By Yale Richmond, Guest Contributor
Yale Richmond, a retired U.S. Foreign Service Officer and
author of 11 books on intercultural communication, worked on U.S.-Soviet
cultural and other exchanges for more than 20 years. He delivered the following speech at the
Aleksanteri Institute’s 9th Annual Conference “Cold War Interactions
Reconsidered” 29-31 October 2009, University
of Helsinki, Finland.
This is the second of a two part series. The first part appeared on Thursday, December 3.
Exhibits: Better to See Once . . .And
now to exhibitions. As an old Russian proverb tells us, it is better to see
once than to hear a hundred times.
The
Cultural Agreement also provided for month-long showings of exhibitions in the
two countries to show the latest developments in various fields. Prepared by
the U.S. Information Agency, the American exhibitions were on such subjects as
medicine, architecture, hand tools, education, outdoor recreation, technology
for the home, and agriculture. Each exhibition had some 20 Russian-speaking
American guides who responded to questions from the Soviet visitors. For most
Russians who saw the exhibitions, it was their first and only opportunity to
talk with an American.
Despite
harassment by the KGB, the exhibitions drew huge crowds with long lines
awaiting admittance, and they were seen, on average, by some 250,000 visitors
in each city. All together, more than 20 million Soviet citizens saw the 23 U.S.
exhibitions over a 32-year period.
Those
exhibits brought a whole generation of Soviets into contact with the West. They
were one of the best investments we made. And the Soviet authorities would
probably agree with that. In every renegotiation of the Cultural Agreement, the
Soviets sought to eliminate the exhibitions, or failing in that, to reduce the
number of cities in which the exhibitions were shown. In one renegotiation of
the cultural agreement in the early 1970s, when the Soviet negotiators held
firm on completely deleting the exhibitions, our Ambassador in Moscow,
acting on instructions from Washington,
informed Foreign Minister Gromyko that without the exhibitions there would be
no Cultural Agreement. The Soviets understood that, and the exhibitions
continued.
The Very Visible Performing Arts
The
performing arts were one of the most visible of U.S.-Soviet exchanges. In the United States, few of the cognoscenti (those who
know) failed to see the Soviet dance groups, symphony orchestras, operas, ice
shows, circuses, as well as the many outstanding individual artists who visited
the United States
each year, often on extensive coast-to-coast tours. American ensembles and
soloists that went to the Soviet Union in
exchange invariably played to full houses and were likewise appreciated by both
the intelligentsia and the general public. For Duke Ellington’s Moscow
performances in 1971, tickets were sold on the black market for as much as 80
rubles, when the usual price for a theater ticket was seldom higher than four.
Pianist
Emil Gilels was the first Soviet artist to appear in the United States
in decades when he performed to rave reviews on a month-long tour in 1955.
Violinist David Oistrakh followed with a similarly successful tour that same
year, as did renowned cellist Mstislav Rostropovich in 1956.
Under
the US-Soviet cultural agreement, performing-arts exchanges became a recurring
feature in U.S.-Soviet relations. Soviet favorites in the United States
included the Moiseyev Folk Dance Ensemble and the Bolshoi and Kirov Ballets
whose repeated tours received glowing press reviews as well as handsome fees. Tours
across the United States
were also an eye opener for Soviet artists. As described by Galina Ulanova,
star of the Bolshoi Ballet and one of the greatest Russian ballerinas of modern
times, after her first visit to the United States in 1959:
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