DOI: 10.1515/irsr-2014-0016 IRSR INTERNATIONAL REVIEW of SOCIAL RESEARCH Volume 4, Issue 2, June 2014, 125-141 International Review of Social Research The Evolution of Artistic Higher Education in Communist Romania between 1948 and 1989 Valentin MAIER• University of Bucharest, The Research Centre for Administrative, Cultural and Economic Studies Abstract: Although communist regimes gave priority to technical higher education, artistic higher education also received a small, but constant share of the allocated study places and resources. This study outlines both the general features of this field, and its statistical evolution. After 1948, artistic higher education (music, fine and decorative arts, film, theatre and television) went through many changes in order to adapt to communist requirements. This paper presents some of the most important changes, what caused them, as well as their consequences. The statistical reconstruction of artistic higher education mainly focuses on the last 30 years of communism, on full-time studies and on four important indicators: total number of students, freshmen, graduates and total number of teaching staff. Keywords: communist regime, Romania, higher education, artistic higher education, statistics. Introduction (technical) specialized staff; therefore, no wonder that higher education Higher education represented underwent important developments an important opportunity for the accordingly. The number of communist regime to train specialized institutions and students in the fields of staff in order to strengthen its political technical, agronomical and economic control of all the aspects of society, but studies grew to unprecedented shares also to support economic development before communism. But how did the and the creation of a new society1. other fields of higher education, such Economic development was as artistic higher education (AHE), heavily concentrated on the process develop in this context? How much of industrialization, which demanded did the communist regime and its •e-mail: [email protected]. Valentin Maier is a PhD in history with a dissertation titled Oil Industry in Romania after 1989 (2014) and currently he is research assistant at the Research Centre for Administrative, Cultural and Economic Studies (University of Bucharest). His main interests are in the fields of economic history (especially the process of industrialization in Romania after 1948), economic geography and history of higher education. © University of Bucharest, June 2014 126 | IRSR Volume 4, Issue 2, June 2014 goals to shape a ‘new society’ influence this publication displayed similarities the development of AHE? with the situation concerning other There are not too many studies arts, as mentioned by Magda Cârneci on communist higher education and (Cârneci, 2013) in respect of Arta even fewer focusing on fields like arts plastică (1954)/ Arta (1968), magazine (NG, 1964; ILC, 1966; Demetrescu, for fine and decorative arts: a heavy Beldiman, Bedros: 2006; Pintilie, influence of communist propaganda 2006; Cozmei, 2010; Cosma, 2010). before 1960, some sort of propaganda In its first communist years, relaxation for almost 15 years, after Romania adopted the Soviet model at which the situation returned to the all levels of society, including culture 1960 situation, meaning less pure and higher education2. music and more texts of political For AHE, we will take the example propaganda4. For theatre and film arts of music. Irrespective of whether it an important publication was Teatrul referred to civilian life, or the army, (1956)5, another one was Cinema, music composition was subordinated continuing after 1963 the tradition to political requests. Military music of the discontinued publication of was developed as an acknowledgment Probleme de cinematografie/Film of the need to support communist (1951-1958)6. propaganda in the military field and From the onset, we have to not only, since military music bands mention that in Romania, AHE was took part in important festivities made up of three fields: fine and celebrating the communist mythology decorative arts, theatre and film arts (Sîlea, 2006:92-110). Some of the and television7, and music. Students compositions created as military music of AHE studied in special institutions revealed the level of political influence (music conservatories and institutes right from their title (În slujba patriei, of fine and decorative arts, and theatre Din victorii în victorii or Apărătorii and film arts and television), but also patriei), while those created in the field in faculties of music and fine arts/ of ‘civilian music’ were even more drawing within pedagogical institutes ideologically corrupted, especially and universities. during the 1950s: Slavă gloriosului After the reorganization of the partid, Veniţi cu toţii la luptă pentru education system in Romania on pace or Cântecul brigadierilor (Cîntece November 1948, Romania AHE was de masă. Antologie, 1958:108, 172- structured into five Institutes of Arts 178, 355-361)3. located in Bucharest, Iaşi, Timişoara Another important aspect related and Cluj-Napoca (two institutes, with to political interference in art was the courses in Romanian and Hungarian) control achieved by communists over (CLDD, November 1948: 1124- professionals associations such as the 1126), under the management of the Composers’ Association or the Fine Ministry of Arts and Information. Artists’ Association. Another means to The Institutes of Arts from Bucharest influence music-related activities were and Cluj-Napoca comprised four the articles of the main magazine called faculties: music, theatre, fine arts and Muzica. Starting with 1950, the pages of choreography (the last two faculties Valentin Maier The Evolution of Artistic Higher Education | 127 had common courses in the institutes Fine Arts Institute from Cluj-Napoca of Cluj-Napoca in 1948/1949). The (IA) (CLDhd, November 1950: 131, Institute of Arts from Iaşi had only three 132). Timişoara was the only city left faculties (theatre, music, fine arts), without an AHE institution out of the while the institute from Timişoara, initial four, while in Iaşi only drama only two (theatre and music). All studies were kept. In Bucharest and these faculties were organized into Cluj, the Faculty of Choreography did departments. Therefore, the Faculty not survive the changes, while the other of Music had four departments faculties, components of the former (instrumental, vocal, composition, Art Institutes, were transformed into musicology and folklore), the Faculty AHE institutions. of Theatre had three (drama, directing AHE institutions were organized and theatre studies), the Faculty of Fine into faculties. For example, in Arts and the Faculty of Choreography 1950/1951, CP was structured into were each organized in two departments two faculties (canto, piano, orchestra (choreography and painting, sculpture and theoretical studies, composition, and engraving; choreography and conducting and opera direction) and six folklore). The duration of the studies departments (piano, string, whistle and was three years for the Faculty of percussion instruments; canto; choir Choreography, four years for faculties conductors, pedagogy; composition; of music and theatre, and five years for orchestra conductors; opera direction) the Faculty of Fine Arts. From among (CLDhd, November 1950: 131; all the existing art institutes, only the ANIC, PCM, 243/1951, 101). GD had institute from Bucharest held PhD a similar structure, but without the courses at the time (CLDD, October department of opera direction. 1948: 960-963). In fact, until 1973, in The Theatre Institute from AHE there was only one PhD granted Bucharest had two faculties: direction in musicology (AMed, 129/1972, and drama. The Theatre Institute from unnumbered). Cluj had only two departments: drama This structure of AHE was in Romanian, and drama and direction maintained for only a brief period, in Hungarian. The Theatre Institute because in 1950 the Art Institutes were from Iaşi had only one department of abolished, and AHE was reorganized drama (CLDhd, November 1950: 131). into eight institutions: the ‘Ciprian NG was organized into six Porumbescu’ Music Conservatory departments: painting (with the from Bucharest (CP), the ‘Gheorghe specializations painting, mural Dima’ Music Conservatory from painting, stage set design), sculpture, Cluj (GD), the ‘Ion Luca Caragiale’ engraving and decorative arts (textiles Theatre Institute from Bucharest, the and fabric design, ceramics) graphic art Film Institute from Bucharest8, the (graphic art, engraving, lithography), ‘Szentgyőrgy István’ Theatre Institute pedagogy and museology, similar to from Cluj, the ‘Matei Millo’ Theatre those of IA, the latter also with courses Institute from Iaşi, the ‘Nicolae in Hungarian (AMed, 243/1951, 101- Grigorescu’ Fine Arts Institute from 104; CLDhd, November 1950: 131, Bucharest (NG) and the ‘Ion Andreescu’ 132). 128 | IRSR Volume 4, Issue 2, June 2014 In 1951, after a transient existence, of development started in AHE, the ‘Matei Millo’ Theatre Institute because this was the year when the from Iaşi was closed. The main Conservatory of Iaşi was re-opened. reasons for this decision was similar Another important aspect is that the to that of the 1950 AHE reform, i.e. Conservatory from Iaşi was initially budgetary constraints, but also because organized to belong to the Faculty of the training of the teaching staff was Instruments and Canto, but beginning unsatisfactory as was