The Party cancelled all these ‘novelties’, as you know. Why? Because these ‘novelties’, in form very ‘leftish’, were in actual fact extremely reactionary and made for the nullification of the school.[49]
One observer visiting the USSR explained:
Theories of education were numerous. Every kind of educational system and experiment was tried—the Dalton Plan, the Project Method, the Brigade Laboratory and the like. Examinations were abolished and then reinstated; though with a vital difference. Examinations in the Soviet Union serve as a test for scholarship, not as a door to educational privilege.[50]
In particular the amorality inherent in Marxism was reversed under Stalinism. Richard Overy states of this process:
Changing attitudes to behaviour and social environment under Stalin went hand-in-hand with a changing attitude towards the family… Unlike family policy in the 1920s, which assumed the gradual breakdown of the conventional family unit as the state supplied education and social support of the young, and men and women sought more collective modes of daily life, social policy under Stalin reinstated the family as the central social unit, and proper parental care as the model environment for the new Soviet generation. Family policy was driven by two primary motives: to expand the birth rate and to provide a more stable social context in a period of rapid social change. Mothers were respected as heroic socialist models in their own right and motherhood was defined as a socialist duty. In 1944 medals were introduced for women who had answered the calclass="underline" Motherhood medal, Second Class for five children, First Class for six; medals of Motherhood Glory in three classes for seven, eight or nine offspring, for ten or more, mothers were justly nominated Heroine Mother of the Soviet Union, and an average of 5,000 a year won this highest accolade, and a diploma from the Soviet President himself.[51]
No longer were husband and wife disparaged as the ‘drunken father’ and the ‘religious mother’, from whom the child must be ‘emancipated’ and placed under state jurisdiction, as Trotsky and the other Old Bolshevik reprobates attempted. Professor Overy states, rather, that ‘the ideal family was defined in socialist-realist terms as large, harmonious and hardworking’. ‘Free love and sexual licence’, the moral nihilism encouraged by Bolshevism during its early phase, was being described in Pravda in 1936 as ‘altogether bourgeois’.[52]
In 1934 traditional marriage was reintroduced, and wedding rings, banned since the 1920s, were again produced. The austere and depressing atmosphere of the old Bolshevik marriage ceremony was replaced with more festive and prolonged celebration. Divorce, which the Bolsheviks had made easy, causing thousands of men to leave their families, was discouraged by raising fees. Absentee fathers were obliged to pay half their earnings for the upkeep of their families. Homosexuality, decriminalised in 1922, was recriminalised in 1934. Abortion, legalised in 1920, was outlawed in 1936, with abortionists liable to imprisonment from one to three years, while women seeking termination could be fined up to 300 roubles.[53] The exception was that those with hereditary illnesses could apply for abortion.[54]
The antithesis between Marxist orthodoxy and Stalinism is nowhere better seen than in the attitudes towards the family, as related above, and culture.
Andrei Zhdanov, the primary theoretician on culture in Stalinist Russia, was an inveterate opponent of ‘formalism’ and modernism in the arts. ‘Socialist-realism’, as Soviet culture was termed from 1932,[55] was formulated that year by Maxim Gorky, head of the Union of Soviet Writers.[56] It was heroic, folkish and organic. The individual artist was the conveyor of the folk-soul, in contrast to the art of Western decline, dismissively described in the USSR as ‘bourgeoisie formalism’.[57]
The original Bolshevik vision of a mass democratic art, organised as ‘Proletkult’, which recruited thousands of workers to be trained as artists and writers, as one would train workers to operate a factory conveyor-belt, was replaced by the genius of the individual expressing the soul of the people. While in the West the extreme Left and its wealthy patrons championed various forms of modernism,[58] in the USSR they were marginalized at best, resulting in the suicide for example of the Russian ‘Constructivist’ Mayakovsky. The revitalisation of Russian-Soviet art received its primary impetus in 1946 with the launching of Zhdanovschina.[59]
The classical composers from the Czarist era, such as Tchaikovsky, Glinka sand Borodin, were revived, after being sidelined in the early years of Bolshevism in favour of modernism, as were great non-Russian composers such as Beethoven, Brahms and Schubert.[60] Maxim Gorky continued to be celebrated as ‘the founder of Soviet literature and he continued to visit the USSR, despite his having moved to Fascist Italy. He returned to Russia in 1933.[61] Modernists who had been fêted in the early days of Bolshevism, such as the playwright, Nikolai Erdman, were relegated to irrelevance by the 1930s.[62] Jazz and the associated types of dancing were condemned as bourgeoisie degeneracy.[63]
Zhdanov’s speech to the Central Committee of the Communist Party of the Soviet Union (Bolshevik) intended primarily to lay the foundations of Soviet music, represents one of the most cogent recent attempts to define culture. Other than some sparse references to Marx, Lenin and internationalism, the Zhdanov speech should rank alongside T S Eliot’s Notes Towards A Definition of Culture[64] as a seminal conservative statement on culture. The Zhdanov speech also helped set the foundation for the campaign against ‘rootless cosmopolitanism’ that was launched several years later. Zhdandov’s premises for a Soviet music were based on the classical and the organic connexion with the folk, striving for excellence, and expressing lofty values, rejecting modernism as detached from folk and tradition.
And, indeed, we are faced with a very acute, although outwardly concealed struggle between two trends in Soviet music. One trend represents the healthy, progressive principle in Soviet music, based upon recognition of the tremendous role of the classical heritage, and, in particular, the traditions of the Russian musical school, on the combination of lofty idea content in music, its truthfulness and realism, with profound, organic ties with the people and their music and songs◦– all this combined with a high degree of professional mastery. The other trend is that of formalism, which is alien to Soviet art, and is marked by rejection of the classical heritage under the guise of seeming novelty, by rejection of popular music, by rejection of service to the people in preference for catering to the highly individualistic emotions of a small group of select aesthetes.[65]
49
A Zhdanov, Speech at the discussion on music to the Central Committee of the Communist Party SU (Bolshevik), February 1948.
50
Hewlett Johnson, The Socialist Sixth of the World (London: Victor Gollanncz, 1939), Book IV, ‘New Horizons’, http://www.marxists.org/archive/johnson-hewlett/socialistsixth/ch04.htm