alternativni oblici obrazovanja
alternativni životni stilovi i otpor u svakodnevnici
avangarda, neoavangarda
cenzura
demokratska opozicija društveni pokreti državni nadzor
etnički pokreti
feministički pokret
film filozofski/teoretski pokreti glazba
iseljeništvo/egzil
kazalište i izvedbene umjetnosti
književnost i književna kritika kritička znanost
lijepe umjetnosti
manjinski pokreti
mirovni pokreti nacionalni pokreti narodna kultura
nezavisno novinarstvo
omladinska kultura partijski disidenti
pokreti za ljudska prava
popularna kultura
preživjele žrtve progona autoritarnih/totalitarnih režima
prizivatelji savjesti
samizdat i tamizdat
studentski pokreti umjetnosti novih medija underground kultura
vizualne umjetnosti
vjerski aktivizam zaštita okoliša
znanstvena kritika
crteži i karikature
film
fotografije
glasovne snimke
glazbene snimke
grafike memorabilije
namještaj
odjeća ostala umjetnička djela
ostalo
pravna i/ili financijska dokumentacija predmeti primijenjene umjetnosti publikacije rukopisi
rukotvorine siva literatura
skulpture
slike tehnička oprema video snimke
Private archive of prof. Barbara Fatyga gathers thousands of materials regarding Polish youth culture in the late 1980s and early 1990s. The archive is an effect of various research projects led by Fatyga and her co-workers – initially at the Institute for Youth Problems Research and later in the Youth Research Centre in the Institute of Applied Sciences at the Warsaw University. The archive contains youth fanzines and cassettes as well as recordings and transcripts of biographical interviews.
The bequest of János Maróthy, which is held at the Hungarian Academy of Sciences Music Institute, offers insights into the heritage of a music aesthete and music researcher who was an essential figure of Hungarian music studies under socialism. The collection shows that the official infrastructure often generated spaces for critical, unofficial cultures. The Institute supported Maróthy in his efforts to collect the folk music, protest songs, and pol-beat trends, genres which helped young people criticize and rebel against official socialism.
Fekete Lyuk means black hole in Hungarian. It reminds most Hungarians of a legendary club, which emerged quite suddenly in a traditional working-class district. It had a cult following among young intellectuals, punks, and skinheads, but it also quickly became a symbol of nonconformity and rebellion. However, hardly anybody remembers Gyula Nagy, the man who as an agitprop educator founded the Fekete Lyuk club.
The collection contains samizdat editions of religious literature and hymnals and illegal recordings on magnetic tapes, SPs, LPs and audio cassettes. It documents the work of the members of the Unity of the Brethren Baptists and their teetering between what was permitted by the government’s supervision over the churches and their own ideas about evangelization in the period of socialism.