Sandman doll with his bag of sand, 25 cm (photo: J. Zarth).
Surveying the landscape of post-unification German culture, it is hard to find many examples of cultural products from the GDR-era which still have a place in the new Germany.
In fact, I can only come up with two: the Sandmännchen, the subject of today’s post, and the Ampelmännchen, the distinctively East German pedestrian crossing lights. (ed. note: I find it rather remarkable that Ampelmännchen survived given that its design was inspired by a photo of the GDR’s Panama hat loving leader Erich Honecker. Considering the thoroughness with which remnants of the SED dictatorship were erased from the eastern German public space in the 1990s, how this escaped attention baffles me still today. But I digress . . .)
“East Germany and things happening there had been in the news all the time. We understood the seriousness of the political situation, but we didn’t let it affect our decision making. . . . There was always a feeling of tension, no one was really sure where things were going, but no one was in any panic about it as I recall.”
George Hynna with two West Berlin Police, February 1962 (photo: G. Hynna).
“End of the French Sector” – Bernauer and Swinemünder Strassen. Note how the windows in the buildings on the eastern side have been bricked up to prevent escapes (photo: G. Hynna).
East German border guard patrols the Wall at Bernauer Strasse, February 1962 (photo: G. Hynna).
The words and tone are remarkably sanguine, even with the benefit of 55 odd years of temporal distance.They come from George Hynna, a retired lawyer living in Ottawa, reflecting on the mood among his fellow students as they boarded a boat to West Germany in September 1961. Only weeks before the group’s departure, East Germany had erected the Berlin Wall, reigniting fears that the Cold War might heat up and that a confrontation over the divided city would yet serve as a trigger to armed conflict between East and West.
Hynna was part of that group of promising young Canadians who, having received scholarships from the German Academic Exchange Service (DAAD), were headed to spend a year studying at the University of Freiburg in the southwest corner of West Germany, just across from both the French and Swiss borders. Read More
First-day issue postcard from Deutsche Post in honour of Reformation-era revolutionary “Thomas Müntzer” with an excerpt from Werner Tübke’s masterpiece, Early Bourgeois Revolution in Germany, as found in the Panorama Museum, Bad Frankenhausen.
From the outside, it looks like nothing so much an 80s-era sports arena that has been placed quixotically atop a small mountain in the Thuringian countryside. However, the Panorama Museum in Bad Frankenhausen is in fact one of the few manifestations of GDR cultural policy to have survived the transition to a unified Germany essentially intact. The museum houses one item, a massive panorama-style painting by East German painter Werner Tübke which bears the name Early Bourgeois Revolution in Germany (Frühbürgerliche Revolution in Deutschland). Measuring 123 m in length by 14 m high, this monumental work includes scenes from the German Peasants’ War, a series of uprisings that took place across German-speaking Central Europe between 1524 and 1526 and which leaders of the Socialist Unity Party (SED) were eager to present as an historical antecedent to their “Workers and Peasants’ State”. Indeed the clear ideological intent with which the Panorama Museum was created makes its continued existence all the more remarkable.
Panorama Museum above Bad Frankenhausen (Goertz Verlag, 1985).