Collections devoted to culture form an important part of the National Museum collections. Especially those of the Czechoslovak Documentation Centre which were given to the National Museum by Vilém Prečan in 2003 are devoted to the Cultural and Political Opposition. These collections include a wide range of personal collections (Václav Havel, Milan Šimečka, Jiřina Šiklová, Ivan Medek and others). Institutional collections, such as Radio Free Europe, the Charter 77 Foundation or the Czechoslovak Documentation Centre own collections, are also important. The collections show how important cooperation between the dissent and exile culture was, especially during the period of so-called normalization and illustrate their interconnection at the same time.
The call of European Commission of the Horizon 2020 programme, entitled Cultural Opposition in the Former Socialist Countries, was based on the assumption that there are a number of historical sources pointing out the great variability of independent cultural activities and movements opposed to socialist regimes in Europe. The call highlighted that the evidence of civic and political courage played an important role after 1989 and launched a competition to create a general online register of these collections. The text is dedicated to a presentation of the winning consortium called COURAGE (Cultural Opposition – Understanding the CultuRal HeritAGE of Dissent in the Former Socialist Countries). Representatives of the Czech part of the project team make readers familiar with planned activities and, in particular, with the activities related to the creation of an online register which gives closer information on the destiny of various collections, combine the activity of agents and thus provide a unique insight into the history of the Cultural Opposition activities through both the history and the present of selected collections.
This article describes the concepts and approaches to Cultural Opposition used by the COURAGE project (funded by the European Commission within the Horizon 2020 programme). It examines how can the legacy of Cultural Opposition be analyzed from the perspective of the cultural heritage and collections and what are the promises of the Cultural Opposition term for the emergence of new possibilities in the historiography of the Communist Era. This article argues that the use of cultural heritage of the socialist Cultural Opposition is strongly linked to the history and trajectory of the Cultural Opposition collections, and that the analysis of the collections story offers a clearer understanding of the post-communist transformation from a different point of view.
The paper puts the topic of Cultural Opposition into the historical and social context of the long twenty-year period of 1969–1989 normalization. It is devoted to the changes of the regime, the international embedding of Husák’s Czechoslovakia, the repression since the mid-1970s as well as the economic problems of the state, especially in the 1980s. Attention is paid to opposition activities and the underground movement.
What is an underground? Is it possible to embed this particular way of life into any definition? After all, even underground did not have the need to define itself at the beginning. The presented text represents a brief reflection of the development of underground in Czechoslovakia; attention is paid to the impulses from the West, which had a significant influence on the underground. The text focuses on the key events that influenced the underground. For example, the “Hairies (Vlasatci)” Action, which took place in 1966, and the State Security activity in Rudolfov in 1974. The event in Rudolfov was an imaginary landmark and led to the writing of a manifesto that came into history as the “Report on the Third Czech Musical Revival.”
The text represents the division of Czechoslovak art into the official and unofficial art. On the structure and the changing number of the members of the Union of Czechoslovak (Czech) Visual Artists it shows, that official art may indicate different meaning according to the contemporary political situation. The division of visual art into official and unofficial thus seems not to be fixed or clear.
The present article “Building of the Hodonín u Kunštátu Memorial” represents an overview of the history of the former concentration camp in Hodonín u Kunštátu and focuses mainly on describing the complicated steps leading to the construction of the Hodonín u Kunštátu Memorial. The article briefly mentions the negotiations regarding the purchase of the premises and the identification of the institution responsible for building the monument. In particular, it focuses on the discussion leading to the choice of the most appropriate ideological intent for the future memorial. The paper is also dedicated to the outline of the demanding work associated with building activities on the memorial site. It also refers to the cooperation of various scientific institutions in regard to the creation of the scenario and the resulting form of the libretto of the actual exhibition. The last part of the article deals with the transfer of the Hodonín u Kunštátu Memorial through the Office for Government Representation in Property Affairs from the National Pedagogical Museum to The Museum of Romani Culture.
This paper deals with museums as a key part of cultural and creative industries and their role in social and economic development. Taking into account the role of museums in the past and the current trends, their contribution is considered to be crucial. Cultural and creative industries are an intersection of art, technology, cultural heritage, innovation, creativity and mental and manual labour. The purpose of this paper is to reflect links between museums, creativity, innovation and culture in the changing economy.
This year, the National Museum celebrated its 200th anniversary. Large celebrations was realized, just like five decades ago, when the museum celebrated its 150th anniversary. During these celebrations, the National Museum received a state award – the Order of the Republic. After the revolution, this order was “forgotten,” and for years it had been left unnoticed in the Numismatic Department.
The National Museum and its buildings are annually visited by hundreds of school groups, whether they are pupils of kindergartens, primary schools and/or secondary schools. In the 2017/2018, school year, the teams from the Prague Primary Art Schools joined the project implemented by the Regional Art Council and the Section of Visual Arts of the Prague Art School and the National Museum and entitled “The National Museum through the eyes of children”.