Choose in the local council laboring. Do not let the shaman and the kulak (Khoroshevsky G.)

The composition is structured around a stark visual dichotomy, employing contrasting color palettes and figure groupings to convey a clear ideological message. The left side dominates with warm tones – ochre, burnt sienna, and deep yellows – creating a sense of communal energy and activity. Here we see a group of individuals clad in traditional garments, their faces animated by expressions ranging from hopeful anticipation to fervent attention. A central figure, presumably a leader or representative of the Soviet system, gestures expansively towards an unseen future, his posture embodying confidence and direction. The crowd’s upward gaze reinforces this sense of guidance and collective aspiration.
In contrast, the right side is rendered in cool, somber tones – primarily black and white with touches of red – creating a feeling of isolation and negativity. A solitary woman stands facing away from the viewer, her posture suggesting resignation or detachment. Behind her, a stylized depiction of shamanic paraphernalia – drums and ritual objects – floats against a dark background. To her left, a figure representing a kulak (a wealthy landowner) is depicted with an air of haughtiness and separation from the community. The starkness of this section serves to visually isolate these figures as symbols of outdated social structures and potentially exploitative practices.
The Cyrillic text reinforces the visual narrative. Prominently displayed at the top, ВЫБИРАЙ (Choose) immediately establishes the work’s purpose: a call to action. The phrase “В ТУЗЕМНЫЙ СОВЕТ ТРУДЯЩИСЯ” (To the Native Council of Workers) clarifies the intended recipient of this choice. Below, the stark warning НЕ ПУСКАЙ ШАМАНА И КУЛАКА (Do Not Let the Shaman and the Kulak) explicitly condemns these figures as undesirable candidates.
The artist’s use of simplified forms and bold outlines is characteristic of Soviet propaganda art, designed for maximum impact and accessibility to a largely illiterate population. The exaggerated gestures and expressions further amplify the emotional weight of the scene. The overall effect is one of unambiguous endorsement of the Soviet system and its efforts to modernize indigenous communities by replacing traditional leadership with representatives of the working class. Subtly, the work also suggests that spiritual practices (represented by the shaman) and economic disparity (symbolized by the kulak) are obstacles to progress and must be actively rejected in favor of collective advancement under Soviet guidance.