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“Sunny Grave” and “Odyssey”: Restrictions and the Creative Process in Socialist Czechoslovakia Using the Cases of the Blue Effect and Atlantis Bands

100%
Poděbradský O.
Národopisná revue (Journal of Ethnology)
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2023
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vol. 33
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issue 3
177 - 186
EN
This article focuses on the state-forced changes in the musical creative process in 1960s communist Czechoslovakia. Using historical sources and narrative interviews with famous musicians of that time (Karel Kahovec, Viktor Sodoma, Josef Laufer…), it examines how musicians perceived the effects of state repression e.g. having to translate English lyrics into Czech, being persecuted for playing a specific musical genre, and being banned from the media due to inappropriate themes or topics used on their records. These repressions are evidenced in two example cases: the song “Slunečný hrob” [Sunny Grave] by the Blue Effect band, which became famous in the Czech movie Pelíšky only in the late 1990s, and the unjustly forgotten album Odyssea [Odyssey] recorded by Atlantis, a Petr Ulrych’s music band, in 1969. The article shows how the perception of music and lyrics by the state’s repressive apparatus changed over a short period of time and how artists negotiated with the regime according to the changing circumstances
2
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“Quid Pro Quo”: the Czech folklore revival movement in the light of totalitarian cultural policy

75%
Pavlicová M., Uhlíková L.
Český lid: etnologický časopis (Český lid: Ethnological journal)
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2023
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vol. 110
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issue 2
183-210
EN
The paper deals with the transformation of society and culture in totalitarianism through the example of the Czech folklore revival movement between 1948 and 1989. While describing the main objectives of communist cultural policy, the paper observes the reasons for the mass development of folk ensembles in the 1950s, the gradual transformations to their activity, and the philosophy behind it. The degree of cooperation between folk ensembles and political power, as well as the exploitation of these troupes to promote the communist regime, was varied. Politically-engagé performances by such ensembles and their participation in events organized by the totalitarian state apparatus have resulted in many Czech people adopting a negative attitude towards the folklore revival movement as a whole. In the fact most members of these ensembles were not motivated by politics – for many of them, this leisure activity was an escape from reality to the romantically viewed world of folk tradition.
3
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" Něco za něco…" : Folklorní hnutí v českých zemích ve světle totalitární kulturní politiky

51%
Pavlicová M., Uhlíková L.
Český lid: etnologický časopis (Český lid: Ethnological journal)
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2018
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vol. 105
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issue 2
177-197
EN
The essay deals with the transformation of society and culture in totalitarianism with the example of the Czech folklore revival movement between 1948 and 1989. The text reflects the results of research that used the method of oral history in combination with the study of official and unofficial written and pictorial sources. While describing the principal objectives of the Communist cultural policy, the essay observes the reasons for the mass development of folk ensembles in the 1950s and the gradual transformations of their activity’s philosophy. The degree of cooperation between folk ensembles and political power, and their exploitation for the propagation of Communist regime was varied. Politically engaged performances as well as participation in the events organized by the totalitarian state apparatus – all that has resulted in the negative attitude that a part of the Czech public has adopted towards the folklore revival movement as a whole. Yet it is currently obvious that most members of folk ensembles were not politically motivated, and for many of them this leisure activity was an escape from reality to the romantically viewed world of folk culture and its ethos.
CS
Příspěvek se zabývá proměnou společnosti a kultury v totalitarismu na příkladu folklorního hnutí v českých zemích v letech 1948–1989. Text reflektuje výsledky výzkumu realizovaného metodou orální historie v kombinaci se studiem oficiálních i neoficiálních písemných a obrazových pramenů. Popisuje hlavní cíle komunistické kulturní politiky, sleduje důvody masového rozvoje folklorních souborů v 50. letech i postupné proměny filozofie jejich činnosti. Míra kooperace folklorních souborů s politickou mocí a jejich využívání pro propagaci komunistického režimu byla různorodá. Politicky angažovaná vystoupení i účast na akcích organizovaných totalitárním státním aparátem – to vše vedlo k tomu, že část české veřejnosti má k folklornímu hnutí jako celku negativní postoj. Přesto je dnes zřejmé, že motivace činnosti většiny členů folklorních souborů byla nepolitická a pro mnohé byl tento způsob trávení volného času únikem z reality do romanticky nahlíženého světa lidové kultury a jejího étosu.
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