By: C. William Hanson Jr.

Dear Readers,

In the closing lines of last month’s edition, we wrote, 

“When organizations prioritize conformity over creativity, the rich tapestry of cultural expression suffers. Next month we shall explore these issues further.”  In the case of Russia, the Putin regime’s restrictions of free expression, Western sanctions in response to Putin’s invasion of Ukraine, and Putin’s conscription of young Russian men into the army to serve as cannon fodder all have led to a massive emigration including especially Russians with artistic talent and aspirations.  

At one point in history, Russia was the place to be for up and coming ballet stars. Russia’s prominence as an international leader for training in ballet finds recognition in numerous books and other publications. For example, in Dancing Through Life: Steps of Courage and Conviction, Judith Jameson provides insights from dancers who speak highly of their training experiences in Russia (Crown Publishing Group, 2020). In Russia’s Ballets Rachel Silman discusses the history and dominance of Russian ballet and its appeal to ballet students worldwide (Chauncey Press, 2015). Our brief portrayal of Irina Leman in last month’s issue, whose comment in reply appears below, omitted for brevity’s sake her return to stay in our home and to engage briefly both in teaching and in the making of a short film. The film was codirected by internationally recognized composer Eric Ranvig and the marvelous filmographer Anthony Medel. This time Irina brought along her co-choreographer and dance partner, the dazzling Ivan (Vanya) Tarakanov, and the film also starred Steven Del Col and Evan Kinnane, both outstanding dance students from the Boston Conservatory at Berklee. 

Vanya did at that time from the USA return to Russia, as had Misha, the Russian dancer mentioned last month. In winter of 2022, we received a plea for help from Misha who with his partner was attempting to flee to Tbilisi, Georgia, as a first stop in their emigration. Vanya went to Australia. Here you see him dancing with Iulia Karimova in “Adagio and Men’s Variation” from Ballet Harlequinade, a ballet comique in two acts and two tableaux with libretto and choreography by Marius Petipa and music by Riccardo Drigo:

Historically, we can see that both cancel culture and other forms of repression have characterized both the extreme right and extreme left, presenting significant challenges to democratic freedoms that are essential for the flourishing of the arts.  But just what is “cancel culture?”  While various definitions have been provided, The New York Times writes, “Cancel culture, broadly defined, is a form of public shaming that seeks to hold individuals accountable for actions or comments deemed objectionable, often leading to social ostracism or professional repercussions.” The article deplores the consequent chilling effect on free speech. Individuals may refrain from voicing their opinions or engaging in open discussions for fear of backlash; such fear may lead to a culture of conformity and stifling diverse viewpoints that are crucial for a healthy democracy. The consequences of being “canceled” can be severe, often leading to job loss, public shaming, and social isolation without due process or comprehensive understanding of the context. The Times reports that left-leaning political efforts have utilized social media to mobilize outrage against perceived injustices, and argues that such activism can be powerful, often taking the form of coordinated campaigns to publicly embarrass or cancel individuals without thorough examination of the facts. For example, high-profile figures, such as J.K. Rowling, faced intense backlash for comments perceived as transphobic, leading to calls for her work to be boycotted despite her substantial contributions to literature.

A good friend of mine, Dona Vaughn, in one instance became a victim of such a campaign.  

She is the Artistic Director of Opera Maine. From 1998 to 2010, she was Stage Director/Acting Coach for The Metropolitan Opera’s Lindemann Young Artist Development Program. From 2008 – 2020 she served as Artistic Director of Opera Programs at Manhattan School of Music. She began her career as a performer in the original Broadway productions of Company, Jesus Christ Superstar and Seesaw. She was Assistant to Producer Kermit Bloomgarden for the Broadway productions of Equus and Hot l Baltimore, and Associate Producer for Pavel Kohout’s Poor Murderer, as well as ABC’s daytime drama All My Children. Directing credits include New York City Opera, Michigan Opera Theater, Wolf Trap Opera, Palm Beach Opera, Opera Birmingham, Lincoln Center Playwrights’ Festival, Kennedy Center, and DiVivreVoix (Vivonne, France). This past summer in Maine she served as artistic director for an Opera Maine production of Sweeney Todd.  

In my eagerness not to violate the confidentiality of our conversations, I shall share nothing from them, but will quote from an article by the eminent Irish-German music historian Kevin Clarke, Director of the Operetta Research Center.

“Here’s the curious case of Dona D. Vaughn and the state of operetta in 2020. As artistic director of opera at Manhattan School of Music (MSM) Miss Vaughn got fired for putting on Lehar’s Das Land des Lächelns (1929). Actually, she got “cancelled” via an online petition that stated: “We are requesting the immediate removal of Dona D. Vaughn……..”  Clarke adds, “Wouldn’t this Lehár show be the perfect opportunity to discuss with woke students of today how ethnic and racial stereotypes have changed over the decades, what they meant back in 1929 and what they mean in 2020? But also ask how a director could deal with such issues intelligently today – instead of cancelling the entire work and shoving it into the closet, never to talk about it again (or play the music again).” 

Clark, Kevin. “Cancel Culture Reaches ‘Land Des Lächelns’ at Manhattan School of Music.” Operetta Research Center, 30 Aug. 2020, operetta-research-center.org/cancel-culture-reaches-land-des-lachelns-manhattan-school-music/. 

Though the New York Times links cancel culture with leftist political forces, history shows us that extreme factions associated with what have been considered both right and left, while claiming to champion different ideologies, have often manifested similar tendencies to suppress opposing viewpoints, stifling creativity and artistic expression in the process.

The extreme left often advocates for social justice and inclusivity, positioning itself as a protector of marginalized voices. However, the desire to maintain ideological purity has led to cancel culture, where individuals or groups are publicly denounced and ostracized for actions, beliefs, or expressions deemed offensive. Artists can find themselves at the mercy of this phenomenon, often feeling pressured to conform to a specific narrative or risk being marginalized. This can have a chilling effect on creativity, as fear of backlash may lead artists to self-censor or to avoid exploring controversial themes, thereby limiting the scope of artistic expression.

Conversely, the extreme right has tended to champion traditional values and has often viewed progressive ideas and artistic expressions as threats to cultural identity. This perspective can lead to the repression of art that challenges or critiques the status quo. Censorship becomes a tool for enforcing conformity, as right-wing ideologues seek to control the cultural narrative by deeming certain artistic expressions as unacceptable or harmful. This repression stifles diversity in the arts, pushing artists toward safer, more palatable themes that align with conservative values, at the expense of exploring complex and thought-provoking topics.

Both extremes effectively undermine the democratic principles that support freedom of expression. Democracy thrives on the exchange of diverse ideas and perspectives, which is crucial for the arts.

While we have last month and this focused on music and dance, Russian cinema and broadcasting have important stories to tell about the recent and increasing loss of freedom.  And while those stories span more than a decade, the past ten months in the USA seem also to be opening an authoritarian play book.  In these regards, we’ll look next month at both the past decade in Russia and the past year in the USA, which have some disheartening similarities.

But to end on a hopeful note, the election three days ago in the Netherlands brought welcome change. The extreme right party, primarily represented by the Party for Freedom (PVV), has faced justified criticism for promoting anti-immigrant sentiments, nationalism, and undermining democratic values through its populist rhetoric. These influences have contributed to social polarization and tensions surrounding immigration policies. In the elections three days ago the PVV experienced losses, reflecting a shift in voter sentiment and a rejection of their extreme views. The winning party was the Dutch People’s Party for Freedom and Democracy (VVD), led by Rob Jetten:

The Netherlands has provided substantial military and humanitarian aid to Ukraine, including weapons, ammunition, and financial support, amounting to hundreds of millions of euros, and on a per capita basis ranks among the largest contributors, along with Poland, Sweden, and the Baltic countries.

Reader Comment:

My friends are doing fine. I was in Russia this summer and everything is very calm there and everyone is living a good life. Unfortunately a lot of ballet foundations took away the repertoire from the Ballet Companies and artists has not such a thrilling life as before. 

Both [I] and Misha, and Vanya were my very good classmates before our career went to the different directions.

I think Vanya [is] in Australia now. 

With warm regards, Irina