Gulag_ A History - Anne Applebaum [146]
On the face of it, it appears as if the cultural-educational instructors inside the camps sought to propagate the value of work among prisoners much in the same way that Communist Party operatives sought to do so in the world outside the prison gates. In the larger camps, the KVCh produced camp newspapers. Sometimes these were full newspapers, with reports and long articles on the successes of the camp, as well as “self-criticism”— comments about what was going wrong inside the camp—a standard feature of all the Soviet press. Aside from a brief period in the early 1930s, these newspapers were intended largely for the free workers and the camp administration.59
For prisoners, there were also “wall newspapers,” designed not for distribution (there were paper shortages, after all) but for display on special notice boards. One prisoner described the wall newspapers as “an attribute of the Soviet way of life, no one ever read them but they appeared regularly.” They often featured “humor sections”: “They assumed, obviously, that workers dying of hunger would read the material in this section, give a great belly laugh, and finally hold up to shame those refusers and shirkers who didn’t want to repay their guilt to the Motherland through honest work.”60
Ludicrous though they seemed to many, the central Gulag administration in Moscow took the wall newspapers very seriously. Wall newspapers, ordered one directive, should “portray the best examples of work, popularize the shock-workers, condemn the shirkers.” No pictures of Stalin were allowed: these were, after all, still criminals, not “comrades,” and they were still excommunicated from Soviet life, forbidden even to gaze upon their leader. The often absurd atmosphere of secrecy which had descended upon the camps in 1937 remained in place throughout the 1940s as well: newspapers printed in the camps could not be taken out of the camps.61
Along with hanging up newspapers, the KVCh also showed films. Gustav Herling was shown an American musical, “full of women in fitted bodices, men in tight jackets and frilly cravats,” as well as a propaganda film which ended in “the triumph of righteousness”: “The clumsy students came first in their socialist competition of work and with blazing eyes delivered a speech glorifying the State where manual labor had been raised to the highest position of honor.”62
Meanwhile, some criminal prisoners took advantage of the darkened rooms where the films were shown to carry out revenge killings and murders. “I remember, at the end of one of these performances, seeing the body of a dead man carried past on a stretcher,” one prisoner told me.63
The KVCh also sponsored football matches, chess matches, concerts, and performances referred to solemnly as “self-taught creative activities.” One archival document lists the following repetoire of an NKVD singing and dancing ensemble, which was touring the camps:
The Ballad of Stalin
The Cossack Meditation on Stalin
The Song of Beria
The Song of the Motherland
The Fight for the Motherland
Everything for the Motherland
The Song of the NKVD Warriors
The Song of the Chekists
The Song of the Distant Frontier Post
The March of the Border Guards64
There were also some lighter numbers such as “Let’s Smoke” and “Song of the Dnieper,” the latter celebrating a river at least, and not a secret police institution. The theatrical repetroire included some Chekhov plays as well. Nevertheless, the bulk of the artistic efforts were meant, at least in theory, for the prisoners’ enlightenment, not their entertainment. As one 1940 order from Moscow declared, “Every performance must educate the prisoners, teaching them greater consciousness of labor.” 65 As we shall see, the prisoners learned to use the performances to help them survive, as well.
But “self-taught creative activity” was not the Cultural-Educational Department’s only