COURAGE virtual exhibition / COURAGE webkiállítás

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Brethren Unity of Baptists

Czechoslovak Society of Arts and Sciences Collection

National Archives of the Czech Republic (NA ČR), photo by Dorota Müller

1958

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exile and emigration

politická opozícia

Czechoslovak Society of Arts and Sciences Collection

Petition of the 55 cultural personalities and scientists

1958

Petition of the 55 cultural personalities and scientists

Kaltinimų Juozui Bulavui protokolas

1958

Kaltinimų Juozui Bulavui protokolas

Protokolas vaizduoja 1958 metų Centro komiteto biuro susirinkimą, kuriame Juozas Bulavas buvo kaltinamas buržuaziniu nacionalizmu. Būdamas Vilniaus universiteto rektoriumi Bulavas rūpinimosi universiteto lietuvinimu - didino lietuvių studentų grupių skaičių, tuo pačiu metu mažindamas rusų studentų grupes. 1958 metais, po šio sprendimo jis buvo apkaltintas proletariato internacionalistinio principo ignoravimu ir buržuaziniu nacionalizmu. Jis buvo atleistas iš darbo ir 1959 metais pašalintas iš Lietuvos komunistų partijos. Mokslinėje institucijoje jis dirbo tyrinėtoju. Bulavas buvo lojalus komunistinio režimo rėmėjas, tačiau jis tikėjo, jog destalinizacija sudarė galimybes palankesnei Lietuvos visuomenės ir jos kultūros politikai. Jo istorija puikiai iliustruoja faktą, jog destalinizacijos politika turėjo aiškias ribas, ir tai, kas buvo leidžiama, o kas ne, sprendė vadovaujanti Komunistų partija.

Jolana Grazioso gitár, 1958.

1958

Jolana Grazioso gitár, 1958.

This guitar is the most valuable one from the guitar collection of Rock Museum. During the 1950s and 1960s, a Czech guitar series called “Jolana” was tremendously popular, not only in the socialist countries but also in Great Britain. It was also awarded a gold medal at the Brussels Expo 58'. Jimmy Page, Eric Clapton, and George Harrison used to play on “Jolana” guitars at the time. It is an interesting example of cultural transfer between the West and state socialist countries in a field which is considered principally the domain of “Western culture.”

Protesta vēstules pret Pļaviņu HES celtniecību 1958. gadā

The Museum of the River Daugava, No. DOM 3461

1958

politická opozícia

Protesta vēstules pret Pļaviņu HES celtniecību 1958. gadā

Doina Cornea - Colecția Privată

Source: UB Collection of COURAGE PhotographsAuthor: Corneliu Pintilescu

1958

Doina Cornea - Colecția Privată

The Doina Cornea Private Collection is an invaluable historical source for those researching the biography and especially the dissident activities of the person labelled by the Western mass media as the “emblematic figure” of the Romanian resistance to Ceauşescu’s dictatorship. This collection comprises manuscripts of her open letters of protest, her diary, samizdat translations, correspondence, drafts of her academic works, photos, paintings, video recordings, and her personal library. This private collection is by far one of the most significant and valuable collections reflecting the cultural opposition to the Romanian communist regime.

Top Secret

1958

Top Secret

Report for 1957

1958

Report for 1957

Matuzalem – výber 18 kresťanských piesní

1958

Matuzalem – výber 18 kresťanských piesní

Matuzalem – výber 18 kresťanských piesní [Methuselah – A Selection of 18 Christian Songs], magnetic tape and audio cassette, 1983, samizdat. Within the congregations of the UBB, the recordings were distributed in pirate copies. After 1989, a selection of the songs of the Matuzalem band was released on CD.

Deim Pál Archívum

1958

Deim Pál Archívum

The archive comprises of artworks, documents and the library of Pál Deim, an outstanding representative of Hungarian neo-avantgarde art emerging in the sixties. Deim was active in a great variety of genres, was co-founder of a number of art institutions and, alongside other members of his generation, challenged the socialist realist aesthetic principles of the Kádár regime.

Archive of the Studio of Young Artists

1958

Archive of the Studio of Young Artists

Launched as part of the cultural politics of the time, the Studio was founded in 1958, as the youth section of the Art Fund, as an institution to further the professional integration of recently graduated visual artists. The studio was dependent on the mother institution financially and bureaucratically, but it enjoyed partial autonomy through its elected board members. A unique rule – the upper age limit of 35 years – ensured the continuous revitalization of membership. Beginning in the 1970s, autodidacts were also admitted as members, which made it possible to integrate outsiders into the official artistic milieu, thus breaking the hegemony of the academy. This also meant an expansion of the accepted ways of working. The collection, which contains primarily the works of former members, illustrates the conflicts of artistic autonomy and centralized cultural politics so typical of the era.

Letters from the Deutscher Schriftstellerverband [German ...

1958

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