Today would’ve marked the 82nd birthday of my father, Dr. John Kleiner, a professor of at the Lutheran Theological Seminary in Saskatoon, Canada, and the man whom I have to thank for my interest in German history. To mark this date, I thought that I’d share some photos and notes from a trip he took to Berlin in the winter of 1960. I think that these provide an interesting perspective on the divided city before the Wall and I hope that after reading this post that you’ll agree with this assessment.
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.
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
It was embarrassing to his East German hosts: every time Mikhail Gorbachev, head of the Soviet Communist Party and guest of honour at the GDR’s 40th anniversary celebrations in East Berlin in early October 1989, set foot in public, GDR citizens would inevitably begin chanting his name: “Gorbi! Gorbi!” Particularly bold ones even cried out “Gorbi save us!” Add to this Gorbachev’s public chiding of his Socialist Unity Party (SED) allies for their reluctance to implement meaningful reform of their version of “real existing socialism” (“Danger only lies in wait for those who do not react to life!”) and its safe to say the party did not unfold as the Party had hoped. Read More
“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.”
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
One of the GDR’s most popular magazines was the weekly Neue Berliner Illustrierte (New Berlin Illustrated), a bright and colourful publication which, with its mixture of politics, portraits, social trends, sport and culture, resembled nothing so much as that iconic chronicler of American society and politics LIFE.
NBI was older than the GDR itself, first appearing already in 1945 during the early months of the Soviet occupation. Over the years, the magazine enjoyed considerable popularity and by the end phase of the Workers and Peasants’ state, NBI had a weekly circulation of 800,000 issues. While such numbers are perhaps not the most reliable measure of popularity in a command economy (well, beyond a publication’s popularity with those in charge), the NBI “was sought after just like all other bright and glossy magazines in which there was less propaganda” (“Amboss oder Hammer sein” by Christoph Dieckmann, ZEIT, November 1, 1991). Read More
The scene is Saturday afternoon in February 1989 and I am in East Berlin with a group of fellow German language students from around the world. Someone in our group has gotten word that Prenzlauer Berg is the place to be to experience “cool” in the “Capital of the German Democratic Republic”, so maps are consulted and before too long we are underground at Alexanderplatz looking for the train headed for Pankow. We find the platform but when the train pulls in several moments later I remember us looking at each other incredulously, as if to ask, “Are we supposed to get into that?” “That” being a wooden subway car that looked less like part of a modern rapid transit system and more like an exhibit I’d see at the Western Development Museum in my hometown of Saskatoon, Saskatchewan. When the locals scurry to get in, we do likewise and seconds later we’re rumbling our way in a rather quaint, wood-paneled subway car that Wikipedia tells me was at least 60 years old at the time. Apparently the East Berlin Transit Authority retired the last of these cars on November 5, 1989.
For a taste of what a ride on the East Berlin subway was like, check out the YouTube video below shot in June 1989. The train that pulls in at about the 2:15 mark is similar to the one I took in February 1989.
Did you know? – After unification, the Berlin Transit Authority offloaded a number of its Iconic orange subway cars, from both the eastern and western parts of the city, to North Korea for use in the Pyongyang subway Read More