The article analyses debates on jazz after 1953 through the lens of Soviet national cultures. Within the context of Cultural Cold War and the limited opening of the country, the question of a unique Soviet Jazz quickly gained political relevance. Soviet Estonia, at the multinational empire’s periphery, was often imagined as the “Soviet West” by contemporaries. The republic was home to a small but well-educated jazz scene that already developed during the time of the anti-western campaigns of the late 1940s. In the post-Stalin period, Party and cultural elites in Moscow and Leningrad increasingly struggled with a growing number of young jazz enthusiasts that aimed at establishing jazz as art music based on improvisation and influenced by the American model. In these debates on the establishment of a specifically Soviet Jazz, conservative and reform-minded members of the cultural elites envisioned Estonian jazz as an early role model for a number of reasons: Its members were not only highly qualified, but also willing to make traditional Estonian folklore a key element of jazz. What is more, the musicians kept close ties with the Estonian cultural institutions. The growing number of jazz festivals hosted in the Estonian Soviet Republic provided an important public space for the emerging young Soviet jazz culture. At the same time, many Estonian jazz musicians advocated a more critical approach towards improvisation than musicians from Moscow and Leningrad. Their discussions resembled arguments against American superficiality brought forward by party ideologists in the late 1940s. The article questions narratives of jazz as cultural resistance to political oppression, and argues that a focus on cultural transfer from behind the Iron Curtain is too narrow for explaining the genesis, heterogeneity and durability of late Soviet culture. Greater emphasis on the non-Russian peripheries as cradles of culture can provide us with more nuanced interpretations on the renewal of Soviet culture after Stalin’ death.
{"title":"Progressiv weil national?","authors":"Michel Abesser","doi":"10.25162/JGO-2019-0013","DOIUrl":"https://doi.org/10.25162/JGO-2019-0013","url":null,"abstract":"The article analyses debates on jazz after 1953 through the lens of Soviet national cultures. Within the context of Cultural Cold War and the limited opening of the country, the question of a unique Soviet Jazz quickly gained political relevance. Soviet Estonia, at the multinational empire’s periphery, was often imagined as the “Soviet West” by contemporaries. The republic was home to a small but well-educated jazz scene that already developed during the time of the anti-western campaigns of the late 1940s. In the post-Stalin period, Party and cultural elites in Moscow and Leningrad increasingly struggled with a growing number of young jazz enthusiasts that aimed at establishing jazz as art music based on improvisation and influenced by the American model. In these debates on the establishment of a specifically Soviet Jazz, conservative and reform-minded members of the cultural elites envisioned Estonian jazz as an early role model for a number of reasons: Its members were not only highly qualified, but also willing to make traditional Estonian folklore a key element of jazz. What is more, the musicians kept close ties with the Estonian cultural institutions. The growing number of jazz festivals hosted in the Estonian Soviet Republic provided an important public space for the emerging young Soviet jazz culture. At the same time, many Estonian jazz musicians advocated a more critical approach towards improvisation than musicians from Moscow and Leningrad. Their discussions resembled arguments against American superficiality brought forward by party ideologists in the late 1940s. The article questions narratives of jazz as cultural resistance to political oppression, and argues that a focus on cultural transfer from behind the Iron Curtain is too narrow for explaining the genesis, heterogeneity and durability of late Soviet culture. Greater emphasis on the non-Russian peripheries as cradles of culture can provide us with more nuanced interpretations on the renewal of Soviet culture after Stalin’ death.","PeriodicalId":54097,"journal":{"name":"JAHRBUCHER FUR GESCHICHTE OSTEUROPAS","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69177682","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}
In widely available publications on Soviet pop music, the performers of the officially recognized ėstrada music are often described as agents of state or party guidelines who conveyed messages that officials liked to hear. A closer look at the phenomenon, however, reveals a different quality: there were developments in form and content that were basically incompatible with ideology, but which cannot be interpreted as expressions of oppositional thinking either. On the one hand, many interpreters performed songs with at least partial ideological references. On the other hand, influences were visible that could be understood as “international”, “western” or “regional”. Pop songs that seemed to be “western” brought some internationality to the reality experienced by Soviet consumers, at least for the duration of a piece of music. Nevertheless, the performers of these titles were not part of the counterculture.
{"title":"Schundsänger gegen die organisierte Langeweile","authors":"Ingo Grabowsky","doi":"10.25162/JGO-2019-0014","DOIUrl":"https://doi.org/10.25162/JGO-2019-0014","url":null,"abstract":"In widely available publications on Soviet pop music, the performers of the officially recognized ėstrada music are often described as agents of state or party guidelines who conveyed messages that officials liked to hear. A closer look at the phenomenon, however, reveals a different quality: there were developments in form and content that were basically incompatible with ideology, but which cannot be interpreted as expressions of oppositional thinking either. On the one hand, many interpreters performed songs with at least partial ideological references. On the other hand, influences were visible that could be understood as “international”, “western” or “regional”. Pop songs that seemed to be “western” brought some internationality to the reality experienced by Soviet consumers, at least for the duration of a piece of music. Nevertheless, the performers of these titles were not part of the counterculture.","PeriodicalId":54097,"journal":{"name":"JAHRBUCHER FUR GESCHICHTE OSTEUROPAS","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69177719","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}
Using the key concept of socialist realism as interpretational frame, the paper investigates the visual construction of the spaces of the ‘happy Soviet childhood’ in provincial contexts. Sources are photo albums of pioneer summer camps from the 1960s and 1970s situated in the southern Urals and in the Moscow region, interviews with former camp leaders, and instruction materials. The elaborate albums were conceived as internal reports for local authorities and submitted to a regional competition for the best camp. As adult narrations of a happy childhood, the albums are part of a cultural system that created and represented a specific topography of Soviet happy childhood. At the same time, the photographic reports are witnesses of the gaze upon this childhood. The paper explores not so much the single photographs, but the albums as artefacts. The emphasis is on the social practices surrounding the (re)production of the images and narrations by making, choosing and arranging photographs with slogans and emblems in the albums. The visual approach is combined with a spatial one: The summer camps were part of a Soviet topography of childhood offering heterotopic spaces in the context of the Soviet cult of childhood. They also provided the opportunity, namely for women, to escape temporarily from the mind-numbing and controlled spaces of work and family chores.
{"title":"Picturing Soviet Childhood","authors":"Monica Rüthers","doi":"10.25162/JGO-2019-0003","DOIUrl":"https://doi.org/10.25162/JGO-2019-0003","url":null,"abstract":"Using the key concept of socialist realism as interpretational frame, the paper investigates the visual construction of the spaces of the ‘happy Soviet childhood’ in provincial contexts. Sources are photo albums of pioneer summer camps from the 1960s and 1970s situated in the southern Urals and in the Moscow region, interviews with former camp leaders, and instruction materials. The elaborate albums were conceived as internal reports for local authorities and submitted to a regional competition for the best camp. As adult narrations of a happy childhood, the albums are part of a cultural system that created and represented a specific topography of Soviet happy childhood. At the same time, the photographic reports are witnesses of the gaze upon this childhood. The paper explores not so much the single photographs, but the albums as artefacts. The emphasis is on the social practices surrounding the (re)production of the images and narrations by making, choosing and arranging photographs with slogans and emblems in the albums. The visual approach is combined with a spatial one: The summer camps were part of a Soviet topography of childhood offering heterotopic spaces in the context of the Soviet cult of childhood. They also provided the opportunity, namely for women, to escape temporarily from the mind-numbing and controlled spaces of work and family chores.","PeriodicalId":54097,"journal":{"name":"JAHRBUCHER FUR GESCHICHTE OSTEUROPAS","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69175644","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}
The article discusses Soviet record production and export strategies to the West in the 1950s as part of the cultural Cold War. While the treaty framework for cultural exchange between the Soviet Union and Western States enabled Soviet musicians to perform for Western audiences and thus increased the demand for Russian and Soviet music on the global market, the Soviet economy was neither able to provide records of a sufficient quality for foreign trade nor to satisfy national demand fueled by the regime’s shift towards consumerism after Stalin’s death. The dependency on Western companies as transmitters of Russian and Soviet music became the subject of various discussions between the Central Committee, the Ministry of Culture and the Ministry of Foreign Trade. By analysing these discussions the article reveals changing attitudes within top state and party structures towards the necessity of technical modernization and the participation of the Soviet Union in the global music market.
{"title":"Verflechtung wider Willen?","authors":"Michel Abesser","doi":"10.25162/JGO-2019-0009","DOIUrl":"https://doi.org/10.25162/JGO-2019-0009","url":null,"abstract":"The article discusses Soviet record production and export strategies to the West in the 1950s as part of the cultural Cold War. While the treaty framework for cultural exchange between the Soviet Union and Western States enabled Soviet musicians to perform for Western audiences and thus increased the demand for Russian and Soviet music on the global market, the Soviet economy was neither able to provide records of a sufficient quality for foreign trade nor to satisfy national demand fueled by the regime’s shift towards consumerism after Stalin’s death. The dependency on Western companies as transmitters of Russian and Soviet music became the subject of various discussions between the Central Committee, the Ministry of Culture and the Ministry of Foreign Trade. By analysing these discussions the article reveals changing attitudes within top state and party structures towards the necessity of technical modernization and the participation of the Soviet Union in the global music market.","PeriodicalId":54097,"journal":{"name":"JAHRBUCHER FUR GESCHICHTE OSTEUROPAS","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69176701","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}
{"title":"'To Remember Pskov' How the Medieval Republic was Stamped on the National Memory","authors":"A. Filyushkin","doi":"10.25162/jgo-2018-0017","DOIUrl":"https://doi.org/10.25162/jgo-2018-0017","url":null,"abstract":"","PeriodicalId":54097,"journal":{"name":"JAHRBUCHER FUR GESCHICHTE OSTEUROPAS","volume":"170 1","pages":"559-587"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77329036","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}
{"title":"Inakomysliashchie and Orthodoxy – the Case of the Priests Nikolai Eshliman and Gleb Iakunin Andersdenken(de) und Orthodoxie – Der Fall der Priester Nikolaj Ėšliman und Gleb Jakunin","authors":"Christian Föller","doi":"10.25162/JGO-2018-0014","DOIUrl":"https://doi.org/10.25162/JGO-2018-0014","url":null,"abstract":"","PeriodicalId":54097,"journal":{"name":"JAHRBUCHER FUR GESCHICHTE OSTEUROPAS","volume":"40 1","pages":"418-442"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77733339","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}
{"title":"Revisionismus: Elemente, Ursprünge und Wirkungen der Debatte um den Stalinismus „von unten“. Elements, Origins and Outcomes of the Debate on Stalinism ‘from below’","authors":"M. Wagner","doi":"10.25162/JGO-2018-0020","DOIUrl":"https://doi.org/10.25162/JGO-2018-0020","url":null,"abstract":"","PeriodicalId":54097,"journal":{"name":"JAHRBUCHER FUR GESCHICHTE OSTEUROPAS","volume":"40 1","pages":"651"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85209073","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}
This article sets out to present a biography of Second Lieutenant Mikhail Aleksandrovich Gubanov, a Russian White emigrant. After surviving the Civil War in Russia, Gubanov spent many years in exile in Czechoslovakia, where he played an active role in the Gallipoli Union in Prague. After completing higher military-technical courses, he served as one of the lecturers. Following the attack by Nazi Germany on the USSR, Gubanov enlisted in the Wehrmacht as a translator and set off for the German-Soviet front, where he took part in the Battle of Rzhev. After the war, he lived in Germany and published in military-historical journals of the Russian emigration. The biography of this unremarkable “small man” brings together general tendencies that characterised a whole group of people in the White military emigration. Gubanov’s life can serve as a collective example, a standard image of the fate of such White emigre “defeatists” - of people who considered that in the struggle against the USSR any means were justified, including collaboration. It has been possible to reconstruct his life using materials from various Russian and German archives: the bulk of the documents came from the State Archive of Russian Federation (GARF), with additional important pieces from Stadtarchiv Gottingen, as well as Bundesarchiv-Militararchiv and others. Gubanov himself was a prolific author: various articles penned by him in Russian military emigre journals and bulletins were also used. The present work also provides for the first time a historical account of the establishing, in Prague, of courses for foreign officers, as well as examining the use that was made of Russian emigres by the German army. It is concluded that the emigres, clinging to the concept of “irreconcilability” and living in an illusory world, in the end supported the German invasion of the USSR and took part in the genocidal campaign.
{"title":"“Re-Fighting the Civil War”: Second Lieutenant Mikhail Aleksandrovich Gubanov","authors":"O. Beyda","doi":"10.25162/JGO-2018-0010","DOIUrl":"https://doi.org/10.25162/JGO-2018-0010","url":null,"abstract":"This article sets out to present a biography of Second Lieutenant Mikhail Aleksandrovich Gubanov, a Russian White emigrant. After surviving the Civil War in Russia, Gubanov spent many years in exile in Czechoslovakia, where he played an active role in the Gallipoli Union in Prague. After completing higher military-technical courses, he served as one of the lecturers. Following the attack by Nazi Germany on the USSR, Gubanov enlisted in the Wehrmacht as a translator and set off for the German-Soviet front, where he took part in the Battle of Rzhev. After the war, he lived in Germany and published in military-historical journals of the Russian emigration. The biography of this unremarkable “small man” brings together general tendencies that characterised a whole group of people in the White military emigration. Gubanov’s life can serve as a collective example, a standard image of the fate of such White emigre “defeatists” - of people who considered that in the struggle against the USSR any means were justified, including collaboration. It has been possible to reconstruct his life using materials from various Russian and German archives: the bulk of the documents came from the State Archive of Russian Federation (GARF), with additional important pieces from Stadtarchiv Gottingen, as well as Bundesarchiv-Militararchiv and others. Gubanov himself was a prolific author: various articles penned by him in Russian military emigre journals and bulletins were also used. The present work also provides for the first time a historical account of the establishing, in Prague, of courses for foreign officers, as well as examining the use that was made of Russian emigres by the German army. It is concluded that the emigres, clinging to the concept of “irreconcilability” and living in an illusory world, in the end supported the German invasion of the USSR and took part in the genocidal campaign.","PeriodicalId":54097,"journal":{"name":"JAHRBUCHER FUR GESCHICHTE OSTEUROPAS","volume":"12 1","pages":"245-273"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86723628","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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