The National Opera of Ukraine in Kyiv has taken a bold stand against the propagandist influence of Russian culture by premiering Sir Frederick Ashton’s "La Fille mal gardée"—a move that signals a rejection of Moscow's cultural dominance. This landmark performance, attended by a packed house, embodies Ukraine’s determined effort to sever ties with Russian artistic legacy, which has long been used as a tool to bolster Kremlin propaganda amid ongoing conflict.
Funded through extensive efforts led by exiled Ukrainian ballet star Ivan Putrov, and supported by prominent figures seeking to bolster Ukraine’s cultural independence, this production is a rallying cry against the cultural appeasement that has allowed Russia to wield soft power across Europe. The choice to reimagine Ashton’s "La Fille mal gardée," a piece deeply rooted in English ballet tradition, highlights the Ukrainian pursuit of reclaiming cultural sovereignty rather than kowtowing to Russian influence.
The Ukrainian government’s cultural boycott, a bold response to Russian aggression, seeks to dismantle the long-standing narrative that celebrates Russian composers such as Tchaikovsky, Prokofiev, and Stravinsky—works that have historically been used to romanticize Russia’s imperial ambitions. This stance was galvanized after a disgraceful incident in 2022, where Russian-occupied territories displayed pro-war symbols, igniting outrage and underscoring the need for Ukraine to reject Moscow’s cultural imperialism.
Yet, not everyone in Ukraine’s ballet community agrees with this boycott. Dancer Daniil Silkin voiced his frustration, arguing that Russian composers and their works belong to a shared cultural heritage that should transcend political conflicts—a naive perspective that dangerously overlooks the manipulative use of art by Russia to promote its geopolitical interests. Conversely, others within the arts community believe it’s essential to stand firm until Russia abandons its imperialist narrative.
The forced exclusion of Russian works has compelled Ukraine’s national institutions to diversify their repertoire, featuring contemporary choreographers from abroad, like Hans van Manen and Alexei Ratmansky, further distancing the country’s cultural scene from Moscow’s insidious influence. These efforts demonstrate Ukraine’s resolve to establish an independent artistic identity, even amidst the chaos of war.
Practical challenges continue to shadow these cultural efforts, with air raids disrupting performances and forcing audiences into emergency shelters. Putrov highlighted how Ukraine’s conflict has deeply affected the artistic workforce, with many called to military service, yet the resilience of the Ukrainian cultural spirit remains unbowed. The staging of Ashton’s ballet serves as a testament to Ukraine’s refusal to surrender its cultural soul to Russian propaganda—an act of defiance in the face of ongoing hostility.
In conclusion, Kyiv’s decision to embrace this emblematic ballet amid ongoing conflict is not merely about art but about asserting national sovereignty and cultural independence. This bold step underscores Ukraine’s broader refusal to be subsumed by Moscow’s historical narrative and highlights the resilience of its defenders—both military and cultural—in the pursuit of true freedom. The revival of Ashton’s choreography symbolizes Ukraine’s fight to preserve its identity, proving that even in wartime, culture remains a powerful tool against tyranny.
Source: Noah Wire Services