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Georgia stood as one of the Soviet peripheries among the 15 Socialist republics, firmly tethered to Moscow as the cultural center. The Soviet regime, notorious for its centralized control, lacked an open platform conducive to the free exchange of views and ideas. Consequently, the notion of "contact zones," emerges as a beacon of cultural convergence, particularly for the whole Soviet empire.
While much has been discussed about contact zones, the significance of musical contact zones, especially from the perspective of Soviet peripheries, has been overlooked. These zones, however, wielded profound influence in shaping the avant-garde musical landscape within the Soviet Union. Moreover, they acted as destabilizers, challenging presumptive hierarchies of cultural influence within the Soviet sphere and mitigating Cold War divisions; Furthermore, these zones served as catalysts for composers to diverge from the Party-approved musical norms.
Within the sprawling expanse of the Soviet empire, the exchange of musical ideas traversed two distinct pathways: internal dissemination through official Soviet channels and personal networks, and external via international platforms, most notably the Warsaw Autumn Festival since 1956. These contact zones emerged as groundbreaking conduits for peripheral Soviet republics like Georgia, profoundly influencing their artistic trajectory, particularly in the realm of art music.
This presentation endeavors to delve into the paramount significance of both internal and external contact zones, elucidating their transformative impact through the narratives of two pioneering Georgian composers, Natela Svanidze and Micheil Shugliashvili. Through their experiences, we unravel the intricate interplay between cultural exchange, artistic innovation, and the complex dynamics of Soviet-era musical landscapes.