressed his disapproval of the empire’s expansionist wars in the Caucasus.
{"title":"Milii Balakirev, His Orient, and the Mighty Five","authors":"Adalyat Issiyeva","doi":"10.1093/OSO/9780190051365.003.0006","DOIUrl":"https://doi.org/10.1093/OSO/9780190051365.003.0006","url":null,"abstract":"This chapter focuses on Milii Balakirev’s role in the formation of the Russian musical Orient. It discusses how the leader of the Mighty Five and other members of his circle approached and incorporated folk melodies of Russia’s inorodtsy into their music and how some elements previously associated with the East became an inherent part of Russian musical identity. Multiple examples of musical appropriation or syncretism of Russian and eastern styles demonstrate this transition. Deep respect for the peoples living in the Caucasus, combined with Balakirev’s desire to learn about their culture and music, not only had a stimulating effect on his originality but also inspired a large number of works written by the members of his circle, which transcended the “otherness.” Toward the end of his life, Balakirev’s approach to the Orient became more complex: through his settings of oriental poems he criticized Russia’s official policies in the East and expressed his disapproval of the empire’s expansionist wars in the Caucasus.","PeriodicalId":344965,"journal":{"name":"Representing Russia's Orient","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117170944","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-17DOI: 10.1093/OSO/9780190051365.003.0007
Adalyat Issiyeva
This chapter discusses how the composers affiliated with the Music-Ethnographic Committee used several strategies to circumscribe the peoples of the empire under the umbrella of Russian culture. Most of the so-called Ethnographic Concerts organized in Moscow by this committee (1893–1911) featured Russian or Slavic music followed by arrangements of folk songs of Russia’s inorodtsy, helping to reinforce the idea of Russia as a multiethnic state. Detailed analysis of folk song arrangements representing Russia’s ethnic minorities suggests that Russia was determined to appropriate and recontextualize the cultures of its newly acquired southern and eastern subjects. By introducing into inorodtsy music some elements associated with Russianness—the Dorian mode, avoidance of the leading tone, modal harmony, and what was called the “Glinka variation”—Russian composers reduced both the cultural and musical distances between Russia and its “others.” The arrangements performed in the Ethnographic Concerts, however, completely transformed inorodtsy musical language and stripped it of its historical and traditional meanings.
{"title":"Ethnographic Concerts in the Service of Empire","authors":"Adalyat Issiyeva","doi":"10.1093/OSO/9780190051365.003.0007","DOIUrl":"https://doi.org/10.1093/OSO/9780190051365.003.0007","url":null,"abstract":"This chapter discusses how the composers affiliated with the Music-Ethnographic Committee used several strategies to circumscribe the peoples of the empire under the umbrella of Russian culture. Most of the so-called Ethnographic Concerts organized in Moscow by this committee (1893–1911) featured Russian or Slavic music followed by arrangements of folk songs of Russia’s inorodtsy, helping to reinforce the idea of Russia as a multiethnic state. Detailed analysis of folk song arrangements representing Russia’s ethnic minorities suggests that Russia was determined to appropriate and recontextualize the cultures of its newly acquired southern and eastern subjects. By introducing into inorodtsy music some elements associated with Russianness—the Dorian mode, avoidance of the leading tone, modal harmony, and what was called the “Glinka variation”—Russian composers reduced both the cultural and musical distances between Russia and its “others.” The arrangements performed in the Ethnographic Concerts, however, completely transformed inorodtsy musical language and stripped it of its historical and traditional meanings.","PeriodicalId":344965,"journal":{"name":"Representing Russia's Orient","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133627568","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Although the 1917 Russian Revolution brought the collapse of the old regime, the legacy of imperial Russia, with its sophisticated patterns of political and cultural relations with its eastern and southern peoples, survived and continued to exist in the Soviet period, both in the USSR and abroad. Many imperial ethnographers, such as Lev Shternberg and Sergei Oldenburg, decided to ally with the Bolsheviks since they believed that they could both build a modern progressive socialist state and organize its multinational constituents. As Francine Hirsch points out, the Soviet ethnographers, as expert-consultants, played a “far greater role in the work of government than most European or American anthropologists had ever done.”...
{"title":"In Place of a Conclusion","authors":"Adalyat Issiyeva","doi":"10.2307/j.ctvr0qtck.11","DOIUrl":"https://doi.org/10.2307/j.ctvr0qtck.11","url":null,"abstract":"Although the 1917 Russian Revolution brought the collapse of the old regime, the legacy of imperial Russia, with its sophisticated patterns of political and cultural relations with its eastern and southern peoples, survived and continued to exist in the Soviet period, both in the USSR and abroad. Many imperial ethnographers, such as Lev Shternberg and Sergei Oldenburg, decided to ally with the Bolsheviks since they believed that they could both build a modern progressive socialist state and organize its multinational constituents. As Francine Hirsch points out, the Soviet ethnographers, as expert-consultants, played a “far greater role in the work of government than most European or American anthropologists had ever done.”...","PeriodicalId":344965,"journal":{"name":"Representing Russia's Orient","volume":"1919 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130122520","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-17DOI: 10.1093/OSO/9780190051365.003.0004
Adalyat Issiyeva
In the late nineteenth century, the growing popularity of the Aryanist and Asianist (Vostochnik) movements attracted many members of Russia’s political and educated elite. This chapter outlines Russian music theoretical discourse on cultural affiliation with the Aryan race and reveals that there was a widespread agreement that in Russia Aryan or Asian culture was far more influential than that of Europe. Some Russian music critics argued that the Russian connection to the East could be traced in the modal or pentatonic structure of folk melodies, while others believed that Russian musical instruments were proof of Russia’s Asian heritage. Because of growing nationalism and the Russo-Japanese War (1904–5), discourses of Russian cultural superiority proliferated at the turn of the century. Although music writings did not overtly claim Russia’s cultural preeminence, they suggested it through visual representations of Asian and Russian musicians, and discussion of the repertoire of Russian instruments.
{"title":"Aryanism and Asianism in the Quest for Russian Identity","authors":"Adalyat Issiyeva","doi":"10.1093/OSO/9780190051365.003.0004","DOIUrl":"https://doi.org/10.1093/OSO/9780190051365.003.0004","url":null,"abstract":"In the late nineteenth century, the growing popularity of the Aryanist and Asianist (Vostochnik) movements attracted many members of Russia’s political and educated elite. This chapter outlines Russian music theoretical discourse on cultural affiliation with the Aryan race and reveals that there was a widespread agreement that in Russia Aryan or Asian culture was far more influential than that of Europe. Some Russian music critics argued that the Russian connection to the East could be traced in the modal or pentatonic structure of folk melodies, while others believed that Russian musical instruments were proof of Russia’s Asian heritage. Because of growing nationalism and the Russo-Japanese War (1904–5), discourses of Russian cultural superiority proliferated at the turn of the century. Although music writings did not overtly claim Russia’s cultural preeminence, they suggested it through visual representations of Asian and Russian musicians, and discussion of the repertoire of Russian instruments.","PeriodicalId":344965,"journal":{"name":"Representing Russia's Orient","volume":"24 20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128537169","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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