Broņislava Martuževa (1924-2012) and her family started to support the underground resistance against the Soviet regime in October 1945, when contacts with people from the Alliance of Latvian National Partisans (LNPA) were established. In October 1946, after the State Security Ministry (MGB) attempted to arrest her, she started to hide at a farmstead belonging to her family. Her brother dug a hideout under the floor of the house. She continued writing poetry in hiding. In 1950, she started to participate in the production and dissemination of the underground publication Dzimtene (The Motherland), the editor of which was the member of the LNPA Vilis Toms (1925-1951). Broņislava published her poems, and made handwritten copies of the periodical. By February 1951, when she and Toms were arrested, 11 issues of the periodical had been published. Martuževa was sentenced to 25 years in special camps in July 1951. Her sister Magdalēna and her brother Ciprijans received the same sentence for helping her. Her mother Helēna was sentenced to ten years. Vilis Toms was sentenced to death. In 1952, Broņislava was sent to the Ozerlag special camps in Taishet, in the Krasnoyarsk region in Siberia. Her mother and sister were released in 1954, Broņislava and Ciprijans in 1956. After her release, Broņislava kept in touch with her fellow inmates, including well-known cultural figures (the translators Milda Grīnfelde and Maija Silmale, the poetess Elza Stērste, etc), and the result was an extensive correspondence. Attempts to publish her poetry were not successful, in part for political reasons, and in 1981 and 1987 she published two poetry books under the name of her relation, the poetess Eva Mārtuža. Broņislava Martuževa became a public figure with the start of the independence movement in the second half of the 1980s, and was respected for her anti-Soviet position, for her uncompromising stance against Soviet power, and for her poetry. Her well-preserved personal papers became a significant testimony to the cultural opposition to Soviet power. She realised this, and in the mid-1990s she started to donate it to the Museum of Literature and Music.