International Journal Of History And Political Sciences
37
https://theusajournals.com/index.php/ijhps
VOLUME
Vol.05 Issue01 2025
PAGE NO.
37-39
10.37547/ijhps/Volume05Issue01-10
Cultural relations of the Uzbek SSR with African
countries
Bobokulov Okhunjon Akhmatovich
Teacher of the “Department of Social Sciences”, Bukhara State Pedagogical Institute, Uzbekistan
Received:
26 October 2024;
Accepted:
28 December 2024;
Published:
30 January 2025
Abstract:
The victory of the USSR in the World War increased its international status as the first socialist state and
opened up new opportunities for establishing comprehensive relations between states. The scale of the USSR's
international cultural relations led to the gaining of independence and the emergence of Asian and African
countries on the world stage in the early 1960s.
Keywords:
World War, USSR, "Soviet person," "Soviet culture," and "USSR - our common home", "Friendship and
Cultural Relations of the Soviet Society with Foreign Countries.
Introduction:
It is known from history that the issues of
establishing and developing international cultural
relations depend on socio-political stability, ensuring
peace and security in peaceful countries.
It would not be a mistake to say that an important
factor that allowed such an increase in attention to the
foundations of humanism in artistic and scientific
creativity was the weakening of the ideological
pressures of the totalitarian regime in the early period
of the war. As a result, despite ideological restrictions,
cultural workers worked selflessly inside the country. In
particular, looking at the chronicle of cultural life on a
republican scale, it can be said that the science, culture,
and art of Uzbekistan were subordinated to the
interests of preserving the totalitarian regime.
Following the end of World War II, transformational
processes occurred on the geopolitical map, and a new
system emerged in the politics of international
relations. In this process, the Soviet Union developed
tools to establish its own coordinates in the new system
and regulate external relations.
Cultural ties continued to develop from 1945 to 1991.
This period encompasses the time from the end of
World War II until the emergence of independent
states. The typical pattern observed in the series of
cultural exchanges between the Soviet state and other
countries after the war reveals that the main
ideological aim was to promote Soviet ideology in other
countries of the world through these cultural
connections.
METHODS
Therefore, a strategy for implementing the following
measures in this area has been developed:
- to provide national republics with more opportunities
to establish cultural ties with foreign countries in order
to prevent the beginning of the process of national self-
awareness;
- A strategy to increase the involvement of national
republics in promoting the idea of being nationally-
oriented in form while socialist in content within
foreign cultural relations, and in propagating the
essence of the concept of "non-capitalist path of
development" in the transition to socialism;
- A tactic for effectively utilizing cultural ties among
peoples to create a culture imbued with state ideology
and to instill concepts such as "Soviet person," "Soviet
culture," and "USSR - our common home" into the
consciousness of the peoples of national republics.
This programmatic approach was implemented
through practical measures in two ways:
The first was aimed at imparting a unified socialist
character to the national cultures of the republics that
were part of the former Soviet Union, while the second
was directed at promoting this "Sovietized" culture in
foreign countries that had directly chosen the path of
International Journal Of History And Political Sciences
38
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International Journal Of History And Political Sciences (ISSN
–
2771-2222)
socialist development and were not opposed to Soviet
government policies.
The essence of such cultural cooperation began to find
its practical expression in the promotion of world
culture, without exception, in cultural relations with
foreign countries.
The main goal of each cultural meeting was to promote
the ideological, political, and socio-economic goals of
the Soviet state through culture and art.
RESULTS AND DISCUSSION
The peculiar "advantages" of such a path for the ruling
party were the ease and positive result of absorbing
these ideas through theaters, music, singing art,
cultural and educational events, which are considered
the spiritual foundation of every nation.
In February 1958, a All-Union conference was held by
the Soviet Society for the Establishment of Cultural and
Friendly Relations with Foreign Countries, at which a
decision was made to establish the Soviet Society for
Friendship and Cultural Relations with Foreign
Countries (SSOD).
The conference agreed to establish a House of Friendly
Ties with Foreign Countries in Moscow for this union. It
was determined that this institution would serve as a
supporting organization for the activities of the Soviet
Friendship Society. Initially, the Union voluntarily
established friendly and cultural ties in the field of
science and culture with individual organizations,
institutions, institutes, and committees of the states.
Each member of the organization had its own task and
was able to contribute to the development of
international relations with countries of a certain
nature.
The program of the meeting organized by the Union of
Composers of the USSR and the Ministry of Culture of
the USSR was announced at a press conference in
Moscow. The symposium will be attended by leaders of
the UNESCO International Music Council and guests
from 25 countries. In addition to the scientific
component, the symposium program includes
traditional music concerts and musical evenings
featuring works by contemporary composers that
reflect the unique national characteristics of Eastern
cultures.
In the period following World War II, the art of dance
was refined and significantly improved within the
system of cultural exchange. Notably, in the postwar
years, several substantial changes in the fine arts sector
influenced the gradual development of Uzbek dance
art, giving it content and essence that aligned with the
demands of the era. Consequently, changes in social
life, including those in the artistic sphere, were
implemented under the banner of Soviet art, which was
brought to the forefront in the country.
Uzbek dance art began to be widely promoted in the
system of international cultural relations in the second
half of the 20th century, more precisely, in the 1950s.
In the period from the post-war years until the 1970s,
Uzbek art and culture were characterized by the
predominance of a spirit and ideology aimed at
fostering the development of interethnic relations.
From 1945 to 1991, the dance direction of art
developed and evolved in close connection with the
socio-political, cultural, and spiritual life of the republic.
Additionally, this field also actively participated in
international relations.
According to the All-Union Conference of the Soviet
Society for Friendship and Cultural Relations of the
Central Committee of the CPSU with Foreign Countries:
"Friendship and Cultural Relations of the Soviet Society
with Foreign Countries are aimed at strengthening
friendship, trust, and mutual understanding in cultural
relations with the peoples of the USSR, understanding
each other through acquaintance with the history,
economy, culture, science, and way of life of the
peoples of the world, establishing ties between large
public groups, and exchanging experience in the
creative activities of peoples ."
The victory of the USSR in the World War increased its
international status as the first socialist state and
opened up new opportunities for establishing
comprehensive relations between states.
During this period, the Soviet Union's policy of
establishing cultural ties with foreign countries was
implemented in the following areas:
- cultural ties with capitalist countries;
- cultural relations with socialist countries;
- the activity of cultural relations with countries on the
path of socialist development.
Cultural ties, carried out within the framework of these
directions, have acquired different significance in terms
of their essence and political views.
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