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In Kiev there are eight primary music schools, and in the Ukraine Republic the number of primary music schools totals 267. The Ukraine has four Conservatories, five eleven-year music schools, and twenty-four fouryear technical music. schools. The faculty in the Glière four-year Technical Music School numbers 130, nine of whom teach general subjects. All of the graduates are qualified to teach. Methods of teaching and other pedagogical subjects are included in the training, and associated with the school is a practice-teaching school.

Some interesting emphasis is placed on the training on folk instruments in the Glière four-year Technical Music School, the Lysenko eleven-year Music School, as well as in the Conservatory in Kiev. The instruments on which instruction is given for solo work as well as for large ensembles of folk instruments are: (1) bandura, (2) gusli, (3) dombra, (4) sopilka. Students major in these instruments, for which serious or classical music has been arranged and for which composers are also creating music.

The Lysenko eleven-year Music School in Kiev is the principal preparatory school for the Conservatory in Kiev, which has an enrollment of 460 and a staff of 127. A good orchestra had already been organized for concert work at the beginning of the school year. At this school a dombra orchestra performed for the delegates a work by Vivaldi with piano accompaniment.

Since the close of the last war the Conservatory at Kiev has been completely rebuilt as has much of the city. Kiev Conservatory is a well organized institution with a broad program of instruction in standard instruments, in voice, as well as in folk instruments. Composititons by Mendelssohn, Liszt, Tchaikovsky were heard, both solos and large ensembles, played on bandura, balalaika, gusli. Also heard was a composition by the Conservatory Director. P. Shtogovenko, played by a fine orchestra.

Status of Fine Arts in the Soviet Union INSTRUCTION IN the fine arts in the Soviet Union parallels that of music except that, as has already been

said, there are many more music schools at all levels than there are fine arts schools. There are special primary art schools, the four-year technical art schools, schools which prepare exclusively for the higher Institutes or Academies of Art. The Institutes or Academies, like the Conservatories, have five-year courses and, for the students who qualify, three-year post-graduate courses.

During the course of the limited stay of one month in the Soviet Union it was obviously impossible to evaluate the various programs of the arts in education-in special schools, general schools, in Conservatories, Institutes of Fine Arts, Theater Schools, Ballet Schools, Circus School and so forth. This was also true of the programs of the arts in the amateur movements such as the Pioneer Houses and the Houses of Culture, to say nothing of the professional productions such as the symphony orchestra concerts, the ballet, theater, the galleries and museums. It was, indeed, fortunate that there were made available to the delegation so many opportunities for contacts with the various programs. It can be said with conviction, however, that, based on the month of experiences and observation, there is indeed a wellsupported cultural program in the Soviet Union. Everyting we saw and heard gave evidence that the arts in education-in the presentation of the arts to the public and as a part of the highly organized amateur movements -have significant official support.

ON THE DAY PRIOR TO DEPARTURE from the Union of Soviet Socialist Republics the delegation was accompanied by Mrs. L. Ilyena, the Head of Education in the Ministry of Culture, and Mrs. A. Butrova, the liaison officer in charge of relations with the United States in the Ministry of Culture, for an interview with Mrs. E. Furtseva, the Minister of Culture, who is one of the members of the Central Committee of the Soviet Union.

In discussing with the Minister the extent of the cultural program in the Soviet Union, the question was raised as to whether, in these days of somewhat spectacular developments in the field of science, the educa

tional authorities of the Soviet Union are de-emphasizing education in the arts in order to carry on an accelerated program of science and mathematics education. Assurance was immediately forthcoming that under no circumstances is the program of education in the arts being neglected, de-emphasized or curtailed in favor of an accelerated program in any other part of the curriculum. If there is acceleration it would seem that it is in the direction of more and more time being devoted to educational pursuits in all fields.

Indeed, all of the experiences during the month-long period indicated that the arts are increasingly regarded as part of the daily lives of all of the people. It was reassuring and of more than passing significance to have the specific answer from the Minister of Culture under whose jurisdiction the entire arts program in the Union of Soviet Socialist Republics is operated. For, the informed reader will recall, the jurisdiction embraces not alone the formal education in Conservatories, Special Schools of Music, Institutes of Fine Arts, the Ballet Schools, the Circus School, Theater Schools, but also the enormous professional productions such as the Ballet, the Symphony Orchestras, Opera, Theater.

It is apparent that in the Soviet Union, as in many other countries, there is official patronage of the arts, and, as a consequence, great national respect for the arts. In the Soviet Union the emphasis on political and economic growth is of great importance, to be sure, but emphasis on cultural growth and activities and support of cultural activities is of equal importance. A career in the arts is regarded as of the same importance as a career in politics, economics, science or other professions. Therefore, the most careful attention is given to the education of artists in all fields. Official support of the arts does not end with the education of the artists. Support of the arts as an intrinsic part of the life in the Soviet Union provides widespread opportunities for education in the arts for Soviet youth as well as the adult population.

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It seems that the arts and artists in the Soviet Union are accepted as much as any other facet of the life, as official representatives of the society of the country.

Conclusion

THE PURPOSE of the mission was not to evaluate or to interpret the artistic life in the Soviet Union in any of its aspects because such an undertaking would have distressingly artificial implications if attempted in such a short period. Therefore, the delegation was painstaking in making note of all information provided by the hosts. It is on the basis of some of these notes that the information in this report has been made available.

It is the opinion of members of the delegation that it would indeed be a worthwhile project to make a comparative study of the arts in education programs in the United States and the Soviet Union. Because of the emphasis on music education in all fields in both countries such a project would be especially challenging.

Members of the delegation feel that it was indeed a privilege to take part in this mission, and look forward hopefully to a continuation of the cultural exchange program between the Soviet Union and the United States. The benefits to be derived from such exchange are many and are important-from a strictly professional angle, as well as from the standpoint of the effectiveness of exchanges in the field of the arts-particularly the arts in education-as fundamental factors in the development and maintenance of international understanding and good will.

Congressman FRANK THOMPSON JR.,

LUBBOCK, TEX., April 27, 1961.

House of Representatives, Washington, D.C.:
The Texas Art Educators Association is in strong support of your efforts for
H.R. 4172 on the Advisory Council on the Arts.

BILL LOCKHART,
President, Texas Art Educators Association.

NEW YORK, N.Y., May 12, 1961.

FRANK THOMPSON, JR.,

House of Representatives, Washington, D.C.: Unfortunately impossible for me to be present, but most sincerely express the enthusiasm of Dance magazine and of the dance field for House bills 4172 and 4174. As objective and leading representatives of a field which has already proven its' growing creative force on the national and international cultural scene, we wholeheartedly promise our support, and, in the event of the anticipated passage of the bill will do everything within our power to help realize their aims successfully.

LYDIA JOEL,

Editor and Chief, Dance Magazine.

WESTERN ARTS ASSOCIATION,

May 10, 1961.

Hon. FRANK THOMPSON,

House of Representatives, Washington, D.C.
DEAR REPRESENTATIVE THOMPSON: At a recent meeting of the Western Arts
Association, a report was given on the progress of the Federal bill H.R. 4172, the
Federal Advisory Council on the Arts.

Since our group represents the art educators in 18 Midwestern States and is affiliated with the National Art Education Association, we are quite anxious to see the passage of this bill. Thus, the Western Arts Association unanimously voted to express their support to you.

If, as president of this association, there is any way in which I can be of service, please do not hesitate to write me.

Sincerely,

WILLIAM BEALMER, President.

NEW YORK, April 5, 1961.

Congressman FRANK THOMPSON, Jr.,

House Office Building,

Washington, D.C.

DEAR CONGRESSMAN THOMPSON: I wish to congratulate you on your past support of various bills that have been introduced by Congress and your wish to further the cause of the performing arts in this country.

As a performing artist who is actively engaged in bringing music and other forms of culture to the people throughout the country and the world, I know I speak for many when I say that we are hopeful that your bill, H.R. 4172, to establish a Federal Advisory Council on the Arts, as well as the National Cultural Development Act, H.R. 4174, will garner the support that it so richly deserves.

I hope that your efforts on behalf of arts and culture in this country will be undeterred, and be assured that there are many people such as myself who have recognized your unselfish support and who are interested in helping in whatever way possible.

Most sincerely,

MIMI BENZELL.

Congressman FRANK THOMPSON, Jr.,
House Office Building,

Washington, D.C.

NEW YORK OPERA FESTIVAL, New York, N.Y., March 14, 1961.

DEAR CONGRESSMAN THOMPSON: My sincere congratulations and thanks for your past activities in encouraging the performing arts.

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