Gulag_ A History - Anne Applebaum [145]
KVCh: THE CULTURAL-EDUCATIONAL DEPARTMENT
Were they not clearly marked as belonging to the NKVD archives, the casual observer could be forgiven for thinking that the photographs of Bogoslovlag, which appear in a carefully preserved album, dated 1945, were not of a camp at all. The pictures show carefully planted gardens, flowers, shrubs, a fountain, and a gazebo in which prisoners could sit and rest. The entrance to the camp is marked by a red star, and a slogan: “All of our strength for the future power of the Motherland!” The photographs of prisoners gracing another album, filed nearby, are equally hard to reconcile with the popular image of the Gulag inmate. There is a happy man holding a pumpkin; cows pulling a plow; a smiling camp commander picking an apple. Beside the pictures are graphs. One shows the camp’s planned production, the other the plan’s fulfillment. 54
All of these albums, neatly cut, pasted, and labeled with the same conscientiousness that schoolchildren show when putting together a class project, were produced by the same institution: the Gulag’s Kulturno-Vospitatelnaya Chast, the Cultural-Educational Department, or KVCh, as it was usually known to prisoners. The KVCh, or its equivalent, had been in existence since the Gulag began. In 1924, the very first edition of SLON, the journal of the Solovetsky prison, contained an article on the future of prisons in Russia: “The corrective-labor policy of Russia must re-educate prisoners through accustoming them to participating in organized productive labor.” 55
Most of the time, however, the real goal of camp propaganda was higher production figures. This was even the case during the building of the White Sea Canal, when, as we have seen, the “re-education” propaganda was at its loudest and perhaps most sincere. At that time, the national cult of the shock-worker was at its height. Camp artists painted portraits of the canal’s best workers, and camp actors and musicians put on special concerts for them. The shock-workers were even invited to huge assemblies, at which songs were sung and speeches were read out. One such assembly, held on April 21, 1933, was followed by a two-day “work storm”: for forty-eight hours, none of the 30,000 shock-workers left their workplaces at all.56
This sort of activity was unceremoniously abandoned in the late 1930s when prisoners became “enemies” and could no longer be “shock-workers” at the same time—nevertheless, after Beria took control of the camps in 1939, propaganda did slowly return. While there would never again be a White Sea Canal—a Gulag project whose “success” was trumpted to the world—the language of re-education was brought back to the camps. By the 1940s, every camp theoretically had at least one KVCh instructor, as well as a small library and a KVCh “club,” where theatrical performances and concerts were put on, political lectures were given, and political discussions were held. Thomas Sgovio remembered one such club: “The main room, seating about thirty persons, had wooden, gaudily painted walls. There were a few tables, supposedly for reading purposes. However, there were no books, newspapers or periodicals. How could there be? Newspapers were worth their weight in gold. We used them for smoking.”57
From the 1930s on, the main “clients” of the KVCh were supposed to be the criminal prisoners. Just as it was unclear whether politicals would be allowed to hold specialists’ jobs, so too was it unclear whether it was worth anybody’s time trying to re-educate them. A 1940 NKVD directive on the cultural-educational work of the camps stated explicity that those who had committed counter-revolutionary crimes were not suitable targets for re-education. In camp theatrical productions, they were allowed to play musical instruments, but not to speak or sing.58
As was so often the case, these orders were ignored more frequently than they were obeyed. And—as was also often the case—the KVCh’s actual function in camp life differed from what the Gulag’s masters in Moscow had