CEU eTD Collection The Czechoslovak Artistic Field, 1948-1977 Field, Artistic The Czechoslovak Department of Sociology and Social Anthropology Social and Sociology of Department the requirements of the degree of Master of Arts Underground Impulses: Underground Central European University Central European In partial fulfillment of Alexandra Kowalski Budapest, Hungary Budapest, Balázs Trencsényi Trever Hagen Trever Submitted to Submitted Supervisors 2008 by CEU eTD Collection community community formations under oppressive conditions. into a community.coalesced that generations of previous resources impulses and heterodox upon space built The paper thus field,willartistic an how show I social alternative created Underground and cultural the seeks to examine modesproper/improper of expression. From a subversive position anddominated in the the relationship andsocialistmusiciansin and how State engagedoflegitimation astruggle artists over between symbolic of the practices policy cultural inclusionary/exclusionary the I trace Realism, of Socialist Czechoslovakiafollowing the communist take over in 1948. Bylooking atthe imposition of within,practice begin I reconstitution bydiscussing the fieldin of artistic the Bohemia andby social positioning through atavistic techniques. Using Bourdieu’s theory construct a community music 1970sthrough the asasocial activity.argue thatthe Underground I wasableto based on theThis paper examines the construction of Czechoslovakthe Undergroundcommunity in historical trajectoriesAbstract of cultural resistance within ii CEU eTD Collection everything I have learned from them. from learned have I everything Lastly, I would likeyears ago and who has been a source of direction and support ever since. communities toin musical my interest sparked first who thank Erger Jeff additionally I thank my family. Noneher. out with of impossible been have would this reading/translation—which Czech difficult rather some would be sitbeen down and to me with overyears, and willing help a numberof has,on occasions possiblehismy answersAlena numerousquestions.Melanková to hasbeen friend a wonderful without discussions onthe inhim forI thanktopic our Czechoslovakia; culturealternative andfor understand to effort my in crucial been has Machovec Martin research. this on working There aremanyindividuals who havegivenme thoughts and theirto helpme time while been able to accomplish my thesis without their support and faith in this project. providing Iwouldoutstanding an inhave research Prague, 2006-2007. opportunity not for CzechRepublic the Commission of Fulbright andthank,indebted, the I am also of a challenging program academic study. Sociology and Social Anthropology, who created an open and friendly environment with andof European University thank staff professors of the The Central Department I Secondly, writing. and my research in direction and ideas, comments, support, their for I would like firstly thank to mysupervisors, Alexandra Kowalski and Balázs Trencsényi Acknowledgements iii CEU eTD Collection BIBLIOGRAPHY...... 59 57 CONCLUSION...... CHAPTER 3: CANONIZATION OF THE UNDERGROUND 43 1974-1976...... CHAPTER 2: EARLY UNDERGROUND FORMATION, 26 1968 – 1974...... CHAPTER 1: TRANSFORMATION OF THE ARTISTIC FIELD, 14 1948-1968...... THEORY OF PRACTICE AND SYMBOLIC 7 COMMUNITIES...... THEORY OF PRACTICE AND SYMBOLIC 7 COMMUNITIES...... 1 INTRODUCTION...... Contents 3.4 3.2 3.1 2.5 2.3 2.4 2.2 2.1 1.2 1.1 S S B C A A OCIOLOGY OF OCIOLOGY YMBOLIC OURDIEU ONTENTS CKNOWLEDGEMENTS BSTRACT 3.3.1 Struggles 51 for Legitimation...... 3.2.2 Festivals 49 of the Second ...... Culture 3.1.1 Formation 44 of Habitus...... 2.4.3 Corporal-Spatial 40 Positioning: ...... Hussites 2.4.2 Historical Identity 38 of Resistance...... 2.4.1 Countryside 37 Concerts...... 2.3.1 T S C B N T S T B P YMBOLIC TALIN RIAL OF HE HE UD ANONIZATION THE OF ORMALIZATION RAGUE EGINNING OF EGINNING ċ P C JOVICKÁ MASAKYR JOVICKÁ LASTIC OMMUNIST ’ ...... ’ C S S eulfcto xm ...... 33 Requalification ...... Exams ONSTRUCTION OF ONSTRUCTION S F 1976 D PRING IELD B EATH M OUNDARIES P USIC EOPLE OF THE & U T ...... 26 ...... NDERGROUND & HEORY C ...... 31 ...... C ...... 11 ...... HARTA OUP R OCK U & ...... 47 ...... 7 ...... 41 ...... NDERGROUND ’ S N 7...... 53 ...... 77 C OCIALIST ’R OMMUNITY U OLL NIVERSE C ONSTRUCTION , 1953 R EALISM ...... 43 ...... 28 ...... 10 ...... - 98...... 20 1968...... iv , 9815...... 14 1948-1953...... 35 ...... IV III II CEU eTD Collection situate situate themselves ina social of legacy and cultural opposition socialistagainstthe State historical trajectory cultural of byarguingthat was the Underground resistance able to Czechoslovak a with themselves engaging musically by community their constructed 1948 communisttakeover in I putforth that Czechoslovakia. Undergroundthe the following field artistic the in activity cultural and political, social, of forces external answers tothis investigation question the buildingcommunity of internal through andof social activity in the process community formation and construction. I look for the 1 invasion21 Warsaw Pact August on socialist on thaw censorship inmusic, film, and literature only beto later quelled by the freedom in the twentieth century. In Czechoslovakia, that year at once saw the height of a of moments many For of parts world, 1968signaledthe unprecedented andrevolution Introduction of a musicianseventually formed in these that around underground creation Prague tothe led complete exclusionstigmatization from in to subjected were they position, dominated this From an existence underground. the pressofficial for their musicianshipwere forced socialist totheedges archetype into of implemented of society, ‘filthyCzechoslovak newly the fit andnot did who musicians many obscene’ society, Czech ‘normalize’ to sought lifestyle society. in that andcultural codes social Faced with stringent musicians. were regime Stalinist addition As toa nearlyresult, from new, neo- camemany extreme attack the who occupation, under Soviet among a community Often used interchangeably with ‘ parallel polis This thesis seeks toidentify how the Czechoslovak Underground usedmusic asa 1 and a flourishing of artistic creation and consumption. Druhá kultura’ st , 1968.Followinginvasion the and subsequent or, second culture. second or, 1 CEU eTD Collection by asking where boundaries are marked through social interaction. In order to reconcile to order In interaction. social through marked are boundaries where asking by theories help meproblematicize the unity and in/exclusivity Undergroundthe of precisely (1985 [2003]:20).content Stemming from symbolicBritish anthropology, Cohen’s of commonality the by excluded or restricted being without integrity’ in invest ‘ideological with to it community a within those allows music, i.e. form, of ‘commonality’ the how field. musiciansperformfor without thesymbolic in violenceto position of the dominantthe culturalfield forms subjugated inan resulting artistic reconfigured the alternative space field mediating social through binary order by opposition how excludeddescribing and in artistic the forms cultural between relationship the illustrate will I of theory practice, andUnderground, official State, musicians. the other and unofficial Byusing Bourdieu’s the between boundaries symbolic and fields of creation the explain to framework artistic field following World War II. popularmusic,Czechoslovak in bylooking reformation at policy cultural the of the and Anglo-American of State socialist the those specifically formation, community forces affecting external the I analyze field.Furthermore, political the of and restrictions free confinements aesthetic of the literature music,andcreate art, to its members allowed show how the Undergroundoppression/resistancefoundin position, From Bohemia. subversive resistantthis and I contributed to an maintain in that they their status excluded placed social historicalthe continuum of alternative social by appropriatingand historically cultural formssubversive andresources.IndoingI so, cultural space that Cohen’s theory on the symbolic construction of community facilitates analysis of analysis facilitates community of construction symbolic the on theory Cohen’s theoretical my in in tandem Cohen Anthony and Bourdieu Pierre employ I 2 CEU eTD Collection the Helsinki Accords of 1975. My methodology creates a synthesis with my a theoretical synthesis with creates of My methodology 1975. Accords Helsinki the external forces of period;this for in example, Stalin’s death of events 1953, the 1968, and infor be provides Undergroundawider sequential the to with placed development the development of fieldsunderstand emergence and the inorderto and viewedactors, trials sequentially are and symbolic between encounters manifestoes, concerts, narrative: of construct boundaries. analytic the through The creation1977. Using thedescriptive method, casestudy I view theformation Undergroundthe of of a narrativeexplainto the phenomenon Undergroundof beginninginthe in 1948andconcluding map also aforementioned theories of Bourdieu and Cohen, I use the descriptive case study method negotiation in their own right.” mustandexamine theperpetual sociologist] of conflict process anddisputes….[a debates remainindifferent tothe arguments ofmusicians, critics, and in soon varioustheir of doing things” Martin (ibid). (1995: 12)emphasizes,“[sociologists of music] must conquest for cultural legitimacy…making claimson behalf against, or particularof, ways processes (Martin, 1995: viii). Music as a social phenomenon is then seen as a “perpetual versus popular) but rather to explain how these hierarchies came tobe as a result of social pursuit of a sociologist of music isnot to ascertain hierarchies within music (i.e., classical community. a formed field artistic the within musicians excluded how explicate I art, of system symbolic non-official musicians in Czechoslovakia, and through social differentiation via the Cohen and Bourdieu,Iconceptualize theartisticfield ascomprising both official and In order to explicate these conflicts and negotiations in music by inthe music and these negotiations explicate conflicts to In order While discussing community formation musicthrough asasocial activity, the 3 CEU eTD Collection period of normalization in Czechoslovakia after 1968. the to witness were who those and members, Underground former musicians, Czech with Archives in Budapest.Ialso drawon a numberof formal and informal conversations for Study Totalitarian the Libri OpenSociety the of Regimes, and Institute Prohibiti, the as archives access such was able to I Furthermore, members. Underground formerof aforementioned bands, commemoration ceremonies of these artists, and poetry readings ofsomeattend concerts of several the Republic, timewas able to which I during by populated musicians these number his DG-307,as and a musical musicalgroup well thatwerecross- as outfits of Sv Banned” foran overview of withinbands Underground.the plethora of artists,Undergroundit activity,by noismeans influence; theonly Underground contained the a musicians,Fišer (pseudonym: and writers Egon Bondy). such While thisas thetriad bandsis often theUm center of discussion on 2 as (also known Jirous Martin Ivan artistic manager time. over its strategic actions affect ultimately which generations, over cultivated disposition a highly dynamic andmembershipcommunity borders with changing based a on [their]directionIndeed, meaning.”.succession, andtherefore, Underground was the and fact that [they of framework inBourdieu he (1990:98) that believes “properties to [of owe practice] the are] constructed in time, that time gives them form, as the order of Seebooklet Č tlo, singer/songwriters Charlie Soukop and Svatopluk Karásek, poet Pavel Zají andKarásek, poet Svatopluk Charlie Soukop singer/songwriters tlo, My research and data gathering is constructed years four living inthe Czech on of is gathering constructed My researchanddata I focus my study on the group The Plastic People of the Universe (PPU), their The Merry Ghetto that accompanied the PPU release “Egon Bondy’s Happy Hearts Club Hearts Happy Bondy’s “Egon release PPU the accompanied that 2 . 4 Magor ), and), Zybn poet/philosopher Č lá Hmota and Bilé þ Č ek k CEU eTD Collection Underground would later be built. In Chapter 1, I examine the reformation of the artistic these totheproductioncontributed cultural resources andof forms onwhich the appreciated disposition beto used by in agents field.the understanding conversionthe of capitalcultural intoof resources a temporally through examination of the social forces at play within the artistic field and how this allows for an is the existingliterature, tothe is contributes thishow what work and crucial, Therefore, ideology’ subversiveor ‘politicalits content’,but challenge social to…broader norms.” assertion that rock music’s contest to the socialist State was notits “’inherent capitalist I agree, with rather, (1994: 45) 1994: 1). as “aPekacz’s (Ramet, phenomenon” political by taken up others relationship between music itiswhich and performed, (Martin, heard,and1995: viii). created” fall of communism music “[enhancement]the of understandingand in the generalsocial our of contexts in Czechoslovakia,contribute to the current body of workas onto the itUnderground, createhas butbeen it also seekssocial to assistautonomous in social phenomenonand thatcultural usedthe the cultural Underground history and resourceschange of its nation in notCzechoslovakia. just as an instrument My research of political will not use,only but also as a relatively 4 3 movementof support tothe dissident or as onlyaprecursor Underground the distill often writings these however have, I as resources similar account See Ryback, 1990;Mitchell, 1992; Wicke, 1992; Pekacz, 1994; Vanicek, 1997 See Skilling; 1981, 1989 The chapters are organized according to internal and external forces and how and forces external internal and to according areorganized The chapters the was what of question research the address to intention my not is it Moreover, Much has been written about music during socialist Czechoslovakia taking into taking Czechoslovakia socialist during music about written been has Much 4 ; indeed, concerning the literature thismusic question often rock reads 5 Charta 77 Charta 3 . Iwishlook to at CEU eTD Collection Generation Underground). merge to a degree); IV) 1981-1989 (forced emigrationof key Underground agents; beginning of Second formation; II) 1974-1976 (canonization of Underground); III) 1976-1981 (dissidents and Underground 5 signaling more beginning distinct the in of two history periods Underground once signposts a pinnacle of Underground formation as well as the erosion of community, my study with the event of the signing of in formations its from early inits1968-1974 then canonization in 1974-1976. Icomplete firstly Underground the of construction direct at looking with concerned then are chapters field in Czechoslovakiafollowing the communist takeover in1948. following The this thesis. this limit temporal of this study is partially bypractical guided in considerations of scope the Idelineate fourdistinct periods in the history of Underground: I) 1968-1974 (early Underground Charta 77 Charta 6 by membersUnderground asitat 5 . The CEU eTD Collection power. Bourdieu conceptualizesthefield as of power understand the relations between agents and fields embedded in fieldthe of power fieldsdefinition into be ofand whichallowto order communities, usedintandem them 58).(1985 [2003]: Clearly, both Bourdieu and Cohen recognize a sociology in relational negation” of sense the but discrimination, of competence the merely not contains itself symbolism of nature very “the as communities, between boundaries of nature relational In the fashion,a similar Cohen describes 1992:76). (Bourdieu, formsbetween of power” forces of balance of existing the andstructure by “fieldforces as defined power” the of a be defined as “a fieldmay power of field The agents.” the of habitus the 3) analyze and authority; legitimate of struggles for for whocompete by agents occupied positions the between of structure relations power among the holders the objective map out power; of 2) vis-à-vis field fieldthe the 1) analyze theposition of of differentBourdieu (1989:40)lays necessarythe out steps for proper analysis a field:of “one must forms of Theory Bourdieu’s Field Martin. music byPeter on formulated based as a activity, social of Anthony Cohen’stheories community concepts with symbolicthe construction of artisticthe fieldin 1948.In Bourdieu,addition to Iwill supplement and his synthesize of transformation the relationship to forUnderground’s conceptualizing the mechanism and serve ‘habitus’ framework as in a which I organizemydataand asa additionally withinBourdieu’s Czechoslovakia, 1948-1977. of ‘fieldthe concepts ‘field’ power’, of between agents occurred relationsthat power byilluminating benefitmy will research In followingthe section,Iwill of discuss keyconcepts the Pierre andhowthey Bourdieu Theory of PracticeandSymbolic Communities I consider the Czechoslovak nation-state as the unit of analysis of the field of field as of the unitof the analysis nation-state Czechoslovak I consider the 7 . CEU eTD Collection values, norms, and moral codes. The heterodox employed bythe subversive strategies The codes. heterodox norms,values, and moral orthodoxy using their monopoly on in economic capital theform institutionalizedof political neo-Stalinist and Stalinist of lines the following violence symbolic their through desires,interests, and values. The State, on the other hand, defined the proper way liveto termed ‘Livingin whichmeant whoTruth’ those lived through expressiontrue of their dissident Czechoslovak strugglelegitimation of in thefield the by how Underground actively pursued what playwrightthis view We can life. one’s live isto individual Václav an how of definition the of legitimation Havel (a critical agent in the political power. field) field examine artisticState the both formation of andpolitical to through thediscursive By myattention thecommunistturning overto of take Czechoslovakia in 1948, Iam able operations”. research the of focus the be must and primary “is field the that insists 107) organized around specific types of capital combination or of capital.” (1992: Bourdieu spacesare 117) notes, “fields that (1997: capital. structured of maybethought Swartz as politicalthe fields, and both In Underground. the of the those as such musicians, artistic, unofficial and official we see struggles included and socialistthe both State dissidents;field, and the artistic which I place of powerwhich field, over political the fields: specific two on legitimacyconcentrate I power, of field the Within through the use of dimension. 229-230) (1992: struggles over the definition of the legitimate form of power are a crucial able enter into to struggles the overthe monopoly of power, of which their occupants a quantum of social force, or of capital, such that they are whichguarantee between positions social forcethe obtain of that relations Regarding agentsin politicalthe and artistic both field, compete for the 8 CEU eTD Collection exhibited bestexhibited by description of Havel’s greengrocer: the 1997: inCzechoslovakia 126).Doxa maintenance is (Swartz, of social the order” tothe contribute andthereby relations of power misrecognition for conditions the create State. socialist againstthe legitimation dissidents and the Undergroundas withinstrategies the fieldfor struggle the of between capital theexchange Iwill of rests”. thusinterpret forcetheir of opponents the capital upon which form “discreditthe inof to order capital their andincrease conserve Bourdieu (1992:99)discusses strategicthe ability in agents of a field of power to Furthermore, legacy ascapital. cultural use and exchange capital to field artistic capital I suggest particularin 1992:98),influential thatit(Bourdieu, behooved agents the of forceAs agent’s inthefield on volumethe an structure relative and depended used their in capital both manners strategic produce and to their perpetuate communities. of fields these agents the how and field in artistic the andwasactive present, was created, bywas capital that examining assertion Bourdieu’s I approach Firstly,employed.” species existencehinges....on the of capital of a field inwhichits competency can be valuea “the of states field. (1992:98) Bourdieu artistic the within cultural, economic) essays,samizdat and mostimportantly music. in form the of expression revolved artistic Underground poetry/literature, around Bourdieu’s concept of doxa also comes into play in the field of power as it “helps Moreover, I also use Bourdieu to hypothesize the creation of capital (symbolic, That poster was delivered to our greengrocer from greengrocer poster wasdelivered enterprisethe That our to put in their windows, nor do they use them expressto their own opinions. overwhelming majority shopkeepers neverof about think slogansthe they does he do this? [...] I think itcan safely be assumed that the onionsthe andcarrots, slogan:the “Workers worldof the unite!”Why The manager of a fruit-and-vegetable shop places in his window, among 9 CEU eTD Collection confines of the home” (1985 [2003]: 15). When speaking of When or culture speaking acquiring people home” 15). confines of of (1985[2003]: the acquire their mostfundamental and most substantial experience of social life outside the more immediatebut kinship than greater than belongs, one which to “entity an the as community of abstractiondefinition we call ‘society’. conceptualize by his I useCohenformation of utlizing the project community to It is the ofCommunity arenaConstruction Symbolic in which people habitus.through produced thatare strategies and basedon sentiments assituated structured Underground individualslook atthe in actions of habitusthe meto Bourdieu’s conceptof provides Cohen. as interactionism symbolic employ to trying when traverse to chasm difficult a been has which individual/society, bridge to ability its by Underground the to relevant Through Through Bourdieu’s other. each of structuring and constitutive mutually are they complicity’: ‘ontological inhabitusas Wacquant that, 44)elucidate, and Bourdieu habitus (1989: an and field have through his misrecognition. legitimate social relations to in who continues field of isan power the actor greengrocer demonstrates, doxa “goeswhatappears as 1977[1993]:(Bourdieu, 167).As granted or self-evident Bourdieu without saying becauseDoxa distinguishesthus itselfheterodoxy byis from for the symbolizing what taken it comes without saying.” Thus, the A further necessary point in Bourdieu’s analysis of field is the description of description the is field of analysis in Bourdieu’s point necessary A further added) everyone doesit,andbecause that istheway ithastobe window headquarters along with the onions and carrots. He put them all in the Theory of Practice, Theory of simply because it hasbeendone that way years, for because habitus is habitus presented as a strong analytic tool 10 .’ (132; emphasis CEU eTD Collection in the nature of the means but senses, not in ability meaning excite resides objects perspective our “the their of to as which we have to perceived”.us” and to rational is the it aural communicated our perception [music] sothrough and Concerning the music(1995: 27)points out empiricistthe notion music viewingof meaning asofin “inherent the exploring different viewpoints of meaningof construction the within music, Martin butrather meaning the of socialthe incontext which musictheir wasembedded. In debate concerningrest the Underground doesnotin meaninginany music, inherent their the light, this In discussion”. of topic a asthemselves conflicts aesthetic and debates such regard but to art, of definition formulate another to attempt to nor debate’ culture the sociology of music] isIn regardto music, sociology the of with Iconcur Martin (1995: viii)“the point that [of not to join the Sociology ofMusic partisans on one side or another of theto makemeaning malleableis providing thus a thatborder both subjectspace and to time. ‘mass notbutmeaning,also onlyexpress the capacity gain within areableto the Underground toward art and society based on social interaction. Through the usage of symbols, agents mentality, aperception asa theconception adisposition, of Underground facilitates the minds of beholders”their and“hing[ing] on consciousness” Cohen(ibid: 12,13,18), community. By boundariesunderstanding “symbolicas receptacles…existingin the symbols. these through interact to ability individual’s the and symbols of transformed and translatedits through members bytheir usage ideasof inshared form the beindividuals being 16).Acommunity tosocial is(1985 [2003]: seenas thus ofsymbols,itisequiplearning whichwill besocial, acquisition asserting to the Cohen’s primary task is to assist in conceptualizing symbolic boundaries of in isassistCohen’s boundaries conceptualizing symbolic of the to task primary 11 CEU eTD Collection specific: Bourdieu conceptualizes the discursive formation the formation of from discursive specific: Bourdieu artistic conceptualizes the field which model which addresses my research at three differentlevels, moving from general to authority.” established to form a resistance of offer seemto views…and established of rejection a represent becausethey precisely be attractive music…may of forms “alternative music’s Martin illustrates ability (1995: 70) to mobilize ideasby that asserting values, identities, and opinions ability mobilizationof that ranged provided aforum for assemblyof the people of Undergroundthe in content life”. art thus community sharingof Musicasaperformed gathering, beingtogether, (poets, artists, and meaning in space socially constructed music the a subversive asform. cultural appreciators).concerts andWhile rehearsalsmeet, and ritual through performance gather,mobilize the of to of Underground the this and thusexhibits coalescefor members space a social it cultural and created art, asaperforming Firstly, formation: intomusic’s a community;Thus, music the Undergroundthe of isseen asan engineintwo-fold community and secondly, this social aforementionedthe but viewpoints from notion,the asMartin (1995: 70)notes, Underground, Iapproach socialthe of musicalconstruction meaning notfrom either of By combing Bourdieu, Cohen, and Martin, I am able to generate a generate am theoretical able I to Martin, Bourdieu, and By combing Cohen, Machovec (2006b: 11) describes music as “the one art that enabledthebest artthat music one as“the Machovec (2006b: 11)describes overt conflict, they are nonetheless political. inherentintopart of everyday lives and, may our escalate only though they rarely seek imposeor theirto Such viewsothers. struggles andnegotiations on arean furtherindividualsinterests andgroupsasthey seekto and defendtheir them, or of activities the through occurs music to meanings of attachment the that between people, music also has the ability to mobilize ideas, within a community [….](Jirous, 1975 [2006]: 11). 1975[2006]: [….](Jirous, community a 12 CEU eTD Collection for the means of community formation, music. Underground community thewithin artistic field; and Martin provides analytical the tools Undergroundthe establish emerged; Cohen is then usedto boundaries the the of 13 CEU eTD Collection 1990: 8). socialistman“ by combining "the theories Pavlov of with dictates the of Lenin“ (Ryback, "the as engineerartist the of depiction Stalin’s from of followed humanRealism, Socialist soul“,form, artistic which sought to change communismpropagate through their (Svašek, 1996:34). work” This newlyinstalled the "selfish capitalist“that they to woulda "selfless nowcapitalists butlonger and to bound groups, elite servants areno (and artists intellectuals) be “obliged to stating that in artistCzechoslovakia, newrole of the which outlined aspeech delivered make their work Party, Party Secretary Communist the First KlementGottwald,of In February the 1948, accessible to all people, and to handed cultural policy of the new socialist government. beginning in the Prague Springbe inCzechoslovakia to2.The inChapter detailed field, from artisticits field of power, of the atmosphere upthe force setting discussrock’n’roll, of external to proceed the was one of little describingautonomy subversiveas a resultdifferentiation in the field and struggle ensuing the of over cultural resources by within andof theheterodox heavy-the strategies artistic of agentsunderstandis binary socially the to dominant/dominatedconstructed positionsof within in fieldthe artistic of inagents artisticthe and field and actions uponit coming from politicalthe field. The field.aim their I then by emerged theproduction critically examining and use of andcultural forms resources change over laysfrommovement This the historical Underground context outthe which chapter time. I lookChapter 1: Transformation of the Artistic Field, 1948-1968 to the point of emergence of 1.1 The Communist Coup & Socialist Realism, 1948-1953 Coup&SocialistRealism, 1.1 TheCommunist 14 CEU eTD Collection at the Ninth Party Congress: Party Ninth at the Kopecký Václav by of Information of art Minister newdirection the of by the statement is buttressingThe evidenced Socialist Realism socialist of 1997: 83-86). State’s (Swartz, standards of arbitrariness and cultural distinction social hierarchy of accept a could State, thus symbolic a dominantsocialproviding for system which dominant groups The blind ardor and revolutionary zeal of Socialist Realism was supported by the socialist deviation” inclusion built andexclusion on (Bourdieu, 1991:237),thus cultural through differential of of difference, are the“logic systems Symbolic field. artistic within the dominant/dominated modesproper/improper of to expression, postionstranslates which binary setinaugurating sociallythe of constructed upasymbolicState sytstem socialist the by Realism Socialist of installation The Realism. Socialist of oulines the to and thus theirability imposeto symbolic upon violence culturalother forms notadhering power of field the within has State socialist the monopoly symbolic the witness can We indented fight against cosmopolitan and formalist discourse of American cultural forms (Ryback, 1990: 8). 6 ( Socialistmethod Realist which clearly laidwas in out themagazine Czechoslovakia new mandate duringthe wasinformedof 1950s.The bythe artist the Andrei A. Zhdanov was one of Stalin’s chief architects in the creation of Socialist Realism and its Výtvarné Um Socialist Realismbecame drivingthe force behind inartistic production Č speeches of of Zhdanov comrade speeches The spreading of Socialist Realism, as formulated by the directive poetry (Jícha, 1951:1qtdin Svašek, 1996:43). reality, the poetry of life, it wants a true, more beautiful,more attractive [….] SocialistRealism does not want to renounce […] the poetry of the contrary,it wants movement, colour, and the reality of objects, not wanting some kind of banality, grey, and spiritiless objectivity, but on (Šolta, 43). in1996: Svašek, 108; qtd 1950: (…) Committee andin Sovietdiscussion questionsabout of artistic works ní) as 15 6 in the resolutions of the Central The Visual Arts CEU eTD Collection was not only an African American cultural form but also one of Czechoslovakia as jazzby that arguing restrictions fought against jazz the musicians Zhdanov, practices of into influencea dominatedAmerican wasput postion. andforms music, good/bad music correct/incorrect of wherein and performing of playing field postionsby naure a inthe artistic dominant/dominated exert creating dualist of 7 Zhdanov’sRyback, offensive 1990:11). in (qtd decadence“ music, toward bourgeois modern, western toward certain orientation cultrual forms by also denouncingjazz and criticising Soviet"predliction for and even a visual Zhdanov arts. extended his against polemics cosmopolitanism the ofAmerican the not only to formsrelegated expression were correct influence, of andsanctioning of policy in the socialist State. wouldfield that ensueuntil November 1989byforthcoming politicians and cultural see the beginning of a struggle of legitimation binary, inclusion groupingsFrom we andexclusion. basedon contrsutcted socially this over artistic expression within arbitrary social created government Realism, the andlauding Socialist bourgeoisie art the artistic way every other living words,by of into Inother arbitrariness.” American subjugating transmutation of an arbitrary in isstake struggle impositionevery overartthere living, alsothe of is,an art of that the way of living socialthe samelinesof 5)“at upon polarity.world these Bourdieu claims (1984: that into the legitimate social andway political functions, symbolic differentiationof served to produce lifecategorization in which casts 197: 84). By policy binary a encapsulating logic(Schwartz, of served that differentiation Thiswas carried out in Czechoslovakia by Soviet conductor AramKhachaturian (Ryback, 1990:11). In the face of these aforemention purges, condemnations, and exclusionary and condemnations, purges, aforemention these of face the In The aims of Socialist Realism along with the reforming and purging of western 7 against western-styled music served to further music to served againstwestern-styled 16 CEU eTD Collection in unsuccessful (Bondy, embarrassment 53-4), Total Realism 1990[2006]: wasan aesthetics” Stalinist “emulate to attempting and slogans” “Stalinist of advantage Taking reactionary aesthetic form to the dominant position of Socialist Realism wasbasedon Realism of position Socialist dominantform to the aesthetic reactionary Realism’ ( Socialist Realist aesthetic theory living,of writing and not which called forth ‘poetry life’ inof eye, the but rather a ‘poetry of embarrassment’ ( underground group of of inthe 1950s, undergroundauthors group in Czechoslovakia. totalitarianism of socialist following decades in the order social in the presence increasetheir forms to aesthetic subervise further dominated position within the artisticcreate field, acultural which served to for space a from rhetoric aprecedenceof created jazz musicians hold that I Czechoslovakia, cultural asalegimate jazz By positioning censure, whilethoseof songs dixielandof jazz andother numbers werebanned (ibid: 14). in from violencepower Ježek’speicessymbolicof weresparedofficial that State the in seizing succeeded in legacy part legitmation ofjazzbasedon strugglethe Ježek’s of medievalBohemia (Machovec, 2008b). Hašek (See Sayer, 1998: p. 159) and even to the agent of the fool/jester, the and‘mask idiocy. of the It idiot’, must be in stated that this literary trend can be traced further back in Czech history to Jaroslav 10 among its members. 9 occupation of Czechoslovakia (Ryback, 1990: 13). 8 Ježek by Jaroslav corroborated or“Midnight Authors” (Machovec, 2001:159). Bohumil Hrabal, Ivo Vosedalek and Egon Bondy were Ježek is know as the fatherof Czech jazz during the 1930s. He feld to America during the Nazi Common representations of embarrassment include senility, dementia, defecation, sexual intercourse, sexual defecation, dementia, senility, include ofembarrassment representations Common Similar to the musical resistance put forth by jazz musicians, members of a loose a of members musicians, jazz by forth put resistance musical the to Similar totalní realismus) of of omnipresentfetish Stalinist and slogans. (Bondy, 1990[2006]: 57) aggressiveness of trivalthe inwhich Czechoslovakia 1949-1953consisted scurril[ity] standing in between. [ in between. standing scurril[ity] and […] absurd[ity] category—with asanaesthetic [monstrosity] overlap to begins category aesthetic an as banality when point the 8 (Ryback, 1990: 13). (Ryback,The jazz 1990:13). whoengagedin musicians (Machovec, 2006; 53).This(Machovec,Bondy, 1990[2006]: 2006; 17 form form via historicalfigures such as Ježekin 3Ĥ 3Ĥ lno lno þ ní auto þ ní auto Ĝ i Ĝ 9 i , ] employ the trapná poezie) proposed aheterodox proposed or ‘Total or 10 CEU eTD Collection of of whichintoreflecting world the Indicative thrust”(Bondy, 51). they were 1990[2006]: capable longer no was aesthetic surrealist the that “felt he as them from away broke but Czechoslovak SurrealistBondy Group. was in contactwith led group the byKarel Teige, the specifically avant-garde, inter-war the of resources cultural the at looking Underground, we can trace the impulses upon those practicers of Total Realism by publishing of (samizdat)initiatingtexts acultural space of autonomy. press, while in and and resources houses, infrastructure form the studios, recording publishing of cultural of distribution the over control its through capital its economic exercising reproduce was 55). Moreover,social these to by relations [2006]: socialistthe able State "theft, vagabondage, begging, anti-social and activiteis of any kind“ (Bondy, 1990 1997: 86). The dominated social position of the social The dominated of position 1997: 86). systems areamore orless transformed expression” 1983:314qtd (Bourdieu, in Swartz, by “thereproducing social [of relations dominant/dominated] of which symbolicthese an one aesthetic to inaddition function apolitical served Music/Jazz—thus Bourgeoisie an impulse cultural and forresources the Underground, asdiscussed below. legitimation forbe importancein formsfor crucial struggle of of cultural providing and younger than the Underground members of the 1970s, the work members younger thework of than Underground the of 1970s, the of expression fieldduringwithin artistic the 1950s alongside the jazz. While a generation excluded form, positionfrom cultural producing a dominated legitimationfora struggle Similarly, when speaking about speaking when Similarly, These contrastive symbolic systems—Socialist Realism/Total Realism and Non- and Realism Realism/Total systems—Socialist symbolic contrastive These 3Ĥ lno þ ní auto Ĝ i created an alternative economic capital through the self- the through capital economic analternative created 3Ĥ 18 lno þ ní auto 3Ĥ lno Ĝ þ i ní auto providingimpluse 70s tothe Ĝ i 3Ĥ is shown as a one of one a as shown is lno þ ní auto Ĝ i would CEU eTD Collection and cultural forms, in illustrated followingthe chapters. positions mutate agents through murky and timeover between dominant/dominated the The linesfieldin of positionsdominant/dominated the strict arenot and butoften rigid field. artistic the in autonomy little for allowing Realism Socialist of policy cultural their artistic the fieldthrough exclusively dominated almost economiccapital, andcultural Czechoslovakia’s socialist period. throughout The proper/improper expression linesthe of along of definition over the socialist State, which had both the monopolyCommunist coup of Czechoslovakia, on which would shape further struggles of legitimation codes. musicians andaudiencesindecipher bythe the Underground, 60s,andlater to cultural of habitus theexcludedwithin cultural fieldspace inthe tobe of power used by rock appreciated aconditioning overtimewithin artisticfield, the transformed which provided constitution of schemata in life. social This artandliterature relationship between of schemata basedperception” (Bourdieu, ontheirdisposition 1992:126) the of words, the Surrealists and Surrealists the words, proposedstriking by In similarity those Group. to Surrealist Czechoslovak the other in theUnderground’s aim are articulated how Ishow In theforthcoming chapters, Manes gallery in group proclaimed1935, the that Prague’s firstat disposition,exhibition attheir Group’s Surrealist of Czechoslovak the As describedfield artistic the above, following wasthus reconfigured the 1948 Sayer,215). 1998: itself with the directionidentifies it of the that revolutionary condition movement the on of historyitself, (qtd inlife human and spirit human the of aim,but a tool and ameans, one of the ways which can lead to liberation Art, painting, poetry, and theatrical creation and performance are not the 3Ĥ lno þ ní auto Ĝ i 19 began toestablish a“transposable system of CEU eTD Collection 13 the pressure to State onbegan censorship Party) reform. Communist of the member a not was (who Havel Václav as well as Kohout 12 11 effecton Bloc would asignificantrendering have the field. of artisticthe incame the shape ofrock’n’roll the late1950s whose presenceduring within the Eastern form cultural subversive new a death, before Stalin’s than in Czechoslovakia legitimation becamejazz form fieldmusic amore accepted of within of byits artistic the struggles and the Soviet Union,following Stalin’s deathin 1953 (Ryback, 1990:14-18).While began apartial music on inthaw and trend censorship, with restof the Eastern Europe censorshipfield Czechoslovakia oneof Although and purging, artistic was the austere the artistic field in artistic the acts form international the touring of inFurthermore, Prague 1960s the numberexperienced agreat external influences upon later as Undergroundappropriate the to embodiedin cultural 1970s. capital the space interms of culturalapprehension rock the of form and the buildingfor of audiences bands,presence fansrock’n’roll of developing clubs,a crucialsocial and and cultural problems in time, was (Ryback, Atthis Prague,there a great 1990:74). specifically socio-political with aforementioned the preoccupation State’s the from resulting in press the censorship state to temper pressure Commnistthe party under Antonín Novontý was battlingboth party againstand civil increased1960s in in as aresult thestruggle of power of tumult politicalthe field.While music. These western performers, along with Anglo-American albums, Radio Free Radio albums, Anglo-American along with performers, western music. These strugglethe legitimation for music asyouth of were highlywestern of supportive this Such as Louis Armstrong, Manfred Mann, the Beach Boys, and Pete Seeger. Pete and Boys, Beach the Mann, Manfred Armstrong, Louis as Such Party members who were also authors, such as Ivan Klíma, Ludvík Vaculík, Milan Kundera and Pavel BigBít (Big Beat) in Czech 1.2 Stalin’s Death & Rock’n’Roll, 1953 -1968 &Rock’n’Roll, 1.2 Stalin’sDeath Rock’n’roll 11 flourished in Czechoslovakia, exceedingly in the latter part in of the latter exceedingly the in Czechoslovakia, flourished 20 12 , a cultrual space for rock’n’roll emerged 13 which served to contribute to contribute to served which CEU eTD Collection State and exactly State its toaddress how in increasing significance thus youth population, the rock music bythesocialist “confusion” in regard to growing the programming reflected Czechoslovakia radio programming began up in also theirrock own 1965.Thisstart of through radiothe programming of ofAmericaFree Voice andRadio Europe, field artistic the of confinement cultural the on influence external the to addition In characteristics: differencethe in during the1960sandcensorship rock’n’roll Czechoslovakia’s and 1970swhoin 1970 became asingerin The Plastic People of Universe,the describes Presley” (Ryback, 1990:59). musicmodern included that songs by the Shadows, Beatles, the Bill Haley, and Elvis field by series system installing is a “six-part educational illustrated on Czechoslovakia’s artistic the in rock’n’roll of legitimation the of enhancement The property. of form ledgain dominated in the in position fieldtherefore artistic the to capital economic to the venues and broadcasts, patronizingan increased youth Europe rock’n’roll culture Similarly, Wilson, Paul aCanadian teaching Englishin Prague during the 1960s communist country was a sign of change. (qtd in Velinger, 2005) the western press, because for them the existence of rock bands in a too, isthat the Prague music scene, very early, attracted the attention of differentgroups just theway you'dfind them West.in Theother the thing, scene [in Prague], with a lot of knock-off bands and a lot of fansof America of and other radio stations. So, there was a very current music Voice over in wasbroadcast music the and were brought records because get a hold of books it was very easy for kids to be right on top inof marked the1960swasthat things although intellectualsfoundit hardvery to badly was keep music outvery of thedid country. One Spring] of the things Prague the that was very [before censorship that things the of One 21 CEU eTD Collection display in whatthey know arelatively This (1975 [2006]:10). forum” public social can they when except other each about know to get natures and opinions similar with access to art [to have] the opportunity [….]” Jirous further queries: “How else can people during the 1960s beingas “thefirst time people [for] have whowould not normally in rockers. style the performed in of western where many bands Czechoslovakia Prague hosted the first cradle music in of Bloc"rock in 2006).Forexample, (qtd Eastern the inO’Connor, 1967, National Big Beat Festival,of Europe outside of Great Britain. In those days Czechoslovakia one was known as the of three "In late 1960s,Czech the musicinstates, rock’n’roll like best wassomething the rock all that would take place, music. As Vojt music. field style of becoming increasingly accepted far musican in was asrock were expanding so artistic the within forms cultural dominated of borders the Thus, forms. cultural excluded youth toward amongst the disposition of beginningof a cultivation tothe points it similarly,forms; understand cultural by indicatingto theirpropensity Czechoslovakia This style dress evidences increase of inan cultural embodied of capital youths in ("style-hunters“) as they commonly wore Prague rock’n’roll bands, but witnessed also visually individualsthrough labeled (Ryback, 1990:88). furthercontributing a blurring positionsdominant/dominated to infield of artistic the Ivan also describestheJirous social space forgedmusic by scenein the Prague Anglo-American cultural influence could not only be heard in the music of many 1990: 10) bright colors or pinn[ing] American cigarette labels on them. (Ryback, purchas[ing] dull in storesties andpaint[ing]government-run them with wide-cufed trousers, striped socks, and safari-styled jackets[,] Č ch Lindaur, a well-known music author, journalist, and expert on Czech on expert and journalist, author, music a well-known Lindaur, ch 22 pásek CEU eTD Collection 15 by Jack Kerouac, 1957; generation in the USA: 14 cultural developments bands, it is also imperative to highlight that Czechoslovakiafacilitated,who andcontributed to, arisingthe alternative cultrual space.and social was in stride and (ibid) Underground“ the as"fathers legacy of precisely rock part of Czechoslovakia’s with western important an remain They scene.“ local the in essential absolutely was groups Czech by of cover songs, Jirous (ibid) asserts that "the performanceRegarding 11). than rather repoirtoire (1975[2006]: the (Jirous understood“ consciously of English and American rock phenomenom—underground it music—even instinctively,though wasemotionally and a new of arrival the "marked they music, form psychedelic of cultural American community. maintain,viewed ofhabitusshould be asasource formation later Underground of the socialization processes within the space. This critical social and cultural juncture, I whereyouths could display theirapprehension of cultural forms to and contribute space rested upon music as a performing art in that it allowed a point of social cohesion them them back onaturntable.“ &Warner:(Cox 2004: 402). Inaddition his sonic to punchingholes in andcuttingthem,apart them reasssembling playing them, andthen on them, painting burningthem, them, "altered records—scratching with experimenting began 1965-66,Knížák As early Czech as and into society.music new of art forms andleader of band the KnížákAktual, was aninnovator in 60s the and 70s,presenting Currently, Knížák is an active artist and the directorof National Gallery in Prague. One can also make similar assertions to the literature of the 1950s being instride with the Beat While thereweremany simply groups repertoire playing Anglo-American of A noteworthy band atthis was critical juncture The Primitives. Styled uponthe Zybytky Esposu Zybytky Kádarový dotazník 14 , substantiated by music experimentalist Milan Knížák Milan experimentalist music by substantiated , by Bondy,1955; the by Bondy,1962. (Bondy,2006 [1990], 56) 23 Howl by Ginsberg,Allen 1956; On the Road 15 . Founder CEU eTD Collection strengthen,maintain, the and reporduce inUnderground’s postion the within social order these Iarguethat thusservedto responses andactions influences 1997:69). (Swartz, external toward responses and their actions mediate shape and to following decades legacyand themselves Underground memberscould in position from cultural where the inestablished asocial that field created artistic domination the was to subversion and resistance space of cultrual alternative 1960s,an inthe andprojects Primitives The (Knížák, 2005). [him]of musicweak andconventual“ stupid PPUquite and…quite and stupid, the be refused affliatedwith Undergroundthe to to stating Underground the "looked that ideasKnížák, communicate totheir inbetter however, lyrics inCzech to audience. order their of use the was PPU on influence Aktual’s field. artistic inthe position social their captial—laterappropriate tried to by including himin festivalsenhancetheir in to order musicalhisthrough heterdox Underground—seekingmaximizepractices which the to Ruzyn political field. several Knížákwasarrested in times 1966 and transported to Praha- follow him.bands were to that rock the Francisco in San Ginsberg 17 (Ryback, 1990). 1968), justifed by confiscationthe of his notebookswhich included "unusual sex politics dream opinions“ University.Charles Six days was later he expelled by AntoninNovotny (president of the republic 1958- consulting Czech poets, and seminars on yoga. Ginsberg was crowned King of the Majáles by students of 16 Knížákinvestigations, wasvery involved with The The most repuputably harsh prison inCzechoslovakia. poetry, his on readings/lectures giving months two for Prague to came Ginsberg Allen 1965, In Č Illustrated by Illustrated forms the of jazz and Total in Realism 1950s, andthe Knížák’s These artistic performances throughout Bohemia became Bohemia forthe a social nuisance became throughout performances These artistic Prison 17 . During this period, Knížák was able to accumulate cultural cultural accumulate capital able to Knížákwas . Duringperiod, this 16 , which can be seen as a precursor to many staged events of 24 happenings in trend with those of Allen CEU eTD Collection Underground habitus, as indiscussed 3. Chapter fieldthe duringpower of the 1970s as well layingthefoundations foras cultivationthe of 25 CEU eTD Collection capital capital by artists and musicians saw a proliferation international of exposure and a thus imposition of authority politcal (Bourdieu, 1992:114).Similarly, increasein cultural this censorship levelwhich ofthus autonomy throughout fieldthe of began reliqusihitspower, to control allowingfor anincreasedled to competitors in exercised point monopoly capital thewhich species haduptothis distributed a on of the artistic of Januarycultural field: 5 capital Dub Alexander we can seeto strugglethisOn ofavibrant heels the 1960s Czechoslovak of music output thewithin artistic field, by thewithout decreased the levelsUnderground community and its formation. of massacre)in 1974 as a crucial pointand turning upon effect boundariesthe of the Finally, a historical through trajectory resistance. social of positioning Underground the of I look policies,musicians in and specifically breifly regardto Additionally,artists. I the discuss to the watershedfield of post-Prague Spring and the effects of the dominant socialist State’s normalization the political I will upof discuss PPU, start the with year.Hand-in-hand this tumultous eventinvasion Warsaw in1968.Ithen Pact movediscuss the onto from emergence of PPU of the of the asaresult in censorship shift dramatic it the to contrast and Czechoslovakia to do so,Underground community and social the it from which was produced. conditions In order I continue the become would what of formations early the examine I seekto chapter, In this Chapter 2: Early Undergroundfrom Formation, 1968 – 1974 the historical context of rock’n’roll’s popularity in 2.1 PragueSpring th , 1968. During, 1968. thePragueSpring, socialist in the State politicalthe field, þ ek replaced Antonín Novontý as head of the Communist party party on as head of Communist the Antonín Novontý ek replaced 26 Bud Č jovícká masakyr (Bud Č jovická CEU eTD Collection Poland, Hungary,and EastGermany invaded August Czechoslovakia 21 on from Bulgaria, the troops WarsawPact and 175,000 by Union Soviet dramatically the disapproval from The exhibited Moscow. was metwith was Soviet displeasure January January 23 By from immolation. duetowounds helater inhospital died Museum. days Three National the of front in Square Wenceslas on fire on himself set Palach Jan student occupation,16 SovietJanuary whereprotest on tothe fury, and resistance furious.”was the and of afraid, Indicative embittered this only immediately expected. not in hadThe nation Kremlin was not masters the which their inway shapinghistory a was public “with theCzechoslovak interaction Pact soldiers’ Following the invasion, as Kusin (1978: 17) asserts, the (Ryback, Warsaw 1990: 78). his, and the four others’, memorial in Pragueon Wenceslas Square. by Republicasevidenced Czech the within resistance non-violent powerful symbol of Union, Dub livingintheSoviet while social capital accumulated Dub following active in dissidence political the became indivduals as both State from socialist the power of seizing leadingtothe steps in the pivotal and critical would prove that international contacts in theform capital of in whichincreasednot only social work their butalso royalties, their prestigeand theater, their for success international achieved both Havel Václav and Kohout Pavel playwrights example, For capital. social and economic both into capital cultural converting for space Although a strategic agent within the political field because of his high level of level high his of because field political the within agent astrategic Although rd , at least four other young men did the same. Jan Palach still remains as a 27 þ ek’s reforms. ek’s th , 1969, 21-year-old, 1969, philosophy þ ek’s lifting of liftingcensure of ek’s st , 1968 CEU eTD Collection of power in the political field. In other words, the closing of in theclosing spaces of performance in words, field. In of other political the power cultural asa dramatic change of in socialby result spaceshift the the caused struggle the in 1960s,wecan the see thedramaticWhile 1970sto Czechoslovakia the comparing musicalfor formation group by asking importance the illustrates of of this period time inmid-1970s Czechoslovakia in Prague Jirous rock’n’roll. of regulating neglect State’s invasion by socialist the Pact pre-Warsaw was created space that from socio-cultural the derives formation PPU’s below. discussed come in the wouldonsetnormalization in Prague.Restrictions lateruntil not of 1970,as open to rock’n’roll currents as evidenced by 1968second December the BigFestival Beat status within the socialist system. secure aprofessional performing end to musicians 1960sinCzechoslovakia: atthe the of field similarby artistic were rock’n’roll, to those theirof goals rock other playing methodssimilar of performance. While they on a dominatedtook position within the fillPPU came to cultural in left by the gap band the artisticthe field through assuming Underground, Frank Zappa, and Captain Beefheart who were introduced to them by The Primitives. by The them to introduced were who Beefheart Captain and Zappa, Frank Underground, 18 years old nineteen were still Universethe wasformed (PPU) wherein in a majority 1968, of September memberstheir During this time of political and social upheaval in Czechoslovakia, The Plastic People of At the beginning of their formation, PPU was similarly influenced by the American bands The Velvet Following the invasion of Warsaw Pact troops, Czechoslovakia still remained troops, Czechoslovakia still Warsaw Pact invasion Followingof the 2.2 The Plastic People of the Universe a feeling of a feelingkinship? 1975[2006], of (Jirous, 11) while being guided by freelytheir own feltmusical sense and above all by they can meet, compare notes, play together, or follow their own path chance of survival iswhen musicalthere nospontaneous milieu in which how can people in Czechoslovakia today [1975] form bands with a decent 18 . As voluntarilyThe inPrimitives disbanded April1969, 28 CEU eTD Collection Murphy, 1982). describes as“more him than just our manager. He wasspiritual our leader, our inspiration” (qtd in 21 20 categories. lower the within the Czechoslovak state’s categorization of musicians. categorization state’s Czechoslovak the within 19 field with a band that was having professional success at that time. Jirous in that he could maintain, and enhance,PPU’s embodied cultural capital. Additionally, merging with strategicPPU proved for his own social position within significantly to he contributed University, ofCharles agraduate Warhol’s thework—and artistic sphere not only social capital in the form amongstnetworks of othermusicians in the dominated brought following 1974.Jirous position centerthe mobilization of Underground’s at the and for its PPU incapital accumulation asdecisive be should with considered PPU, became theartistic meeting, manager of band.Jirous’ involvementthe andsubsequent then Jirous as significant proved which month, that of Salon’ ‘Beat festival the at Jirous metIvan PPU Martin above, described spaceas performance through space created social the on 15).Drawing 1997[2001]: equipment(Reidel, state-owned instruments and using band recognized officially an was PPU time this at in 1969; performed first PPU field, political described below. concerts cultural resources from historical trajectories of resistance as seen in their countryside drawing on by however,wouldbeUnderground the counteracted of practices State, the closed1950s thus asocial of space. This exclusionary social closing space through Prague resulting from beginningthe of policy shifta cultural backZhdanovism to of the Indicative of the relationship that would form between Jirous and PPU, bassist of PPU Milan Hlavsa Milan of PPU bassist PPU, and Jirous between form would that relationship ofthe Indicative Jirous was the previous manager of The Primitives PPU had 19 20 and capitalized on the objectified cultural by state-owned capital playing cultural objectified the on and capitalized Before the onset of inhibitingBefore the onset of and exclusionist cultural policy post-invasion the of but also cultural capital: as an art historian—with an inclination to Andy to inclination an historian—with art an as capital: cultural also but ]Ĝ izovatel status with the state agency Prague Cultural Center 29 3Ĝ ehravký and , one of three levels of status zajmout um 21 Č lcka þ innost were CEU eTD Collection official press official 23 1935. See Chapter 1. 22 ego ‘Ziggy Stardust.’ alter Bowie’s Funkadelic, andDavid ClintonandParliament Stockhausen, George Karlheinz electronic composer Americanmusician SunRa,Germanexperimental jazz African notably music, through reality of transformations similar initiating time this of performers western other with field artistic relational in a themselves placed PPU doing so, In performance. though musical or‘other-worldly’ something ‘magical’ social everyday from transform space reality where audiencememberscould into sought to cultural spacewithintheartisticfieldthatprovidedanalternative establish a Universe Symphony andadditionally German magician titledcomposing aseriesof Agrippa, songs concerning 16 1997: 246),lyrics worlds, the SelfandtheOther”(Jirous, andthemagical betweenthe [was]therelationship mundane theme ofthesenarratives the Mabinogi,which“common mythssuch as and ofTheMabinogion Celtic context to display their position within the field of power. development PPU’s wouldthat illustrate usage of song/composition embedded in a social Of which newspaper is unclear as it was quoted in aPPU album booklet. A reputable official art gallery in Prague, site of the Czechoslovak Surrealist Group’s first exhibition in PPU’s proceeding concerts in 1969/1970 showed a particular musical in showedaparticular PPU’s proceedingconcerts 1969/1970 Upon theirof performance 23 encounter with something that lies outside you.encounter something that with lies outside (Anonymous, 1978:11) afteran that always comes afeeling uncertainty, the feeling of visit youyouranother one,and now returntoAll own. thatremains is youevening and theordinary that world haveleftthree to hoursago it’sanordinary And itisThe empties; outside room slowly over. described an early PPU concert: describedanearly —a compositionforoneofeachthe planets—PPU,Iput forth, The Universe Symphony The Universe 30 Incorporating magical themes atManes 22 in1969,the th century The CEU eTD Collection consolidating power in began socialist Husák-dominated consolidating first 1970,the the the power State have After not safeguard (Iello, 1972). beenable inCzechoslovakia” to socialism inKavanstated “without 1970thatDecember timelythe aid Warsawthe of Pactitwould young in crowds 1969, Gustáv installedHusák toreplace was Dub with initial successful proving formation was Universe’s ofthe While Plastic People The astronaut. Czech, non-superpower specifically illustrated by Vladimir ascendance Remek’s into space in 1978 as firstthe science, of usedSpaceas primacy socialistthe indicative of being State the manner, inthis PPUusedSpace production. Whilethe foreshadowingUnderground early rituals, by musical spacetransformed positan alternate space to of representation can truly people where earthlyhindrances, aplace extent without to the of utopian an atmosphere: build a social space bliss.space recognizes an of ininnocencealternate and The representation society live wherepeople a inas place byDostoyevsky space a story (outer) theuseof describes based on values of truth and trust. PPU drew on the over expression in the artistic field. in expression over artistic the PPU’s musicin thefield and legitimationof power thestrugglewithin additionally of 51), which would come toplay importantan role within social the embeddedness of least, to set in motion a diffusion of boundaries existing in the social world (Cohen, 1984: in served that to, very the afundamental contradiction” of whichexpress oppositions set to“embrace acomplex inorder homeland” mundane “present, Spacewith their Outer juxtaposing by done was performance though space social the of transformation This 2.3 Normalization For example, in example, For The Merry Ghetto The Merry 31 , Czechphilosopher Jan Pato þ ek as the newGeneral ek asthe þ ka (1978:53) CEU eTD Collection an implicit state an implicit(Bourdieu,state Therefore, 1987:14). Ireason, use the of symbolicviolence in the public sphere by consecrating andinstituting them where they in existedpreviously Furthermore, theuse of asBourdieusymbolic power, maintains,initiates groupformation of cultural lossthe based on people between create wasablesocial discriminations to State socialist extra-judicial socio-economic hardships.Through exercise this the of symbolic power, capital, aforementioned on the butcoercion by overt not characterized was normalization 1950s, during the ofCzechoslovakia Stalinistpractices to often areturn considered Although for example, via the restriction power by deviancepunishing through of field the in capital of monopoly its exercised field political The (ibid). masochism” to form of a media to the reduced have propogandists fifties. The of the that similar to the educational cultural the in(Kavan, is of Andwith space, “thestate general cultureregard to 1972). astime” assistant’s the is anuisance on in treated customer trams, the flare up the frayed tempers streets, seeninthe faces are fifties. Sullen the to back right had turned system. clockthe think might today, mien that one from “judgingPrague citizens of outward the introduction censorship” thorough of (Ulc: 1978:26). Prague Spring 1968. the of reinstitution the aim [was] “[Normalization’s] society. Czechoslovak normalizing of political process Looking at normalization’s effects upon the social space, one could assert that assert could space, one social the upon effects normalization’s at Looking measure inmeasure (Ulc,1978:27) [Czechoslovakia] political sins of their is parents in all thelikelihood most resented punitive punishment of children (by being barredfrom education)higher for employment and of discrimination against the family members. The measures of economic hardship, i.e. demotion or termination of status quo ante Prominent among the measures of normalization has been the been has normalization of measures the among Prominent and expiration of the liberalizing heresies of the of heresies liberalizing the of expiration and 32 CEU eTD Collection ingratiate olderthe generation. to music band brass recorded and played they Instead themes. of Anglo-American extreme too contained 24 youth population from curb Husák amongthe interest growing the 1970-1973 torock’s governmment hadbe beenplay made taken years.While every andhadto to by efforts two publically requalification examsfor musicans. The tests were required of all musicians who wanted belongwork professionally to 1994:59). (Ramet, and which jazz rock needed to wereartistic agencies musicians to from they expelled down one-by-one“ in (qtd Moreover,Ryback, 1990:141). between 1968 and 1974,3,000 from shut to disappear because theclubswerebeingPrague started Chadima, "rock’n’roll Mikolášmusical innecessary for meetings.to According provided Praguethat space a normalization were feltin artisticthe field by a profound closing many of music venues which isfurther discussed below. At beginningof the 1970s,early the effects of payingmuch the growing thatattention would to community form into Underground, the not thus oppositon‘, aneye 'offcial the on with keeping concerned wasalso State the space.Furthermore, ignoredsocial emergecutural this beganand to movement within lengthhair lyricsand editing (Ryback, beginning 1990:143)—sothe of an underground line—regulating in bands rock official keeping on focus to chose State the time, this At Underground. for the space social cultural and for analternative conditions create served to through restrictionthe of by State’s monopoly cultural resources such the on resources along boundaries of official and non-official in Czechoslovakia for the remainder of For example, Supraphon, the national recording label, halted or cancelled all music projects that projects music all cancelled or halted label, recording national the Supraphon, example, For Primary to the strangling of cultural forms through normalization were 2.3.1 Requalification Requalification 2.3.1 Exams 24 , the exams‘, the individe implementation 1973served to musicians the 33 CEU eTD Collection 26 society. a closed not was Czechoslovakia that countries other charges as disturbing the peace inorder to still pacify the young generation of this time and illustrate to 25 practice anexculsionary werethus exams Requalification socialism. creative viewpoint, as dead and resigned profimusicians asdeadandresigned creative viewpoint, from a presented, directions. Official, in rockscenewasdividing two our clear that increasingly became “it that, insists socialism, during career his of most for peformance form. asacultural rock’n’roll in legitmating musicians of actions and itsfield back to influenceittransfomation underin Stalinistsubjugated that the efforts artistic the of arestucturing in motion setting field artistic the in autonomy limit to State musician hadabide to if theywantedtopass exam:the a Chadima points seven musician desrcibes 1997: 33-37). hair (Vanicek, of the of length and music, the of content lyrical the performer, the of presentation the Leninism, basedcouldnot only perform on exams testingbut musical alsotheory, on Marxism- musicians who demarcate had theto ability that mechanism“ asa"censorship functioned agencies the institution, state-run a As amatuerlly. even or professionally play to order in political the field via music from agencies whom a musician needed toacquire alicense space. social beginningan the of alternative substantiates further which socially, exclusion into translated culturally exclusion displays field Vanicek: 61).Chadima’sarticulation a growing hierarchy inthe musicians of artistic of individuals” in by a isolated musicians, aswell underground as (qtd representedgrowing For-profit musicians or control of measures only Czechoslovakia, in rock’n’roll against law explicit an never was There Mikoláš Chadima (1997), a saxophinsit who played legal/illegal Mikoláš alongwho Chadima asaxophinsit linesof the (1997), The reconfiguration of the artistic field under normalization was doneby actors in English texts! Fourth, be properly dressed! Fifth, don’t play music, which First, no English band names! Second, nolong hair! Third, no 34 26 , and unofficial, creative unofficial, and , 25 by the socialist the by CEU eTD Collection their professional status had been revoked. been had status professional their 28 27 exam the Failing power. of field in the doxa momentarily, in position, accepting, their State andsubjugate themselves the dominated capital to cultural further and give thus resource legitmate theexams asacultural to time, served musicians with other of the exam,the of along 36). Their dress taking 1997: (Vanicek, their changing or hair shoulder-length hair their cutting without so did although exam the Instead of boycotting the exam as did other musicians of this time cultural capital in field education the reproduce to social withinorder fieldthe of power. Using was education as testing-form, State the thus using its symbolic of violence Culutreparty…who Ministerthe opinions was…ortheir oncommunism“ of (ibid: 49). havedid knowledge not for of, adequate example, "the history worker’s the of ifthey exam the pass not could one in that field political the within also but field artistic indetermine only not to amusician’splace the exams alsoserved new requalification existedthere exams in 1960s determinethe to amusicians‘ ability playto music, these While musical of finallypolitical 47-50). awritten western and (ibid: test theory, theory of agency throughthe oral were bymusicaltest auditions, tested seven points These cultural, social, and economic capital it had accumulated since its formation had formation its thus since and ithad capital accumulated economic social, and cultural, autonomy infield. muchlost artistic Through requalificationthe exams,its the PPU of PPU wasrequiredgive equipment, upstate-owned illustrating to depreciating the Originally being told they passed the exam, PPU received notification two weeks following stating that Notably, Jaroslav Hutka and Vlasta T Vlasta and Hutka Jaroslav Notably, 2.4 Beginning of Underground Construction ofUnderground 2.4 Beginning (qtd. in(qtd. Vanicek, 1997:47) let andargue with adjudicators the atinflate their them your ego expense! is ‘too wild’! Sixth,learn the rudiments of music theory! Seventh, don’t Ĝ ešnák who would later join among Underground performances. Underground among join later would who ešnák 35 28 duetotheirmorbid lyrics, 27 , PPU willingly took CEU eTD Collection many rights had been takenby the socialist State after 1968. 29 seenasasymbolicsake’ was gain.Moreover,improvisation illuminatesamodeof gains via Underground commodifiedartwouldclash with values,thus‘artfor art’s capital in theUndergroundcanbeconvertedintosymbolic capital whereineconomic economic space:thepreciselackof intheiralternative thecapital for Underground symbolic musicfurtherproduced through consumerculture rejectionof reason that consumer culturein thefieldofpower of theidealofrejection directly reflecting ofBrabenecis Thus,the free improvisation of formations as Underground the loose still inthe dispostion a growing reflect to began improvisation Brabenec’s PPU. of band,the in bassistaddition to Milan whowas Hlavsa, leaderthe andfoundingmember influencesas free a wellas to improvisation theologian, brought of composer a second a Brabenec, in 1973. PPU to Brabenec Vratislav saxophonist of addition the of focus on origianl composition. This change in musical direction was primarily the result American bands and grandiose arrangements as field. arena of artistic the dominant in legitimation the of from dicates free the space cultural by an alternative rather, creating to formulate new actions and strateigies maintainto its position within the social order, or Consumer culture grew in Czechoslovakia in 1970s the as a manner to placate populationthe fromwhich After losing official status, PPU began to steer itself away from cover songs of (Watson, 2004:249) sound or than aquestionmark mood, it produces rather acommodity. any particular doesn’tguarantee Freeimprovisation audience [….] of the instant—inthisspace, usingtheseinstruments, withthis possibility toexplorethe want capitalist Improvisers business-as-usual. free music,opposedimprovisation isalmost by definition outsider to 29 by by musicI not allowing tobecommodified. 36 The Unvierse Symphony The Unvierse and started to CEU eTD Collection developed” (ibid) and thus allowed for youth, who had been accumulating embodied accumulating been had who youth, for allowed thus and (ibid) developed” “preferred non-participationalternative sphere, but rather that of the official opposition. Thirdly, the State at this time to wrong participation of the young. A spirit of… period Vaculík. 30 Dub the of opportunitists ‘rightist “the delimiting on set also were musicians, official the regulating on focused while time, atthis State socialist the Secondly, festivals and thus begin to construct their own alternative cultural and social space. andplay gather to wereable musicians non-official the Here, (Ryback, 1990:143). musical agents, begantooccurincreasingly performance invillages of Czechoslovakia and institutions gazeof from Away panoptic the city. capital the outside of performance thereopenedaspaceof Prague, wascontainedto musicians oncontrolling concentration taking advantageof a spatial,social and political, gap: Firstly, asmuch the of members Jirous, Isuggest, wereabletosituate of PPU andthemselves inthefieldby autonomy, field’s artistic the taken effectively had point this at field political the While field. artistic the within thus intentionsthe socialist State,butrathertoformasecondculture to engage notwith oftheirexplicit conditions,thusindicative social the present heterodox acceptanceof and tightening ofCzechoslovak improvisation freedoms, shouldbeviewedasa policepressure Withincreasing habitus. inChapter3concerning best, as discussed ofCzechoslovak society as dimat perception inthe Undergroundthatsawthefuture Most likely referring to the growing dissident movement involving former party members such asLudvík entangling them in a struggle for legitimation over the ‘proper mode ofexpression’ ‘proper legitimation in the over for entangling them astruggle 30 2.4.1 Countryside2.4.1 Concerts ” (Ulc, 1978: 29)thus their controlling on was not attention newly the forming 37 détente þ ek CEU eTD Collection Underground situated themselves according to several dominated positions several themselves withinCzech Underground to dominated situated according & Robbins, identity”provide (Olicknarratives 1998:121). The continuity to through inmusicians) partook an activation of Czech cultural memory: “relied they on historical and (audience members of Underground the musical of these performance, rituals Bohemian in 1993: xx-xxi). of trajectory the opposition of From (Hutton, experience the figures in history, Czech whichshaped the Underground’s understanding of their position andsubversive resistant of evocation and recollection by the past” of the representations “present a“presencecreate of past” through the wasableto Underground the inThrough countryside musical based performances dominatedpositionthe in society, power. presupposes from eventsborn these spatial,political, andfield in social gaps the of in community as chapter formulated a community;next Underground the the described consciously, nor explicitly, not were music, and expression free celebrating on based although because gatherings, the structure’ ‘early asan this Iarticulate produced. together; from here we can see an early structure of Undergroundthe community being an audience thus served as a point of gatheringfor a diverse group of individuals to come in(qtd 1975 [2006]: 15).TheJirous, very musicnecessity asof have a performing artto so?” done have would we if left have they would entertainment of kind What to. wanted remarked at one such gathering that “we couldn’t just oftheState. watchful the regulation without shit on these people, evencultural if we capital from the 60s, to attend these concerts and performances in villages 2.4.2 Historical2.4.2 Identity of Resistance Hlavsa in countryside, formation the early Underground Illuminating this 38 CEU eTD Collection based on, and I argue geared towards, an increase of capital. anincrease of geared towards, and Iargue on, based growth of process as adynamic areconceptualized of Underground the and development expansion Thus,theperpetuation, over time.’ an‘evolution consideration’ andalsoas withinstrategize the field to theircapital with other actorsat ‘the momentunder influences.” Furthermore, Bourdieu emphasizes that positioning may allow for actors contemporary past with the of construction selective as“the details Cohen (ibid) varying resources varying ingroups fieldthe of havepower been for struggling formthe of freedom expressive over socially andculturally within Inother words, excluded Czechhistory of resistance. the construction is ofcommunity by seenintheUnderground form commonality the of 46). in The [2003]: technique the (1985 use of asasyncretic culture atavistic relations to threats contemporary with when faced past the employ often communities innovative: historicalnot somethingpositioning trajectory resistance isentirely of viathe cultural Jan Hus. to by identity historically positioningtheir social Underground’sthe activation resistant a of to the scope of this paper, I will focus specifically on specifically focus I will paper, of this scope to the POSITIONING lastly, and Czechlands; Nazi the invasion of to acknowledgement well as Egon Bondy; Egon as well POSITIONING MATERIAL 31 century 19th Karel dissident Havli four history types,classify thesebeing: to which accordingI Religiously – 15 Cohen verifies the use of the past as a resource through as aresource social Cohen useof verifies Underground’s the past the through the tothe evocation of the Hussite pilgrimages through musical ritual. In regard th century; linguistically – 19 31 . The Underground’s use of contemporary music illustrates what music illustrates . The Underground’scontemporary useof of of writingsof the poet/philosopher Klíma Ladislav excluded as COMMEMORATIVE þ ek, who was a force in ek, whowasaforce the th century; and artistically – 20 39 POSITIONING CORPORAL-SPATIAL POSITIONING CORPORAL-SPATIAL on March 15 March on ALLEGORIC POSITIONING ALLEGORIC th century Národní obrození CORPORAL-SPATIAL th , 1981as by to ; CEU eTD Collection 32 social order. As a result of theirthemselves lack of economic to capitalpast figures,or history Czechlands andidentity its tothe of resistant specific occupation social capital the through,Underground for were able to enhance Underground. of bannedthe concerts similar tothe their position in which socialistthe describethe led State, Jirous to the thus consequences Hussites the of dissimilarJirous’not vociferations Underground’smental aboutthe to againststruggle unceasing in strife with worldaround”(qtd the Saloun’s Sayer:138-139). is description “Hus signifies for the Czech Nation a vehement, irreconcilable struggle or at least an sculptor of the Jan Hus monumentin the center of Prague’s Old Town Square, stated that cultural Signifyingresource. thesymbolic capital of Ladislav Hus, Saloun (1998), religious fieldsetaresistant precedence forfurtherof exclusion agentstouseas a Hus isfigure 15 a that opposed historically. themselves positioned Underground the whom with Hussites, the and Hus was banned. andtheir waiting concert were (police) lords the Indeed, drivebe establishment—would to waiting Czechoslovakia]usaway.” the today [1970’s Hussites in to mountains….Asthe soon as we came [the to village], wesaid, lords— the Jirous (1975[2006]:9)remarkedit“reminded that us of pilgrimagesthe of first the dominated position in the field of Describinginpower. one countryside concert 1974, on a social history of excluded groups that established similar strategies of action within a based resources wasausageof claimcultural I thatthis concerts, Regarding countryside As illustrated particularly by Hapsburg, Nazi, and Soviet occupation. 2.4.3 Corporal-Spatial2.4.3 Positioning: Hussites The Underground were thus able to draw on this history draw on The Underground werethus history able afacet to andthis of produce Jan of figure resistant the of activation the see can we ritual musical this Within th century repression of the Catholic Church in the 40 32 . Comparing . CEU eTD Collection dominated positions of dominated positions non-official of performers and licensed officially musicians thus between produced musicians andcoerciveexcluding boundaries The pressure. the police from a distinctively exams requalification community to resulting Underground closed placemove performancesother signaled‘massacre” in1974anda onlytwo PPU took of permitted manynot their expelledfrom school and totake others exams”. Following the and imprisoned Prague. Sixyoung were people backto shipped them railway and car As “policeRyback (1990:144)explicates, hundred jammedseveral youth into awaiting justviolence many before including bands, ensuedweresettoperform. PPU, unofficial onuninterrupted countryside hadgone near the townevent143). The(Ryback, rockconcert was 1990: place to take in village of the Rudolv of 33 the point primary tothe of periodmomentwatershed firstthe of look Underground,the to I furtherTo exemplify incountryside spatial,the and and social gaps concerts, political, to 2.5 Bud within their national history. andreframing discourse State the themselves to by alternative producing knowledge neurotic them as “long-haired addictsandmental cases” (Wilson, 1983[2006]:44) drug labeling State socialist the of strategies subvert to orthodox inorder ascapital resources Furthermore, the Underground agentsbecame using resistors forms cultural and historical producedfield trajectory of a Underground.power for symbolic of the capital in Underground’s placement the credential,educational example, or adiploma Forexample, in the towns of Lede Bud Č jovícká masakyr Č jovická masakyr jovická ý eská Bud (Bud Č þ and Suchá jovice in south Bohemia. While other concerts in the Č jovícká massacre), occurring on March 30 on occurring massacre), jovícká 33 , police and soldiers raided the concert site where site concert the raided soldiers and , police 41 th , 1974 CEU eTD Collection as discussed inas discussed nextchapter. the be toformed, Underground andthe forof aconsciousness became allowed more discrete 42 CEU eTD Collection to befollows This binary what to truly (Jirous, 1975[2006]: 15). distinction creative” in play thusmaking exchange music for the rightimpossible to itpublicly for[…] them demands who“surrenderedof tothe establishment the inaudience,” comparison tothose gives that and play him to him tells conscience his that music of kind the play to pleasure, [is] responsibility for “[a]musician’sthis field Jirous states difference: dominantpositionpower. inthe of this is the forth contrastto by inbetweenput stark those boundariesmusic of the their philosophy only way heset of aclear andarticulate assert began to by 1974, they Underground occupied can share by Illustrated infield power musicians position the non-official excluded the the of of histhe creative weakened.” blurred, or undermined, boundariescommunity as theactual of the are social joy with Cohen the(1984) posits “symbolicthat boundaries [of a community]increase in importance oftheUnderground 3.1 Canonization withingroups fieldthe of specificallypower, dissidents.the homologous looksatthe exchange structurally of other with briefly capital chapter this Additionally, boundaries. symbolic malleable exhibiting thus in Czechoslovakia, life spatial boundaries as a result of social exclusion, but also existing as adisposition toward not only through defined was illustrate Underground the that seek to I field of power, artistic expression. By looking at the relational existence to the socialist State within the for space alternative a relatively autonomous into Czechoslovakia in1970s early created a definitive from individualscultural space a social community and to coalesced that In followingthe Iexam chapter, shiftthe in theUnderground from network a loose of Chapter 3: Canonization of the Underground 1974-1976 43 CEU eTD Collection Underground is a multi-faceted, diverse community consisting of “Christians and radical and “Christians of consisting community diverse multi-faceted, is a Underground artistic members inthe action in andstrategic Critical practice Underground the theorizing field, I lookbelow. describe I which other, the to violence symbolic do to in order was toexpression’ Bourdieu’s in ‘true todefine aesthetically what Each fieldof wished artistic the group power. field in the violence symbolic of site the as be seen can it inthat State concept socialist the against for power struggle upon Underground which the becomes afront ultimately problematic of habitus. artisticthe fieldin 1950s,the which were re-installed bythesocialist State. This As described as a createdwithin modesof result initial the binary ‘proper/improper expression’ of above,(ibid: wasanimperativefor 12), thecommunity. the bands official the of mental seaof poverty” instead of express, “commercial the need to Underground, the this For necessity freedom expression. from Undergroundthe as andof object of forstruggle legitimation thewithin field of isimbuedpower, with meaning artists, wishtolivein 1975 (Jirous, truth” [2006]: 10). The symbol beingof ‘truth’, an the with who those, celebrate to than way other in any used be art their let to refuse “stubbornly of assimply who Underground people the theexcludedartists describes further Jirous thoseof andhatred peoplesuspicion such Underground, as the against” linked. theState; wereinextricably two without the exist CartesianexistNewtonian physics could science, Underground without the could not not Bourdieu as (1992:74)asserts in “what exist[s] social the world arerelations,” thus,as 3.1.1 Formation3.1.1 of Habitus becomes problematic andThe Underground’sdefinition truth community tenet of In direct opposition to the official culture of the socialist State who “turn their 44 CEU eTD Collection cultural forms, which were transmitted intergenerationally from intergenerationally weretransmitted which forms, cultural cultivated by youths learning, as how and beingsocialized, apprehendto to these new such as thosebeginningin early the 1950s: disposition rock’n’rollbe beganto to action, perception, anddisposition of members.Underground the shaped internalized andthus were in structures external that structure” a “structuring as socialization assumes a class-specific background a similar socio-economic Therefore, evenwho thebasic did not education”complete level (Jirous, 1975[2006]:27). of Um band Underground the by in backgroundis 4).Theworker further among (qtd echoed Steinhart: Underground” the were students no “almost however, labor,” Manual work. hardest The tractors. from Bondy (1991)notes similarly From Undergroundmemberswere“workers. that trains, Underground as 34 A background. colorful members, Underground the wasdisproportionately class working of as structures, provided bymusical having variety Although performances. arich of artbased ona andlife toward similar mental attitude geo- loose and additionally on drug-addicts 1)all (Machovec,2006b: publishers andteetotalers” samizdat andpoets, painters, folk singers, rockers, pacifists, andenvironmentalists, feminists Marxists, StB, Statní Bezpe Statní State Police of Czechoslovakia As mapped out above, the appreciation of habitus also occurred in above, appreciation habitus spaces the occurred As mapped cultural also of out for the insufficient attention from parents/families. from attention insufficient the for people: marriages, broken unsettled families, and thus compensatetry to starter/leader-types clerks. In this wide range, some individuals stand out as so-called university youth, and with 15%others only basicthe education: soliders, 30% come from secondary 40%are schools, workingyouth, 10% þ nostni 34 report (Šimák, 1983: 44) describes the socio-make-up of the of describes socio-make-up (Šimák, the 1983:44) report Č lá Hmota who came from “simple working-class families working-class “simple from came who lá Hmota . 90% they recruit from socially and morally disturbed 45 3Ĥ lno þ ní auto Ĝ i, jazz, CEU eTD Collection Albert Ayler. pioneer free-jazz to Varése Edgar composer from faras as ranging influences had musicians the indeed, 35 class and identity symbolizing and encapsulating ofhabitus, asavector isseen music light, Inthis inmusic.” tastes than classifies, by asserting that“nothing more clearly affirms one’s ‘class’, nothing more infallibly and why rock’n’roll was at the center of this formation. Bourdieu (1984:18)answers this modeproper of expression. allowing for the use of a shared set symbols based on the Underground’s definition of the thus field power the excludedthe of space within through cultural as well appreciated by families,must socialization andeducation socio-economic beconceptualized through therefore, Underground, reality the of perceived The 127). (Bourdieu,energy” 1992: one’s investing is worth it in which value, and sense with world…endowed meaningful havingbeen establishedpreceding through conditioning,constituted communitythe as “a habitus, Similarly, formation. of appreciated this community for shareduseintheproject apprehend theseforms based on habituation over time and meaningfully negotiate them Underground’s members symbolic in construction community thatof were ableto as andThe groups Primitives. Thismode of perception for servedthus asaresource the that provided security and protection: if wrongly persecuted by the socialist State, an State, bythesocialist if wrongly persecuted providedand protection: security that field of power; being part of the Underground additionally allowed for a set of relations Underground could bynot offer legitimating theeconomic and social inequality in the lifein the that saw advantages ultimately thelatter chose Thosewho underground. continuelife working-class for presentedachoice normalized Czechoslovak individuals: those working and accepting the fundamental order of doxa or choose a life I do not wish, though, to generalize the music of the Underground as only deriving from rock origins; rock from deriving only as Underground of the music the generalize to though, wish, not do I A question why as arises to had Underground the ahighconcentration of workers 46 35 . Moreover, the dire outlook of CEU eTD Collection Persecuted) also contributed to this protection. imprisoned members. Additionally, following 1976, VONS (Committee forthe Defense of the Unjustly 36 space: this alternative describes Machovec space. alternative of their own building critical dialog withUnderground isnotanti-establishment’ as being itdoes that not wishengage to in a the State, as do and must Underground,boundary State the between the theread his we ‘the claim that dissidents, butif even he relation.in tomake this Thus, denies what order of precisely was the sense rather seek changeis by through on symbolicthe binary evidencedart Jirous, of system produced opposition through the us andwantanything wedon’t dowith to (ibid).” [it] Indeed, arelational existence based through their way of living (ibid); and that “[the socialist State] wants nothing to do with struggle against establishment the establishment(ibid,the attitude to their 30); through destroy isUnderground’sthe tothesocialist relationship purpose State: to Underground’s establishment”. Contradictorily,in the same essay, Jirous makes many references to the own words, “to define ourselves as anti-establishment would drive us intothe arms of the to theideaopposed themselves20) insuchterms. of In Jirous’ defining (1975 [2006]: staunchly the was Underground socialist State, the Concerningorganization to relational Boundaries3.2 Symbolic comfortfor a life steeped in artistic expression and rejection of the official culture. consumer and capital economic losspotential of the asaccepting such resources, cultural many included atstake putting spacepower of an field the within alternate individuals to possible when internationally and nationally, member publicize locally, Underground could the penalty to community on the rely Canadian Paul Wilson, former member of PPU, often led international petitions for the release of release the for petitions international led often ofPPU, member former Wilson, Paul Canadian Czechoslovak alternative culture scholar and former scholar member culture Underground Czechoslovak and alternative Martin 47 36 . Importantly, however, this journey by journey this however, . Importantly, CEU eTD Collection 37 were being ourselves. They expressions,were our ourideas,want butwedidn't tofight We barricades'. the of side other be'on the and be dissidents, to want we didn't was that play2003) continual music, claim that was all:“Ourposition wantedto only they that Underground. by in Primarily, iscorroborated this Hlavsa and Brabenec’s Cameron, (qtd can see a itmustn’tUnderground,be only his reduced to claims; withinthethus, Underground,we push andregime” for becamea spiritualleader (1975[2006]:30).Even the though Jirous pseudo pull ofState may seem contradictory powerto Jirous’ statements that their purpose was to “destroy the over the time. very definition servedthen asmisrecognizing social significant the and political ramifications ithad over of alterity state This free expression. space for an create alternative to was intention their and byMachovec, purposeas noted rather, politically, system the change or regime the overthrow to not was of community pursuit the inthat the wasstrategic action Underground’s of the later be(Bourdieu,capital in would dissidents used with 1990:118).The exchange the indicativebeing as aim” of unreflective misrecognition“unconscious, the frame I that in boundary relational and thus essential their based aforementioned on State socialist the against strategically action formed their in the creationMachovec’s description into providestherefore insight how critical Undergroundthe of symbolic capital; this In disagreement withJirous view that infact it was a spiritual, mental attitude. The assertion that the Underground’s pursuit was not to seize power from from the seizepower notto was pursuit Underground’s the that The assertion revolt was not based on any a priori spiritual,mental attitude totalitarian totalitarian world of unfree.the (2006b:7) in establishing an word, the space of freedom in overwhelmingthe inflexibility dogmatic and rigidity all faces and influences spiritual all to and more generally, the authentic values of human life, a life that is open authentic cultural values, values of authentic art and literature, but also, mostly unconscious, unreflective aim of preserving the undistorted, 48 37 but on a CEU eTD Collection new which symbolic status to they alone could participateby legitimacydenying the of this distinguished a clear community individualsof contributing toan alternative space of hand, one On event. ‘invitation-only’ an of shape a on took concerts the weddings, these concerts the ‘First Festival of the Second Culture’; the festival was the first in a series of three aggression aggression at following Underground’sthrough the newly-formedperformance methodof police the appears field artistic the within boundaries symbolic in distinction the of beginning The (Storey, 1993:188-189). Jirous sawindeed music, culture, asan challengeopportunity thesocialistto State subordiante function form into that they maintained a"‘pure‘ gaze“,aesthetic while iscommunity based upon their bewteen struggle form and function: Brabenec and Hlavsa Underground the in agents these between distinction The performance. their in pinnacle suggesting a output,“ entire of group‘s of previous the respresentation "synthesis the Wilson,however, (1978:56)describes 1982), Jirous the doubt,song asbeing, the without "100 that Points“ had been a mistake as they were neverintoprotestsongs (qtd in lyrics describe one hundred points of which the socialist State is afraid and thus provided site for Underground bands to play. to bands Underground for site provided thus and 40 39 them?” wefear do why socialism/So fear democracy/They fear families/They their 38 Undergroundthe community is conveyed bythesong“100 ( Points” openly Communistagainst the regime." Furthermore, this strugglewithin overpurpose Under Czechoslovak code, couples getting married were able to book their own form of entertainment, form own their book ableto were married getting couples code, Czechoslovak Under Those being Firstthe (1974),Second (1976), and Third Festivals (1977) of Secondthe Culture. fear evening/They this fear Hus/They Jan fear information/They of flow free the fear “They example, For 3.2.2 Festivalsof3.2.2 the Second Culture 39 that were privately performed as a wedding celebration as awedding performed were privately that ý eská Bud Č jovice. InSeptember members 1974, Underground of the staged 49 40 38 . Staged through . Staged Sto Bod . Brabenec states . Brabenec Ĥ ) , whose CEU eTD Collection organizations unofficial other of that and Underground the between relationship inthe borders distinct flexible. notby boundaries entirely established the Thereexisted were Underground, the definition issomeone of who true to musictheir (Vanicek, 1997:86). the to because adheres she be Underground could considered musician IvaBittová included in Hlavsa Underground: the thatremarks official classical/folk/experimental comein together a rareunity“. Additionally, even official musicianssome could be has is in culture gradually vital Czech bottom that everything where calledof society describes Hutka/T inFestival Jirous Thirdthe performed (1978:52) SecondCulturethe 1977; at of inUnderground a sensethat they expressing’were ‘truly and eventually pair the 42 41 and T Hutka Vlasta at thisincluding time Jaroslav example,Underground For events. groupoffolk-protest loose musicians another existed freedom endorsement of expression, although of overtly in they not did participate boundaries of were Underground manythe encompassing non-official musiciansby their stakeof itself”. are the field, artistic Indeed, within within the struggles field the constitutes a potentially open space of play whose boundaries are whom anybody could beincluded. (1992:104)explains Bourdieu that”every field define festivals;these a to the also sought socialist Underground the disposition to State, be diminished inmembership termsof individualsstructural toonly whoparticipated in symbolicthe in arenas On fieldthe power. of otherthe hand, Underground the shouldn’t Forexample, private philosophy lecturers and Christian writers Mentioned in the previous chapter as two musicians who boycotted the requalificationexams. However, even though we can witness relational, non-absolute boundaries non-absolute relational, witness wecan even though However, 42 as shown by formulated “clearly the standpoints [of artistic expression by Ĝ ešnák‘s journey to the Underground as having been so- ashavingbeen ešnák‘s"pushed tothe journey Underground the to 50 Ĝ ešnák 41 , whocouldbe considered dynamic borders which CEU eTD Collection humility, uncompromising and artistic expression(Jirous, 1975 [2006]: 29). 43 beliefs their through alienate—people connect—or itmusical in alsopeople performances, community gathered servedto around that 2006b: althoughsome 9).Thus, existed Underground the toextent asaspatial views” (Machovec, from official the radically distant community] so Underground the allowed for PPU to appropriate the cultural appropriate andlegacy the by cultural allowed PPUto established for resources impulse Underground: Bondy,fromupon an the as agent field artisticthe inthe 1950s, heard the music and askedPPU tousehis in poems music,their thus signaling anew “worker’s 41). Atthis clubin1972”(Wilson, Bondy 1983[2006]: particular concert, a performance PPU’smusic ina at whenheencountered within Underground the became acrucialfigure the poet inSocialistsubversive the 1950s, Realism to aesthetic ReturningEgon Bondy, to poems whose published first throughsamizdat andused as a on ‘refusing thatwhich we didn’t want’. based symbols negotiated habitus creatingits asetof appreciated of upon members the an alternativeproduced in spacewithin excludedposition the artisticthe fieldstructured then These relations State. ofthe socialist that to externally and people, between Cibulka clearly affirms boundaries relational the of Undergroundthe asinternally being affirms, Cibulka Membership in the underground had to possess certain attributes and characteristics such asrage, 3.3.1 Struggles3.3.1 for Legitimation (qtdin Vanicek, 1997:86). different totally were in relationships which wascreated, space certain through way the they lived andthrough their activities…through a this, world communist official the from themselves distanced who people was mine, which mainly consisted of refusing that which we didn’t want. It better than with other people. It was people who had similar values to It wasn’t aplace. It was a relationship with people, with whom feltI 51 43 . As Undergroundmember Petr 3Ĥ lno þ ní CEU eTD Collection user of Total inhisvulgarities user of poetry the‘simple thestate-defined Total Realism, describing as and recognizing a and consciousness recognizing of by community the its members. Merry Ghetto namedalbum abookletcontained were creating.Notably, Underground the the that 1974 and the signals production economicof capital artistic anautonomous within sphere recorded illegally at the First Festival of the Second Culture as well as in asmall castle in released until 1978 inFrance which included acollection of put Bondy’s poems compositionsto the of Not PPU. This particular album song appearedon the Club Bondy’s “Egon Happy Hearts Banned”, and later released through SCOPA International records. International SCOPA through released later and 44 song in the is exemplified lyrics as poems via power PPU’s heterodox thesymbolicsystem Bondy’s Total usage of art. of Realist Undergroundinto further an excluded within position in the social order fieldthe of strugglefor legitimation modes over proper/improper of expression, whichsituated the the into point entry an signals music the of content the within change this Subsequently, auto The recording was smuggled out of countrythe unbeknownst to members of PPU, pressed inEngland, Ĝ i in reaction to Socialist Realism and thus able to accumulate symbolic capital. symbolic accumulate to able thus and Realism Socialist to reaction in Jirous, whose many writings appear in describing anddepicting Underground culture andfurthering solidifying (Riedel, 1997[2001]: 57) by constipation terribly butkind sly Oh how plagued and am tormented I liquidsand arespewed attimes thick From my lips gases exude or like a lump of dung they're dense My bowels are rotting I sense burns flame a bladder in my turns stone hard a belly my In by constipation terribly butkind sly Oh how plagued and am tormented I 44 , “Egon Bondy’s Happy Hearts Club Banned” was first Zápca 52 The Merry Ghetto, The Merry (Constipation): was also a prominent also was The CEU eTD Collection the symbolic system of art. to varying social sentences,indicated lengthsof the prison exclusion through translated From in position excluded sentenced members, thethis artistic field,Underground these basis Article rowdyism Code(Ul 202of of orhooliganism on the Penal the 1997 [1999]:15). Zají 18 months, Pavel Jirous(Ryback, was to sentenced "Ivan 1990:146).Subsequently, Underground tothe related peoplePrague in twenty-two andarresting apartments any distrubance without February 2 followedarrests the 'Second Festival SecondCulture‘,the of which place took on socialist[…]extollingnihilism, and decadence, (Ryback,1990:147).The clericalism“ in as lyrics such for vulgarism for charged position thewithin artistic field led eventually toatrial membersof fourbeing in 1976, dominant the aestheticto opposition subversive aforementioned The Underground’s 3.4 Trialof1976&Charta77 46 45 requests condemnations overt or not through State socialist the against attack established apassive in formingbecame themainactors that subversive the inUnderground aesthetic Jirous means Bondy,and asa provocation,” (1979:7).PPU, of as endinitself,an or expressions of the truth of life and the position of man in the world….[that] is never done The festival The started at15.30 and lasting until 2.00 the following morning See Havel’s “AnOpen Letter toDr. Husák” forsuch direct dialog. þ ek from ek from yearDG 307toone and BrabenecVratislav to8months in jail” (Reidel, 45 but music through as acultural resource. nd , 1976 to celebrate the wedding of Ivan Jirous. Although the concert went on The musicians were found guilty of 46 , police struck a month later on March, 17th by raiding 53 Zápca, vytrsznictví which "anti- were declared , usually translated as þ , 1974:29). CEU eTD Collection 48 http://www.osce.org/item/4046.html Conference on Security and Co-operation in Europe, Final Act thought, conscience, religionor belief, forall without distinction as to race, sex, language or religion.” 47 the dissidents created impulseFrom Underground, this the of saw their persecution as a strike against the human rights of all Czechoslovak citizens. covenant inscribed the itAccords Helsinki had signedin 1975 1977, which called onthe touphold Czechoslovak government human the rights describes, between fields, “each has its dominant and “each betweenfields, describes, it’shas its its for dominant struggles dominated, both in position adominated occupied fields. As respective their (1992:106) Bourdieu reproduction of Underground.the contacts international whohad dissidents, the of capital economic the socialist State. Similarly, historical identity forin field ownstruggle the dissidents’ between thepolitical them and the Underground was able to Bourdieu dissidents became howthe Undergroundthe involvedthen with andco-opted their draw on the social and 126-128). opposition mix form frontto and an totheopposed (Havel,State socialist [1990]: 1986 network loose both of from individuals thediverse andthe‘established’ Underground incritical forming ofCzechoslovakia involvementof the Underground, a dissidents the 77 upon built was merger The Czechoslovakia. within relations of system organized challenge the State and seemed, in the first years of in first yearsthe and the State of seemed, the challenge For example Heinrich Boll of freedom the including freedoms, fundamental and rights human respect will States Participating “The , which allowed a political platform for Underground signatories of the During 1976 the members trial of of Underground,the Havel andwas present thus I read the Underground and the Dissidents as structurally in homologous they that Dissidentsas I readthe Underground andthe While existing separately in the 1970s,wecan during Czechoslovakia see through 54 Helsinki 1975. Charta 77 Chart 47 . The trial led to the 48 a, to ensure the as well as an on1January Charta Charta to CEU eTD Collection 87 was placed under ‘protective supervision’” (ibid). 51 Zdenek "London" Vokatý (Machovec, 2008:10) EugenBrikcius, Josef Vondruška, Karel "Tomcat" Havelka, Miroslav Skalický, Charles"Charlie" Soukup, signatories, willing as members sentences levels of police interrogation slow erosion inand mutation followingthe yearsup 1989, characterizedto by increased The alternative social and cultural space of Undergroundthe community beganthus a [of [ withindiminished [of the wassubsequently Underground] the leaders aims…thepolitical plurality their pursuing artistic opposition own spiritual and as that asserts number members of Underground signing the seeagreat community,we though Underground even the therein, eventually polarized 50 49 increase and enhance their social positions of exclusion within the field of power. in to order from other capital each species of different accumulate groups to homologous primarily musicdone through as a symbol of commonality,structurally allowing thus two groups,embedded fields,inmergeseparate andexchangecapital, relations to all and political actedas field(ibid). the affects, homology structure a basisfor This of the heterodoxy, whichhas a specific ideological function is that structurally homologous to, and orthodoxy between opposition binary constructed socially the upon based usurpation and mechanismsitsexclusion,for reproduction, The and soon”. artistic field, For example, For “Jirous was imprisoned inthe years 1977-79, 1981-85 and 1988-89, and in yearsthe 1985- Pavel Zají Pavel campaign ‘Asanace’ the Notably I put forth that the creation of 51 þ , and breakthe upof PPU.By the and Underground politicizing the usingits ek, Svatopluk Karásek, Vratislav Brabenec, Ji Brabenec, Vratislav Karásek, Svatopluk ek, Charta 77 was “dominated by the prominent dissidents, intellectuals, latent 49 , forced emigration Charta 77 Charta 77 55 ’s unstated political function, seizing power Charta Ĝ í Nemec, Zbynek Benýšek, Vlasta T Vlasta Benýšek, Zbynek í Nemec, , and the Underground’s involvement Underground’s the and , 50 . Similarly,Machovec (2006b: 16) , internal exile, extended prison Charta ] community.” ] Ĝ eš Ė ák, CEU eTD Collection in in Czechoslovakia January 1990. freefirst waseventuallyasby elections evidenced the successful State, from socialist the 56 CEU eTD Collection exclusivity in community formation. and inclusivity of problem the solve to helps idealistically, and spatially both described Festivals of the Second Culture. Therefore, the symbolic boundaries of the Underground, first began produce to their community subsequently solidifyand it, asshown by the for excluded forms of allowed Czechoslovakmusic nation-state the inthe defined field embedded as of power music to serve as a social The performancesubversive of wasspecifically regarded. Universe the of Plastic People activity from wheremodes of expression was onmusic;primarily centered inthis paper the music the of the Underground over proper/improper The struggle expression. symbol of based uponthe contested boundaries of Undergroundthe community, in served which toorganize members turn State within the field of power. structure of values thatcouldnot be undermined bythe dominantposition socialistthe of music served to through wasproduced from Underground a which an pocket created space that cultural a establish a this words, Inother artistic worth. capital intoof symbolic depreciated capital values, converting thus and social of set own their created they where from site space social and cultural where individualsmusicians,in suchasthose Underground,producingthe intoan andretreating alternative could createsubjugation,inequality and within social the Thisorder. is exemplified bynon-official their own differentiation in cultural forms, but also how this dichotomy led to polarization, not that artistic only social fieldinCzechoslovakia the binary of regards construction The analytical power of Bourdieu’s sociology allows for an intricate analysis of the Conclusion As shown in my paper, the creation of an alternative space produced symbolic 57 CEU eTD Collection Eastern Eastern Europe in 1989. questionsforms cultural to subversive between across and revolutions of relationshipthe construction community of as acase Underground followingthe study regard 1977allow Charta 77 formation alsoprovidingwhile for ajumping studying off point effects the subsequent of community on for Underground’s the closure fitting point historical a atonce allows mydelimit study only until Underground’smergencethe with dissidentsthe in 1977, investigationof found within narrativeof the Undergroundthe community. Choosing to scholarship. add to thisbody of to serves myresearch and thus inCzechoslovakia, field artistic the Undergroundthe community,is oneis that examined not fully in concerning theliterature production formsof subversive cultural 1968andits before upon formation the effect of early The emerged. they than where other social incontexts themselves reproducing provides naturereplicating of wider aboutthe symbolic systemsand questions of art social in through social art positioning; through positioning thethis social order situation forexplicated, formshistorical of Underground allowedtoenhance the cultural uses their the artistic field of Czechoslovakiacultural forms of music in and literature1948 were examinedunder by looking the to the transformationdictates of such forms.manifestation of In andparticular, excluded appropriation, development of Socialist Realism. As generations bytheir of individuals inCzechoslovakia were used excluded throughout accumulation of capital through subversive cultural forms and resources and how these Furthermore, the paper sought to describe historically the building and thebuilding describehistorically to papersought the Furthermore, This thesis is only but a small representation of rich sociologicala small opportunities isthe of representation This onlybut thesis upon upon perpetuationthe of community.the Additionally,further studies of the 58 CEU eTD Collection Iello, Robert. 1972. “Extensive Police Action Reported in Czechoslovakia”. In Patrick.Hutton, 1993. ______. 1986[1990]. Cohen, Anthony 1985 [2003]. P. ______. Jirous, Ivan. 1979.RadioFree Europe Report, RAD Background report/7, Havel, Václav. 1983 [1991]. “I take the side of the truth”. In Cox, Christopher & Daniel Warner (eds). 2004. Chytilová, Jana.2001. Cameron, Rob. 2003. “Vrata Brabenec: Plastic Person still fighting forjustice”. In of groups. Bourdieu, 1987.“What makes a social class? On theoreticalthe and practical existence Bondy, 1990 [2006]. “The Egon. Roots of Czechthe in Literary Underground 1949- Bourdieu,1984. Pierre. Bourdieu,1980 Pierre. [1990]. Press : Cambridge, UK. Bourdieu,1977 Pierre. [1990]. Bibliography Knopf: UK. Della Sera Press. England abig, Mass.: Harvard Cambridge, University Press. Czechoslovakia, 12 January Czechoslovakia, 12January 1979. Music Radio Praha Press. University Charles York, NY: Routledge. 1953”. Pp.49-58in 1997. . Continuum: UK. Berkeley JournalofSociology, Magor . RadioFree Europe: Open Society Archives: Budapest 4 April. Ĥ Disturbing the Peace. History as an Art ofMemory Art asan History v Zapisník. The Plasticthe Universe. Peopleof Distinction: A socialcritique ofthejudgment of taste Views fromtheInside, The Logic of Practice. Outline of a Theory ofPractice The SymbolicConstructionCommunity. of Praha, CR: Torst. 59 Knopf: New York. 32: 1-18. Audio Culture: edited by M. Machovec. Praha, CR: . Hanover: University of New Polity Press: Cambridge, USA. Film documentary. Open Letters . Cambridge University Readings inModern . Pp.237-249. New . Corriere CEU eTD Collection O’Connor, Rory.O’Connor, 1979.“Jailhouse In Rock: underground, Eastern Europe the making Olick, Jeffery,K. and Joyce Robbins. 1998. Murphy, Brendan. 1982.“Between Rock andaHard Place”. Mitchell, Tony. “Mixing Pop and Politics: Rock Music in Czechoslovakia before and Martin, 1995. Peter. ______. 2008b. Conversation with Aprilauthor, 15 ______. 2008. ______. 2006b. ______. 2006.Conversation with Octoberauthor, 15 Machovec, Martin.2001. “Od avantgardy pres podzemiundergroundu.” In do Kusin, Vladimir. 1978. Knížák, Milan. 2005. “For Togetherness”. In Kavan, Rosemary. 1972. “Shop Window on the Fifties ______. 1978. ______. 1975 [2006]. in “Report on the Third Czech Musical Revival”. Pp. 9-31 University Press: Manchester. music can be downright dangerous”. In Sociology,pp. 24, 105-140. Memory’ toHistorical Sociologyof MnemonicPractices Tribune Pp.Europe. 187-203. after the Velvet Revolution”. In paper. and VarietyofCzechUnderground Values LiteratureasSpecific Granovtova Agentura: Granovtova NY. Alternativní Kultura: P RadioFree Europe:OpenSociety Archives: Budapest. Czech Republic. University Press. University Views fromtheInside, . Sept 10. Chart 77a underground. The Merry Ghetto. Radical Standpoints ofRadical Standpoints Czech Underground Community (1969-1989) Sounds & Society: themes in the sociology ofmusic. From Dub edited by M. Machovec. Praha, CR: Charles ý Ĝ íheb eská republíka. þ Paris: SCOPAInternational Productions. ek toCharter 77 ý eské spolecnosti 1945-1989. Popular Music Unpublished paper. 60 Social MemoryStudies:From‘Collective 'Č Mother Jones ti bolševizmu th . St. Martin’s Press: New York, 2008.Prague,Czech Republic. th 2006. Prague, Czech 2006.Prague, Republic. , Vol. 11, No. 2, A Changing ” . In , pp 43-44, May. The Guardian International Herald . Guerilla Records: Praha, . Annual Review of EdM.Machovec. . Unpublished Manchester , Jan 13. CEU eTD Collection ______.1978. “Social in Deviance Czechoslovakia”. In Ul Swartz, 1997. Swartz, 1948-1992. Svašek, 1996. Storey, John. 1993. William.Straw, 1997[1991].“Communities andScenes in Music”.Popular In Steinhart, David.Steinhart, 2004[1991]. “TheCzechoslovakian Last Marxist:as interview with Šimák, Ji ______. 1989. Skilling, 1981. H.G. Sayer,Derek. 1998. (1990).Ryback, T. Riedel, 1997 Jaroslav (ed). [2001]. Ramet, Sabrina. (ed). 1994. Rocking the state: rock music and politics in Eastern Pekacz, Jolanta. 1994. “Did Rock Smash the Wall? The Role of Rock in Political Pato þ , Otto. 1974. þ ka, J. 1978. Europe. Chicago Press: Chicago. Chicago Subcultural StudiesReader Athens, Georgia. Athens, Egon Bondy Egon poetand– author, political Pp1-12in analyst.” Institute for the Study of Totalitarian Regimes: Praha, Czech Republic. Europe. & Unwin. University Press. University and theSovietUnion. Mata. Europe and Russia. Westview Press: Boulder. Transition”. In Ĝ í. 1983. Universiteit van Amsterdam: Netherlands. Amsterdam: van Universiteit Styles, Struggles and Career: anethnography oftheCzech ArtWorld, Hampshire: Macmillan Culture andPower: TheSociology of Pierre Bourdieu. Ed Volgyes, I.Westveiw Press: Boulder, CO. Samizdat and an independentsociety inCentral andEastern Politics in Czechoslovakia. The MerryGhetto. Rock AroundtheBloc: AHistory orRockMusicin Eastern Europe Diplomová práce Cultural Theory andPopular Culture. The Coasts ofBohemia Charter 77andhuman rights inCzechoslovakia Popular Music New York: Oxford University Press. , ed Gelder, K. London: Routledge Plastic People of the Universe:Texty. ofPlastic People . Vysoká škola sboru Národní Bezpe Paris: SCOPA International Productions. , Vol. 13, No. 1. Pp. 41-49. 61 : A CzechA History. W.H. Freeman: San Francisco. Social Deviance inEastern University of Georgia Press: Princeton, NJ: Princeton The MonthlyReview . AllenLondon: University of þ Praha, CR: nosti. The The . CEU eTD Collection ______. 1983 [2006]. “What’s itlike making Rock’n’Roll in a Police State? The Wilson, Paul. 1982. “The Merry Ghetto Under Siege” Wilson, Paul. 1978. Watson, Ben. 2004. “ Improvised Music “. In Wacquant, Loic J.D. 1989. “Towards a Reflexive Sociology: A Workshop with Pierre Velinger, Jan. 2005. “The impact of the Plastic People on a communist universe: An Vanicek, Anna. 1997. the Inside, same as anywhere else, only harder. Much harder.” Pp. 35-48 in Open Free Europe: Society Budapest. Archives: Music Bourdieu, “ Interview with Paul Wilson.” In Ontario. 1968-1989. . eds, Cox, C & Warner, D. Continuum: UK. edited by M. Machovec. Praha, CR: Charles University Press. Unpublished Master’s thesis, York University, North York Sociological Theory, The Merry Ghetto. Passion Music Play: UndergroundRock in Czechoslovakia, Radio Praha Vol. 7,No. 1, Spring, pp. 26-63. Paris: SCOPA International Productions. International SCOPA Paris: 62 Audio Culture: 31 May . In Shades, . Readings in Modern Nov. 24 Views from Views th . Radio