|Full name:||Cultural Opposition – Understanding the CultuRal HeritAGE of Dissent in the Former Socialist Countries|
|Number:||Horizon 2020 692919|
|Start date:||2016. 02.|
|End date:||2019. 02.|
COURAGE will create a comprehensive online database (electronic registry) of existing but scattered collections on the histories and forms of cultural opposition in the former socialist countries and thereby make them more accessible. Second, it will analyse these collections in their broader social, political and cultural contexts. The general aim of this analysis is to allow for the expanded outreach and increased impact of the collections by assessing the historical origins and legacies of various forms of cultural opposition.
1. the genesis and trajectories of private and public collections on cultural opposition movements in former socialist countries in Europe, with particular consideration given to how their transition from opposition to mainstream and private to public occurred;
2. the political and social roles and uses of the collections before 1989 and since, and the efforts that have been made by national governments to preserve, maintain or add to them;
3. the role of exiles in supporting, preserving and disseminating these collections beyond the Iron Curtain and back home, and the uses of collections that were created by the exile community;
4. material culture represented by these documents, objects and audio-visual footage: what was and was not regarded as worthy of collection and preservation, what objects were deemed important as potential historical sources or relics and what objects were omitted or discarded?;
5. the organization and the order of the collections as they are represented, particularly in the dataset and reference systems: how is the material collected?;
6. the social background and life trajectories of the working staff of the collections;
7. the sociology of institutions, stakeholders, their legal frameworks, financial backgrounds, ownership and management, the social and cultural composition of their audiences and the uses to which the collections are put in historical studies and culture;
8. the networking and cooperative capacity of different types of collections: what are the existing and possible forms of cooperation and public presentation, and how can we contribute to the development of strategies with which to strengthen cooperation among the collections?