Raissa Zulok
creator: Jenna Louie
source: Berkow, Ira. Maxwell Street: Survival in a Bazaar. Knopf Doubleday Publishing Group, 1977. M.D.H. JAPANS SYMPATHIZERS HERE.; What Manner of Men Are They? -- Russia and the United States. Accessed April 26, 2014. http://query.nytimes.com/mem/archive-free/pdf?res=FB0C17FA3A5416738DDDAF0894DB405B848CF1D3. Kaztauskis, Antanas. From Lithuania to the Chicago Stockyards--An Autobiography. The Independent. August 4, 1904. Leonard, Henry B. The Immigrants Protective League of Chicago 1908-1921. Journal of the Illinois State Historical Society (1908-1984) 66, no. 3 (October 1, 1973): 271-84.
date: 1884-1919

Schmuel Abrahams
creator: Michael Sanders
source: Nicholas II : the life and reign of Russia's last monarch; Dukhobors in Georgia : a study of the issue of land ownership and inter-ethnic relations in Ninotsminda rayon
date: 1878-?

Mariam Raschberg
creator: Rena Wang
source: http://www.ellisisland.org/search/passRecord.asp, http://ukrainetrek.com/odessa-city, http://faculty.history.umd.edu/BCooperman/NewCity/Pogrom1905.html, http://www.economist.com/node/3490716
date: 1845-1918

Lopatkina's Injury
description: In 2001, Ulyana Lopatkina suffered a serious injury that forced her to stop dancing for two years, during which time she married and had a daughter. Interestingly, it was Mikhail Baryshnikov—one of the greatest ballet dancers alive and a former Kirov dancer before his defection—arranged the operation that Lopatkina had on her leg to correct her injury (Yudina). Lopatkina’s return to ballet following her injury-prompted sabbatical demonstrates an extreme sense of determination and dedication, especially when one considers the fact that most ballerinas do not return to dance once they have had a baby. Yet the story of Lopatkina’s injury, which is tied up with the moment in which she became a mother, contains a deep sense of melancholy, which is extremely pertinent to the idea of Russianness presented in this exhibit. In an interview following her return to the stage—where she is still considered one of the best ballet dancers in the world—Lopatkina says, “I am terrified what resonance [my return to ballet] will have for the future of my child. I imagine myself at my death, thinking, did my child see me do the best thing for her, did I live my life right? Those sort of thoughts are always with me now […] Even if I have the opportunity to have another child, I will not be able to detach myself from my life in art. This is how I feel today” (Lopatkina qtd. Brown). Word Count: 242
source: Brown, Ismene. “Ulyana Lopatkina: The Beanpole Who Became the Soul of Russia.” ArtsDesk.com. The Arts Desk Ltd., 9 Jul. 2005. Web. 21 Apr. 2014. Kirov Ballet. “Uliana Lopatkina as Odile in Swan Lake.” Photograph. Ballet.magazine. N.p., 1 Jun. 2005. Web. 22 Apr. 2014. Ross, John. “Uliana Lopatkina—La Valse.” Photograph. Ballet.co Galleries. N.p., 25 May 2004. Web. 22 Apr. 2014. Yudina, Anna. “Prominent Russians: Ulyana Lopatkina.” Russiapedia. TV-Novosti, 2011. Web. 21 Apr. 2014.
date: Summer 2001

Soloviev's Suicide
description: In 1977 the great dancer Yuri Soloviev killed himself. The fact that he killed himself in his beloved dacha makes his death more haunting, for “it is tragic to think that in a dark hour he was drawn back to his roots” (Lobenthal 55). Though the reasons for Soloviev’s suicide remain obscured, interviews with Tatiana Legat, Soloviev’s widow, reveal that “Yura [Tatiana’s pet name for her husband] was always being pressed to join the Party” and that Soloviev was once explicitly told, “You’re an embodiment of what a Russian Communist is. You need to join the Party” (Legat qtd. Lobenthal 62). Additionally, in the months leading up to his suicide it appears that Soloviev was in an increasing amount of physical pain and did not feel he was dancing to his best ability. Legat says, “But his back hurt, his legs hurt. And I said, ‘Well, don’t [do the variation], just stand and strike some poses.’ He said, ‘I can’t. You know who I am and you know what my position is, that I’m a People’s Artist, etc. I have to do it. How can people come to the theater and say, ‘But he didn’t dance.’’ I said to him, ‘It doesn’t matter if you don’t do it. Any pose that you do, you will do it right and beautifully and everybody will love it.’ In Romeo and Juliet there’s a lot of running, and he was in such pain. He couldn’t run. He still ran, because he felt he had to. He was just happy that he hadn’t disappointed anybody – Kolpakova, his Juliet, or the public: ‘Thank God I got through everything’” (Legat qtd. Lobenthal 67). Soloviev’s death clearly embodies a sense of tragedy and sheer determination that is fundamental to the idea of Russianness presented in this exhibit. Word Count: 300
source: “Blue Bird in The Sleeping Beauty.” Photograph. For Ballet Lovers Only. N.p., 2009. Web. 22 Apr. 2014. “Le Corsaire.” Photograph. For Ballet Lovers Only. N.p., 2009. Web. 22 Apr. 2014. Lobenthal, Joel and Lisa Whitaker. “Tatiana Legat on Yuri Soloviev.” Ballet Review 38.3 (2010): 55-67. Web. 22 Apr. 2014
date: January 12, 1977

Nureyev's Defection
description: In June 1961, Rudolf Nureyev, along with other members of the Kirov company, arrived at the Paris airport in order to fly to London, the next stop on their tour. Nureyev however “given a ticket to Moscow and told he was needed for a gala” (“1961—Nureyev Defects”). The KGB had been monitoring Nureyev and were disturbed by the fact that he often went out with French dancers and locals while in Paris. The Soviet government feared that they might lose Nureyev, their best and most famous ballet dancer, to the West; consequently, they attempted to use several different tactics to persuade Nureyev to return to the Soviet Union. But Nureyev was doubtful of “[Soviet] assurances that he would rejoin the company in London” and instead felt “sure he would never again be allowed out of Russia and would face relegation back home” (“1961—Nureyev Defects”). With the help of some friends in Paris, Nureyev managed to secure political asylum in France and his career continued to flourish in the West. Nureyev’s defection clearly demonstrates a sense of dedication and a sense of bittersweet sacrifice, for although Nureyev was able to escape to the West, for years after his defection “all his travelling had to be done on temporary documents” (“1961—Nureyev Defects”). Nureyev was sentenced to prison by the USSR and it was only by a special 48-hour visa that Nureyev was able to visit his ailing mother in the USSR before she died. Thus, Nureyev’s defection embodies the sense of tragedy that is part of the idea of “Russianness” presented in this exhibit. Word Count: 265
source: Bild, Pressens. “Press Photo of Rudolf Nurejev [sic] at His Defection from the Soviet Union 1961.” Photograph. Wikipedia. Wikipedia Foundation Inc., 28 Mar. 2014. Web. 22 Apr. 2014. “Rudolf Nureyev—‘Aureole.’” Front Row Photos. N.p., n.d. Web. 22 Apr. 2014. Smith, Dinita. “New Light on Nureyev’s Grand Leap to the West.” The New York Times. The New York Times Company, 6 Oct. 1998. Web. 21 Apr. 2014. “1961—Nureyev Defects to the West.” Rudolf Nureyev Foundation. Rudolf Nureyev Foundation, 2012. Web. 21 Apr. 2014.
date: June 16, 1961

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