You do not have the time to go through our entire blog? This article summarizes our main points, answering our problematique on the extent to which the Ballets Russes are a Russian tool of soft power.
The Ballets Russes are not a clear tool of soft power
First of all, the main character of the Ballets Russes, its impresario Diaghilev, is a figure that does not match the Russian regime’s prerogative. Indeed, he comes from an aristocratic background, which the Soviet Union is fighting against: he embodies the bourgeoisie, the “White Russian” as their are called, the oppressors of the people according to the communist ideology. He is in addition homosexual, a sexuality that neither pleased the Russian of the tsarist regime, nor the ones of the following Soviet Union.
Furthermore, from 1911 onwards, the Ballets Russes are totally independent from the Russian regime. They have never performed in Russia, neither has Diaghilev returned there until his death in 1929. Thus, how could the company embody the Russian principles of that time, as they are totally cut from that country? The progressist, avant-garde and audacious spirit of the Ballets cannot be seen as representing the Russia ideology of that time. This ideology was a repressive one, the authoritarian Soviet regime wanting to control the art creation of the country. The ballet, as well as all arts, had to serve the revolutionary program of the regime and re-educate the masses, which was not something the Ballets Russes were about at all.
Lastly, foreigner artists’ influence is too considerable to consider the Ballets Russes being only a product of Russian creativity. French artists in particular, such as Debussy with Prelude to the Afternoon of a Faun, are a great part of the Ballets Russes masterpieces. Thus, how could the Ballets Russes be a tool for Russia to convey its own political messages, and be used as a diplomatic tool of Russian soft power, if their influential pieces are not even led by Russian creators?
Their influence is however undeniable
Even if the Ballets Russes did not have as a main goal to promote the Russian regime, and thus be a tool of soft power for them, it is undeniable that the company has had an impact that can be compared as a soft power one. As a matter of fact, the company impacted the way the Western World saw Russia, and in a positive way. The Ballets Russes were the one that brought up a revolution in the artistic world of that time. They came up with original creations, celebrities, and a way of conceiving the art of the Ballet that brought together modernity and tradition, charisma and nerve, as well as a strong emotional power.
And all the things they brought, they did it under the name of the Ballets Russes, with a Russian impresario and Russian dancers. Many times, it was also with Russian composers, choregraphers, painters, traditional costumes, melodies and stories. The most Russian creations, such as Petrushka, were also those that the public liked the most. Hence, even if they did not represent the real Russia of that time, that from 1917 onwards became the Soviet Union, they did, at the end of the day, represent in the Westerners’ mind a certain idea of Russia that was one of progressiveness and fierce talent.
This influence was however certainly more about arts than about diplomacy. You can read more on that in one of our article.
A nuanced conclusion on the issue
All in all, the Ballets Russes did impact the way Russian arts was perceived by the Western world and can thus be considered as an instrument of soft power. Even though they have shocked the audience with creations such as The Rite of Spring, their overall production represented a Russia full of splendeur, nerve and talent. As Coco Chanel is said to have stated, “Diaghilev invented Russia for foreigners“.
However, that was not done intentionally, and Diaghilev was for long strongly discredited in his home country, to the point that historians of art did not speak about him and his work for more than 60 years after his death. Indeed, he and his Ballets “Russes” embodied a Westernized version of Russian arts that could not match USSR’s ideology, even more during the Cold War years to come.
The Ballets Russes: a tool of Russian soft power? 