Metaphorical Significance of Moiseyev’s ‘Partisans’ Dance
Just a dance number or a tribute to the dictator?
The Moiseyev Ballet is one of the most acclaimed dance troupes in the world. The repertoire of the troupe changes over time, but one choreographic work has been continuously performed since 1955: The Partisans is a ten-minute character dance that portrays Soviet partisans in WWII.
Performed by two dozen dancers and the orchestra, it is one of the most emblematic representations of Soviet pride. Of all Moiseyev’s works, this particular one stands out as it suggests a propagandist nature more squarely than any other, although the troupe has always been perceived as a vehicle for the Soviet government’s policy.
The Partisans is set in the North Caucasus, where Georgian, Azeri and Russian cultures commingle. In the summer of 1942, Nazi Germany attacked the region for its rich oil reserves. Overwhelmed, Soviet troops could not stop German advances and allowed the entire region to be occupied by the Germans.
Over the following year, Soviet mountain infantry fought tenaciously by employing guerrilla warfare, constantly harassing the occupants with open combat and sabotage. This prevented the Germans from making further progress until they were forced to retreat by a Soviet counterattack.
Along with the defeat in the Battle of Stalingrad, the failure in the Caucasus was a huge blow to Nazi Germany, as it was forced to go on the defensive for the remainder of the war.
There were more than 2,000 partisans actively operating under German occupation. ‘The Partisans’ reflects the diverse nature of these mountaineers, with each of its characters bearing their native cultures.
However, the treatment of these races is not necessarily equal, as one nationality is assigned the more important role of leading the climax: the Georgians.
The Partisans features three Georgian soldiers, two females and one male, all clad in traditional Georgian clothing while performing Georgian dance moves. They essentially steal the show by appearing right at the end, leaving an impression that they led the partisans to victory.
In fact, they are the only group whose nationality is explicit (except for the rather stereotypical characterization of a “Cossack cook”.) While they perform, the orchestra also plays Georgian-inspired music: Moiseyev’s respect for Georgian culture is evident.
But why Georgia? There were countless other places on which Moiseyev could’ve based his narrative. The fact that he chose mountain guerrillas over the Stalingrad defense force is intriguing, especially considering the propagandistic nature of his troupe.
The Caucasus is thick with Georgian tradition, and it is where the famous spinning dance (“Khorumi”) originated. Moiseyev owes much to Gerogian dance, as it constitutes one of the three key components of his choreography (the other two being Ballet and Ukrainian dance.)
Moreover, the Moiseyev Ballet has been predominantly concerned with national character. Most of its repertoire draws directly from dance traditions and cultures from different parts of the world. The Battle of the Caucasus, due to its unique ethnology, might have been one of the “better” materials to keep this tradition going while promoting Soviet ideals.
But it just falls short in unravelling the level of enthusiasm put into the production. In the first place, The Partisans was thought to be a monumental piece to commemorate the ten-year anniversary of the Soviet victory. Due to its choreographic ingenuity, it is now considered Moiseyev’s magnum opus and is one of the most frequently performed numbers in his canon.
It even has a mythological quality with the heroic intervention of one Georgian soldier, who at the climax of the show, comes out of nowhere to save another Georgian soldier in peril. The choreography emphasizes her youth and femininity, as the dancer is directed to drop her hat so that her bountiful blonde hair — apparently a deliberate wig — is revealed to the audience.
A young woman leading an army of men — this sequence is reminiscent of certain mythological figures, such as Joan of Arc (albeit demi-mythological), Valkyries and various national personifications like Britannia and Hellas.
Such strong characterization is not unusual for Moiseyev, but unlike his major works, such as the ‘Dance of the World’ canon, The Partisans is not a depiction of a certain nationality, as it aims to unify the nation rather than appreciate a culture.
So the question remains: How did Georgians, a small minority group on the margins of the Union, manage to take up the representative of the entire nation?
Moiseyev was born in Kyiv and did not have a strong connection with Georgia. But it was Soviet dictator Joseph Stalin, a Georgian, who patronized him by providing all sorts of support. It is said that Stalin personally enjoyed the Moiseyev Ballet, so much so that he provided them with money and a rehearsing studio, allowed international tours and awarded three Stalin prizes in ten years.
All of this happened while the dictator was repressing most other expressions of art. The Partisans premiered in 1955, two years after Stalin’s death and three years after the inception of de-Stalinization. While Stalin’s monuments were being dismantled en masse across the Union, thematising the Battle of Stalingrad would have been impossible from the beginning.
Having been indebted to Stalin’s patronage, Moiseyev might have had a certain sentiment on the Union’s changing political landscape. By focusing on the ethnological aspect of the war, Moiseyev successfully separated politics from his production. While his intention remains unclear, the success of The Partisan certainly contributed to increasing recognition of Georgia’s wartime efforts.
What is remarkable is that Moiseyev Ballet has managed to perform this otherwise controversial number for over 65 years. This owes much to Moiseyev’s pragmatism, which allowed his troupe to be seen as promoters of international cultural exchanges.
The Moiseyev Ballet became the first Soviet dance group to perform in the United States by making an appearance on The Ed Sullivan Show in 1958. Since then, the troupe has often adopted capitalist culture into their repertoire, with one of the most symbolic being the jubilant Rock-n-roll dance number.
While there is no doubt that the Moiseyev Ballet strives for world peace, concerns have arisen due to the ongoing war in Ukraine. This time, the aggressor is Russia while Ukrainian partisans mourn the losses of their country. The troupe has already cancelled several international tours, presumably for security concerns (the troupe was once targeted by a tear-gas attack while touring the U.S..)
Because it is such a difficult time for humanity, every piece of art, regardless of its origin, should be treated with respect. World peace is what Moiseyev envisioned, as is clear from the all-embracing nature of his repertoire. While The Partisan flaunts Soviet gallantry, no single enemy appears in the entire performance.
