My copy of the East German pressing of Depeche Mode’s Greatest Hits album which state’s Amiga label in 1987 (photo: author).
In 1988, it was clear to both East Germany’s ruling Socialist Unity Party (SED) and its official youth organization, the Free German Youth (FDJ), that the country’s youth were being lost to the “real existing socialist project”. Searching for a means to address this, the FDJ reached for a solution which would have been unthinkable only a few years earlier and started booking major western pop stars for concerts in East Berlin in the hope that the organization might burnish its image by basking in some reflected glory. Many of the bookings made as part of this project including Bruce Springsteen, Bryan Adams and Joe Cocker made sense on one level as the acts’ blue-collar, working class images dovetailed somewhat with the GDR’s official ideology.
But Depeche Mode? How did the FDJ justify having the British synth-pop stars headline the organization’s birthday concert at East Berlin’s Werner Seelenbinder Hall on March 7, 1988? Read More
One could argue that no one defined the face of “Berlin – Capital of the German Democratic Republic” more than visual artist Walter Womacka (1925 – 2010). A favourite of GDR leader Walter Ulbricht during the mid- to late-1960s during which East Berlin received much of its socialist makeover, Womacka was a key protagonist in the GDR’s “Kunst am Bau” (literally “art on building”) movement. This sought to ideologically mark East German cityscapes through large-scale, agit-prop artworks and Womacka’s creations graced a number of prominent buildings in the East German capital.
Eastern side of Walter Womacka’s 1964 mosaic “Our Life” on Berlin’s House of Teachers building (photo: M. Bomke).
Interestingly, more 28 years after the fall of the Wall, many of Womacka’s works remain intact and have even found a place in the iconography of present day Berlin. Given the ideologically charged debates around the legacy of much GDR-commissioned public art in the years following German unification in 1990, this was by no means a certainty. I think the reason for this lies in the way Womacka combined the aesthetic language of socialist realism with elements of folk art, an approach which allows many viewers to overlook the overtly propagandistic of much of his public art. Read More
“My workplace: where I fight for peace”, poster from a portfolio of propaganda elements produced in 1989 (photo: author).
The GDR marked the World Day of Peace, September 1st, from its earliest days, with Party leaders seeing it as a platform to advance its politics and justify its place of primacy. In the immediate post-war era, the idea of peace was decidedly concrete for Germans and it occupied a key place in the GDR’s self-legitimization, but this argumentation ran right through to the country’s late stages.
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).