1971 National Exhibition of Figurative Arts – Tirana

Posted on 02/09/2018 by Michael

‘Mother’ – Mumtas Dhrami – 1971

1971 National Exhibition of Figurative Arts – Tirana

The article below was first published in New Albania, No 6, 1971. It discusses the general idea of art in a socialist society, how the Albanians saw ‘Socialist Realism’ with mention of a handful of works (out of 180) that were displayed at the National Exhibition of Figurative Arts in Tirana in the autumn of 1971.

Emphasis, so far, in the pages on this blog related to Albanian art, has been placed on the Albanian lapidars – public monuments. There have been a few reasons for this: they are often large and out in the open, and therefore accessible to all at all times; some of them all under threat of decay from either neglect and/or vandalism – a number of important ones have already been destroyed by reactionary forces within Albanian society; they embody a uniquely Albanian approach to such monuments: and, even if in the public domain are often ignored – strangely people walk past works of art everyday (and not just in Albania) without taking notice of what they are passing or the significance they might have in the country’s history.

But ‘Socialist Realism’ in Albania was not restricted to the public sculptures and a great deal of material in all forms was produced from after Liberation in November 1944 until the capitalist supported reaction was able to re-take the land of the people for the benefit of exploiters and oppressors in 1990. However, these numerous works of art, that used to be part of the people’s heritage, are now under the control of the enemies of such political statements in oil paint and water-colours (as well as stone, bronze and wood). Many museums and art galleries have been closed and (no doubt) many works of art destroyed by the ignorant reactionaries or stolen by the opportunistic and avaricious. An obvious example is the looted museum in the town of Bajam Curri, in the north of the country.

However, there are still a few museums that still display examples of Socialist realist Art. Apart from the National Art Gallery in the centre of Tirana (which always has a permanent exhibition of art from the revolutionary, socialist period) a visitor to the country could investigate the modern art gallery close to the Bashkia (Town Hall) in Durres; the museum and art gallery in the centre of Fier; and the small gallery in the town of Peshkopia.

(Unfortunately I’ve never seen the statue of ‘Mother’ by Mumtaz Dhrami, that heads this post. He was, and still is, one of the most renown Albanian sculptors and such a piece of work demonstrates a very Albanian approach to sculpture, chunky and solid. I hope it still survives intact (but fear not). At the same time I have no knowledge either way. Other creations of Dhrami are: the magnificent Arch of Drashovice; Education Monument in Gjirokastra; Mother Albania at the National Martyrs’ Cemetery; the (now virtually destroyed) Monument to the Artillery in Sauk; the large monument to Heroic Peza, at the junction to the town on the Tirana-Durres road; and the War Memorial in Peza town itself.)

(My notes/comments are enclosed in italised square brackets [note/comment])

Living colours

by Andon Kuqali

The feelings, emotions and thoughts of the working man, the master of the country, the new man of socialist Albania is the content of this year’s National Exhibition of Figurative Arts. The paintings, sculptures, drawings, and designs exhibited, aim at expressing this content through an art characterized by the truth, the reality of life.

Since the 1971 National Exhibition of Figurative Arts was to be opened before the celebration of the 30th anniversary of the founding of our Party and on the eve of its 6th Congress, the artists chose themes for their works from the history of the Party and the Albanian people during these 30 years, as well as from our revolutionary traditions, themes from the struggle and work to build our new socialist society. As a matter of fact, today even the most modest landscape or still life embodies this new content, because it exists in the very life of present-day Albania.

What strikes the eye in this Exhibition is that the paintings, sculptures and drawings have more light, more vigorous colours, more varied expressions of artistic individuality than those of the previous national exhibitions. This is important because national exhibitions in Albania are a sort of summing up of the best creative activity of our artists during two or three years, thus they show the course of development of our art at a given stage.

But those colours and variegation of form remain within a realist imagery. Turning away from superficial, manifestative compositions, our artists have tried to enter deep into the life of the people to portray it more truthfully, with greater conviction and artistry. The figures of workers and peasants, of partisans or of outstanding people are true to life, simple and this in no way hinders them from being full of virtue, human and heroic at the same time. Even the industrial landscape is presented in its intimate aspect as an integral part of the life of the working man with the richness of original forms and characteristic realistic colours.

The dawn of November 1941 – Sali Shijaku – 1971

[The house where the Albanian Communist Party (later to become the Party of Labour of Albania) was founded in 1941 is the one with a tree to the right of the stair to the first floor. It became a Museum of the Party after Liberation – it might be in private hands now (it definitely isn’t readily accessible.) The letters VFLP written in black on the white wall on the side of the building in the foreground (as well as along a wall at the very top of the painting) stands for ‘Vdekje Fashizmit – Liri Popullit!’ (‘Death to Fascism – Freedom to the People!’), the revolutionary slogan of the Communist Partisans. I don’t know where this painting might be at the moment. I hope it’s in the storeroom of the National Art Gallery. What goes against its public display are the four letters VPLP – modern-day fascists don’t like that!]

Alongside the tableaux in grand proportions which portray notable events from the history of the Party and Albania, or outstanding figures of communists and revolutionaries, the landscape ‘The Dawn of November 1941’ by the gifted painter Sali Shijaku is no less significant and profound. In reality, this is a composition in small proportions in which the great idea that the Party emerged from the bosom of the common people is expressed. It depicts a poor quarter of Tirana as it was, in the midst of which stands the house where the Communist Party of Albania was founded: an ordinary house like the others, except that from the two windows of the ground floor flows a cheerful light which spreads far and wide driving away the gloomy night of the occupation and reaction.

Albanian Dancers – Abdurrahim Buza – 1971

[I don’t know where the original of this painting by Abdurrahim Buza might be at the moment.]

Dancing is the motif of a number of works of this exhibition. ‘The celebration of liberation’ by N. Lukaci, is a composition in sculpture developed with rounded figures, powerful like the beats of a drum and representing a typical folk dance. ‘Albanian Dances’, by the veteran and very original painter, Abdurrahim Buza, is the tableau of a circular dance in which the lively silhouettes of men and women from all the districts of the countryside with all their warmth and colour move freely, expressing the happy unity of all our people.

Planting Trees – Edi Hila – 1971

[This used to be on display in the National Art Gallery in Tirana but not when I last visited in 2019.]

A soft breeze stirs the fragrance of the fresh-dug soil, where girls and boys are planting trees under a blue sky. This is the tableau ‘Planting Trees’ by the young painter Edi Hila, inspired by the actions of the youth, a song of spring for the younger generation of Albania who are growing up happy with a fine feeling for work, a fresh tableau with a dream-like quality, from the vitality of our reality.

The dynamism of the daily life of the workers, their enthusiasm at work in the factory, before the smelting furnace, their chance encounters in the streets, the clash of opinions in which the new man is tempered, are expressed in the strong lines in the series of drawings under the title ‘Comrades’ by Pandi Mele.

Comrades – Pandi Mele – 1971

Like saplings in the bush, the children frolic and romp in Spiro Kristo’s delicately portrayed tableau ‘Springtime’.

The Children – Spiro Kristo – 1966

[Unfortunately I haven’t been able to come across an image of the painting ‘Springtime’ to add here. Until I come across an image I’ll include an earlier painting by Kristo, the charming ‘The Children’. This is still on permanent display in the National Art Gallery in Tirana (as of 2019). In 2016 I took some friends to the gallery and one of them was (literally) shocked to see such a depiction of children on the walls of a national gallery. I didn’t understand his reaction then (or even to this day). he is of an age to have played with guns (and probably destroying the indigenous population of north America on many occasions and children are killing children in school killings in the USA on an almost weekly basis. This painting encourages an idea of national defence, of preparedness against external threat and invasion, and not of aggression which dominates the armed forces of imperialist countries – just consider the wars of aggression in Afghanistan, Iraq, Libya and Syria and the consequences for the population of those countries.]

In his monumental decorative tableau ‘Our land’, painter Zef Shoshi elevates the figure of the peasant woman, the untiring, hard-working cooperative member, who has won her own rights as a person with tender feelings and priceless virtues, the woman brought up amidst the collective work, in the years of the Party, as the people say. The drafting is connected and dynamic and is permeated by the colour tones of the wheat the soil, and the timber.

[‘Our land’ is another painting I have yet to see, either in actuality or in a photograph. However, this picture of a female skilled worker seems to capture the idea that Shoshi would have represented (confident, aware of her part in the construction of Socialism and a more than equal participant in the new society – a crucial and important aspect of Socialist Realist Art) in his entry for the 1971 National Exhibition of Figurative Art in Tirana.]

These are a few remarks about the 180 works exhibited.

Each painter and sculptor is represented here with works which reflect the world as he imagines it, that aspect of life, past or present closest to his heart, the essence of which he tries to communicate his emotions and thoughts to the viewers as directly and clearly as possible, through the emotions and thoughts of the artist who belongs to the people, an active participant in our socialist society in its revolutionary development. This is the source of the variety of methods of expression of each artist, the special individual features of each and, at the same time, of their common stand towards life. These are the features of socialist realism in Albania, an art, which serves the people and socialism, which aims at being an integral part of the spiritual life of the working class and of all the working people.

[Another painting which was part of the exhibition was one by the painter Lec Shkreli entitled ‘The Communists’. It depicts those Communists who were arrested by the regime of the self-proclaimed ‘King’ Zog just before the invasion of the country by the Italians in April 1939. The person in the foreground wearing glasses is Qemal Stafa – one of the founding members of the Albanian Communist Party.]

The Communists – Lec Shkreli

The article that referred to the 1969 exhibtion was entitled The Revolutionary Spirit in Albanian Painting and Sculpture.

Socialist Realist Paintings and Sculptures in the National Art Gallery, Tirana provides a comprehenive idea of the examples of Socialist Art that have been on display in the National Gallery in recent years.

Albanian traditional musical instruments

Posted on 01/09/2018 by Michael

Albanian traditional musical instruments

(The article below, written by R Sokoli, first appeared in issue No 5, 1971 of the magazine New Albania. It is reproduced here (slightly edited) to aid a greater understanding of some of the works of art that were produced during the Socialist period (1944-1990) of Albania’s past. Although folklore hasn’t been totally abandoned in the present-day capitalist Albania traditional dress and culture don’t hold the same important role in Albanian society as in the past.)

Musical instruments of our People

From the past our people have inherited various musical instruments which are of interest for their craftsmanship, their originality, the way they are used and the tones they express. The knowledge and study of these instruments are of special significance to our national art and culture for, through them, we delve deeper into the quality of our folk music and the peculiarities of the musical talent of our people. Now and then we hear the tones emitted by these instruments in every village or town quarter. Without them no social entertainment takes place.

Taking them in the order of the four main scientifically established genres, we have in the first place those of the idiophonic genre like (1) the two pebbles hit together in order to lure the swarm of bees which have abandoned their original hive, (2) ‘rrakataket’ which children make out of corn blades cut lengthwise, (3) ‘rrekezat’ made of twigs plaited together in a spherical shape with round pieces of wood or pebbles inside used to entertain small children when the device is shaken, (4) ‘gergerat’ made of a tapered wooden axis ending with an elastic square which bounces making a noise when turned around (5) the metallic tray which is used in northern and north-eastern parts of Albania to accompany songs and dances, (6) three dish spoons which are used to keep time, (7) ‘çaparet’ in the form of metallic discs tied to the fingers of dancers used in Central Albania to keep time by jingling them when dancing, (8) bells or gongs of various shapes, sizes and names used for ritual, practical or aesthetic purposes, (9) ‘trokeza’ or ‘çanga’ made of a board or metallic plate hanging down on a rope and used as a means of signalling, (10) ‘cungrana’ of the Albanian settlers in Italy pierced by a metallic rod in the form of a horseshoe which vibrates and emits sound when touched by the fingers.

Albanian traditional musical instruments – drum

From the membraphonic genre we have: (a) the tambourine, a shallow drum with loose metallic discs at the sides, (b) the drum or tympanic membrane, consisting of a hollow cylinder with a skin head stretched over each end, (c) the ‘kadum’ or ‘tullumbas’ in the shape of a half-cylindrical cup with a skin stretched over its ends, (d) ‘tarabuku’ in the shape of a jar with a skin stretched over its head. All four of the above instruments serve to stress the rhythm.

Albanian traditional musical instruments – tambourine

Of the aerophonic genre we have, first of all, some made from plants like the ‘picanga’, which children make out of grass blades, corn stalks, of apricot seeds (‘frysa’) or of the bark of young twigs (‘gezhoja’ or ‘bilbil’). These plant based instruments such as ‘lugefyllka’,’shtambushka’, ‘tuza’ and ‘kallami me leter’ are temporary entertainments producing some tune or other. But real tunes of good musical taste our popular masters can extract from the leaf of certain trees – blowing at its edge. A ‘pre-musical’ instrument of the aerophonic genre, so to speak, is the ‘bobla’ which is made of the horn of cattle or of the shell of a sea-snail. It is used in the southwestern part of Albania by farmers, shepherds, guardians of vineyards, millers, fishermen and others as a signalling device. Whereas the Albanian settlers in Calabria (Italy) use the ‘vronja’, made of a dried pumpkin, as a means of sounding an alarm. This category includes also the ‘kapza’ or ‘buria’ which children make in spring from the bark of trees in long strips which they wind into the shape of a funnel.

Albanian traditional musical instruments – flute

The most popular and the dearest aerophonic instrument of our peasants is the ‘fyelli’ (the flute) which is made in shapes, sizes and names different for each district. The key of this instrument depends on the number of holes and is blown either inclined at the lips or fixed on the tooth.

In various shapes, sizes and names appear also the ‘pipza’ which are usually made at harvest time from various stalks.

Albanian traditional musical instruments – pipza

‘Surleja’ or ‘zunaia’ is another aerophonic instrument with a wooden cylindro-conical neck, some holes on the surface and a double tip at the end.

In Laberia we have the ‘bicule’ or ‘cylediare’ made of two tapered nozzles carved on a wooden block, one of the nozzles has only three holes while the other has four on the top and one hole on the opposite side.

In southeastern Albania we have the ‘gajda’ which is made of a sheepskin with two vents (‘pipka’ and ‘buçalla’) one (the shorter) for the melody and the other (the longer) for the refrain.

The genre of string instruments begins also with some children’s musical entertainments as, for instance, ‘lodergramthi’, ‘tingerringe’ ‘ugari’ and others.

Albanian traditional musical instruments – strings

The most widespread string instruments are the ‘çiftelia’, a stringed ‘bakllamaja’ (3 strings), ‘sharkija’ (4, 6, 8, strings) ‘sazeja’ (10 strings) ‘çyri’ and ‘jongari’ which have been almost abandoned now. This category of instruments possess some common characteristics in shapes, use, etc. but at the same time they are distinct from one another.

In addition to the above from this genre we have the ‘udi’ with four pairs of strings and in the shape of a pear cut lengthwise. Related to this instrument are the ‘bozuku’ (with from 6 to 8 strings) and ‘kalushun’ (with from 2 to 3 strings) which the Albanian settlers in Italy use.

Finally, from this genre we have the ‘lahute’ (with one string) used in Northern Albania and ‘laurina’ (with 3 strings) used in the Mati District.

Albanian traditional musical instruments – flute and tambourine

In addition to these musical instruments made by our peasants, our folklore has been enriched by certain instruments manufactured abroad like the violin, clarinet, accordion which are being broadly used by our instrumentalists.

In short, these are the musical instruments used by our people.

Some of them are used only in certain districts while others are in use all over the country. Some of them are native and of old origin while others have been introduced under various historical circumstances but as years roll on have been adapted to the taste and musical peculiarity of our people.

Albanian traditional musical instruments – group

Of the above instruments some are used solo while others are used in groups. The way they are grouped depends more or less on the occasion, districts and availability for their use. As a rule, our people prefer groups of few instruments. Many melodies have been created, preserved and developed by these instruments.

Victorious Fatherland Liberation War Museum – Pyongyang

Posted on 17/03/2018 by Michael

Victorious Fatherland Liberation War Museum – Panorama

Victorious Fatherland Liberation War Museum – Pyongyang

The complex that is the Victorious Fatherland Liberation War Museum contains one of the largest collections of Socialist Realist art in Pyongyang, the Democratic People’s Republic of Korea (DPRK). Comprising of ten slightly more than life-size tableau, stand alone statues, bas reliefs and mosaics these amazing works of art tell the story of how the people in the north of Korean peninsula stood up against the invading forces of the United Nations – puppets of United States imperialism – during the just over three years (25th June, 1950 – 27th July, 1953) of what the west calls ‘The Korean War’ but which the people of the north call the ‘Victorious Fatherland Liberation War’.

(The other large concentration of Socialist Realist Sculptures are at the Mansudae Grand Monument where the two huge statues of Kim Il Sung and Kim Jong Il are flanked by two tableau, comprising 228 bronze figures which depict, on the left, the War of Liberation and, on the right, the Construction of Socialism. This is considered the most sacred site in the DPRK and photographing, in detail, the tableau is not really possible.)

From the introduction to the book ‘Victorious Fatherland Liberation War Museum’ (Foreign Languages Publishing House, DPRK, 2014):

The Victorious Fatherland Liberation War Museum is located on the bank of the picturesque Pothong River in Pyongyang, the capital of the DPRK.

Under the auspices and energetic guidance of Marshal Kim Jong Un, the museum was renovated in July Juche 102 (2013) on the occasion of the 60th anniversary of the victory in the war in order to hand down to posterity the brilliant tradition of invincibility and immortal patriotic exploits performed by Generalissimos Kim Il Sung and Kim Jong Il and the indomitable fighting spirit and heroic feats displayed by the DPRK service personnel and people in the struggle for national defence.

Covering an area of 93,000 m², it comprehends the protracted history of the Korean people’s struggle, ranging from the periods of the anti-Japanese revolutionary struggle and the Fatherland Liberation War to the anti-imperialist, anti-US showdown in postwar years. On display there are over 300 revolutionary relics, 120,000 war relics, materials and data in their original state.

With a total floor space of 51,000 m² its main building consists of three storeys above and one storey under the ground.

In the central hall stands the colour statue of Generalissimo on Kim 11 Sung who is acknowledging enthusiastic cheers of the Korean service personnel and people in the plaza of war victory in July 1953.

On the first floor are a hall displaying the materials relating to the anti-Japanese revolutionary struggle which was organized and led by Kim Il Sung, especially those relating to main operations and battles fought in those days, a hall displaying the materials about the building of regular armed forces for the first time in Korea after its liberation, and a hall displaying material evidence that the US imperialists who had occupied southern half of Korea committed, in collusion with the south Korean puppet army, armed provocations against the north and at last unleashed the Korean war.

On show on the second floor are the materials relating with the strategic policies for every period and stage of the Fatherland Liberation War advanced by Supreme Commander Kim Il Sung, brilliant military strategist and iron-willed commander, main battles and heroic struggle of soldiers and civilians who defended every inch of their country at the cost of their lives to carry out the orders of the Supreme Commander and other relics.

On the same floor are also halls dedicated to the Chinese People’s Volunteers who participated in the war upholding the slogan “Resist America, aid Korea, safeguard the home and defend the motherland,” to the peoples over the world who rendered selfless material aid and moral support to the Korean people, to the materials about brutal atrocities committed by the US forces during the war and their bitter defeat, and to the brilliant victory won by the soldiers and people in the hard-fought war for national defence. On this floor are the halls of peculiar style dedicated to the anti-Japanese revolutionary fighters, leading commanding officers of the Korean People’s Army during the Fatherland Liberation War and internationalist fighters.

On the corridor linking the main building with the hall dedicated to the battle for liberating Taejon are exhibited the photos showing war heroes’ feats that would go down in national history and their relics.

On the third floor are the halls displaying the materials relating with Party political work Kim Il Sung conducted energetically to enlist all the soldiers and people in the effort to achieve victory in the war and those showing the struggle of the officers and men of services, arms and corps and the brave activities of the people in the rear.

In the hall dedicated to the Liberation of Taejon there is a large-scale panorama showing the victorious battle, which was recorded as a “living example of modern encirclement battle,” fought in line with the original tactics and under the adroit command of Supreme Commander Kim Il Sung.

The museum has also a hall that comprehensively shows the immortal exploits of Generalissimo Kim Jong Il who adorned the history of anti-imperialist, anti-US showdown with victory on the strength of Songun-based revolutionary leadership.

On show outside the museum are the merited weapons in the war, enemy military hardware captured during and after the war, and the Pueblo, a US armed spy ship which was captured in 1968 while committing espionage acts in the territorial waters of the DPRK.

The museum, built in a characteristic way in conformity with the architectural and aesthetic demands of the new century, will remain a structure representing the unshakeable faith and will of the Korean service personnel and people who are determined to defend the exploits of victory performed by the Generalissimos and carry them forward through generations under the wise leadership of Marshal Kim Jong Un, and a symbol of eternal victory of Songun Korea with great traditions.

The uniqueness of Korean Socialist Realist sculptures

Those of you who have visited this site before will be aware of the respect I hold for the art that’s represented in the Albanian lapidars – and that respect remains undiminished. But (why is there always a but?) the examples you will see in the DPRK are different. They tell the same story – more or less – but the images (and this is in all the main sculptural fields – sculpture, bas reliefs and mosaics) seem, in a sense, to be more refined. There’s a, dare I say it, finesse to the images in Pyongyang and the rest of the country which is missing from those in Tirana and other parts of Albania.

I’ve discussed this difference between different Socialist countries and the ‘feel’ you get from observing those images which were produced during the period of the construction of Socialism. For example, although both fine sculptures in their own right there’s a marked difference in style between the two bronze statues of Comrade JV Stalin which now stand neglected behind the National Art Gallery in the centre of Tirana.

As I consider the matter more I believe it’s possibly a difference between European Socialist Realist Art and that produced in Asia. The art traditions of the far east were finer than those of the west even before the first Socialist Revolution in Russia in 1917. The fine prints that have been produced on all sorts of materials in Asia are reflected more in some of the examples of British realism of the early part of the 20th century rather than the work of the Soviet Union or the paintings inside the actual National Art Gallery in Tirana.

When it comes to sculptures I believe the Asian examples, of both the DPRK and Socialist China, have been able to capture emotions in a manner that was much more subtle than their European counter-parts. The finest example I know of in China is the series of clay statues which were produced in 1968 (during the Great Proletarian Cultural Revolution) depicting the suffering of pre-revolutionary peasants. This series of statues telling the story of how poor peasants had to make payments in kind to oppressive and exploitative landlords is called ‘Rent Collection Courtyard’ (with the interesting Introduction to photographic version) which were displayed in what used to be a landlord’s house in Szechuan Province.

(I don’t know the fate of this collection of 114 statues. They were reproduced and put on show in Beijing but the politics represented by this story of the peasantry doesn’t fit with the present capitalist regime in China. The post 1976 (the date from which all the revolutionary achievements of the People’s Republic of China began to be reversed) regime even has an impact upon the public art, witness the tableau outside of Chairman Mao’s Mausoleum in Beijing – impressive in many ways but lacks the passion of the likes of ‘Rent Collection Courtyard’. Their sense of aesthetics also doesn’t bode well – just have a look at what they used to celebrate the Anniversary of Chairman Mao‘s Declaration of the People’s Republic in October 2017.)

Tienanmen Square – October 2017

It’s revolutionary passion that determines the feeling and impression the viewer gets from the tableau at the Victorious Fatherland Liberation War Museum. The artists believed in what they were creating. Believed in the story they wanted to tell. Believed that it had a purpose over and above their own personal vanity. Yes, they should be proud of what they had created but their names will not be found on the results. They subsume their personal ego to the common good – which should be the aim of artists, as with all other workers, in a Socialist society. Celebrity status is an anathema to Socialism. All of these artists work out of the Mansudae Art Studio in Pyongyang.

This finesse means that you get a much better impression of the emotions that the artists have wanted to create in their characters – anger, jubilation, compassion, determination, struggle, happiness and joy, etc.

The sculptural aspects of the complex

To enter the museum grounds you go through a triumphal arch. On the left side is a statue of three males representing the three military services – army, navy and air force. Above them is the number 1950, the year the War of Liberation started. They are dressed and armed with the weapons of that time. On the opposite side are three other males, of the same military services, but now everything has moved on a few years and their weapons and clothing have been updated.

1950-1953 – How things had changed

Above the vehicle entrance to the site, carved into the stone, are partially unfurled ceremonial banners, and in between the two sets of three banners is a campaign medal, the star in evidence.

Going higher there’s a long, rectangular metal plaque with gold lettering where it is written in Korean (obviously) the words ‘Victorious Fatherland Liberation War Museum’.

On the highest point of the arch, in the middle, is a large, metal rondel with a large star in the centre. Flanking the star on either side is an almost semi-circle of ripe ears of rice. This follows the format established by the Soviet Union where the rice would have been replaced with ears of grain but in both cases stresses both the idea of providing the staple food as well as a reference to the importance of agriculture. On either side of this rondel is a DPRK National Flag, also of metal. This flag in reality is a red star inside a white rondel which sits on a red background. A blue strip, about a fifth of the width of the flag, is above and below the red portion. This design was adopted in 1948.

Once through the arch you enter a large, open esplanade. This, I assume, is where formal events take place at the location, especially anniversaries of the Liberation War, as this is the start of what is officially designated as the ‘Monument to the Victorious Fatherland Liberation War 1950-1953’. This was created in 1993 in time for the celebrations of the 40th Anniversary of the end of the war and extends from this esplanade to the single statue of the ‘Victory’ just before the entrance to the Museum building itself. This monument is dedicated to the Korean People’s Army and Korean People who defeated the US imperialists and its allies in the Fatherland Liberation War.

(I can understand why nations celebrate the end of wars but haven’t been able to get my head around the obsession that has gripped officialdom (and some of the population) in Britain over the start of the 1914 World War – the war that was supposed to end all war – and at every possible opportunity in the subsequent (almost) four years. I can only assume it’s part of a propaganda battle to keep the population numb with the idea of war and allows the country to threaten, and often take action, against other perceived enemies. There is only one year (1968) since the end of the Second World War in 1945 where British armed forces have not been involved in killing people in other parts of the world. On the other hand the DPRK has not invaded any country and they are branded as the aggressors. But then, why should we take facts into account?)

There’s a large, metal schematic of the complex, at the edge of the grassed area.

Schematic of the Museum Complex

On either side of this plaque there are two Korean Soldiers – effectively on sentry duty to the monument. Standing to attention, with a rifle hanging from a strap over their right shoulders, they stand in front of huge stylised red flags, constructed of marble. They are looking slightly to their left, therefore covering the space between them. The soldier on the left stands underneath the symbol of the Korean Workers’ Party – the hammer, sickle and ink brush – and the soldier on the right stands beneath the emblem of the DPRK. At the top is a large red star, radiating light to all below. Beneath that is the outline of Mount Paektu, the highest mountain in the country and one which has had symbolic importance for centuries. Next is a schematic representation of a hydro-electric dam with a pylon taking the power to other parts of the country. Supporting these images, on both sides, are ripe ears of rice. Finally, in gold lettering on a symbolic red scroll is written the words ‘Democratic People’s Republic of Korea’.

From here on symmetry rules – as it does in many of the monuments in Pyongyang, both their construction and the relationship they might have with other structures in the city. One of the consequences of the blanket bombing of the North’s capital between 1950 and 1953 was that during reconstruction the architects were provided with a, more or less, blank canvas as there were virtually no buildings that survived intact in the city. That US bombing campaign saw more tons dropped on the north of Korea in those three years than were dropped by all combatant nations in the Second World War. That unenviable ‘record’ was broken when the US decided that it had the right to determine the future of yet another Asian people, when they interfered and invaded Vietnam in the 1960s.

Down the centre is an immaculately manicured lawn with seasonal flowers in the beds. There are also a couple of large and ornate fountains which are connected by a tunnel of water when operating. This whole area looks impressive at night (see the front of the booklet on the museum, link below) but, unfortunately a night time visit wasn’t on the cards when I was in the country.

However, for me, the main interest is the collection of ten, large tableau which seek to tell the story of the Liberation War. There are four of these on each side of the lawns, then there’s a smaller esplanade where two others flank the large statue of the male allegorical representation of ‘Victory’.

Some of those tableau represent specific battles or campaigns but in general they represent the whole nation’s struggle against the invading, imperialist forces. The three main strands of the armed forces, the army, navy and air force, are depicted as well as the ever important guerrilla forces and the role of the work carried out in the rear. Women are shown (although in a minority) both armed and taking part in battles as regular fighters or guerrillas, but also in supplying the front with necessary equipment and materials. As in the various battles and wars that the Union of Soviet Socialist Republics, the People’s Republic of China, the People’s Socialist Republic of Albania and the Socialist Republic of Vietnam had to fight to achieve and then construct Socialism women played a crucial role in the final victory.

The group statues also illustrate those values that a Socialist country wants to celebrate from those who have fought in the past as well as to instil such values in future generations.

The People’s Liberation Navy

People’s Liberation Army

Liberation Air Force

Women in the Liberation War

Three Generations

Compassion

Civilians are warriors too

Liberation

Sweat of her labour

Behind the group sculptures on the right (as you walk towards the museum building) is a mock-up of trench warfare that leads to open sheds where captured military hardware of the invaders is stored. On the left hand side, behind other plastic trenches, is a collection of the hardware used by the People’s Liberation Army, including the likes of Russian MIG jets and T34 tanks.

The capture of The Pueblo

January 1968 wasn’t a good month for the US President Johnson or the USA in general, when it came to their foreign ‘adventures’. On the 23rd their spy ship, The Pueblo, was boarded and captured by the forces of the DPRK whilst carrying out surveillance activities in the East Sea of Korea/Sea of Japan. A week later the Tet Offensive began in Vietnam – the one single event in that murderous war that showed the US imperialists that – however much they spent, however many Vietnamese they killed and however many of their own troops would return in body bags or scarred for life – they would be unable to win.

The Pueblo – US Spy Ship

The DPRK, obviously pleased to have achieved such an important propaganda coup, didn’t flinch under pressure from the US to return the boat and its crew and it wasn’t until 11 months later, when the US admitted its espionage activities, that they got their crew back. The ship, no. It is moored on the banks of the River Potong and is now a permanent part of the exhibits of the Victorious Fatherland Liberation War Museum and a visit is always on the itinerary of all visitors to the museum.

However, this episode didn’t deter the US from maintaining spying activities over the country and they faced another disaster on April 15th 1969 when one of their spy planes, EC-121 was shot down and all 31 Americans on board were killed. Now, I’m sure, a number of satellites regularly monitor what’s going on in the DPRK.

‘Victory’

The statue of ‘Victory’ is posed in a manner which is common in Socialist Realist military monuments, a soldier going forward but looking behind and calling for others to join him/her in the advance. Here he holds a DPRK flag, his right hand high on the flag pole, with his left arm outstretched behind him, his hand adding urgency to his call for others to join the fight. Hanging from a strap around his neck is a Soviet Shpagin PPSh-41, sub-machine gun, millions of which had been produced in the Soviet Union for the defeat of the Hitlerites in the Great Patriotic War and which were now used in another war against an aggressive, invading force.

The Museum Entrance Façade

Entrance to the interior of the museum is by a door in the centre of the concave façade just behind the statue ‘Victory’. Before going inside have a look at the 17 large bas reliefs that take up the whole of the frontage. These tell the story of the Fatherland Liberation War, some images reflecting actual events whilst others episodes of warfare that would have taken place during the three years of the conflict. Only one of them has a date, (7 27) the 7th July, and that’s the one on the extreme right, which shows an image of the celebration of the end of the war in 1953. If you have had a look at the statues in the Memorial Park you will notice that certain images are repeated in a slightly different form, but as with the statues all the armed forces are represented and the role of the regular and guerrilla fighters, the old and the young, of men and women are all represented and their achievements and efforts commemorated and celebrated.

All the images in the centre of these bas reliefs are different but the surround are in common – apart from the slogan written at the top. A folded, ceremonial scroll creates the border at the top and to about half way down on both sides. Then, on the right hand side is a furled national flag which just shows the star. On the left hand side a similar banner is folded to reveal the symbol of the Korean Workers’ Party – the hammer, sickle and ink brush. (The Party Foundation Monument is a huge representation of this symbol.) Above and below these two banners ears of ripe rice poke their way into the light.

At the bottom there’s a busy scene. There are three, partially furled banners on each side which rise from the bottom centre to each side of the bas relief, forming a V for Victory. All these banners have a spear shaped finial at the top. At the point where these banners cross there’s a large red star surrounded by ears of rice – similar to the star over the main triumphal entry arch. On the banner closest to the viewer on the left hand side is a large star and on the right the emblem of the DPRK – as described above. Finally, at the very bottom are more ears of rice.

Female guerrilla activity and the Red Star

Mosaics

At the right hand edge of the concave facade the wall becomes convex and here there’s a mosaic depicting a victory of the People’s Liberation Army over the US imperialist forces. Flags of the DPRK flutter in the wind and the largest, which dominates the mosaic, is attached to the central figure’s rifle (again another trope that can be seen in Albanian lapidars, for example the statue at Fier Martyrs’ Cemetery). In celebration of their victory the men (strangely all men in this image), some of them wounded and bandaged, have their arms in the air, weapons in hands as they cheer themselves for their success. At the base of the image a tattered Stars and Stripes (the US flag) of the defeated aggressor lies in the dirt. To its left is a discarded helmet of an absent US soldier, the skull and crossbones image indicating that they have brought death to a country where they have no right to be.

US = Death

There are many fine mosaics, some of them very large, in Pyongyang and other locations in the DPRK (some of which I will be posting at a later time) but this one at the museum is slightly different. Most of the mosaics use small pieces of coloured stone. Here, on the other hand, the image is almost monochrome as the image is created by a handful of colours (a couple of shades of brown, black, white and a slightly bluish off-white) on rectangular tiles. Some of these are broken but the majority of the image is constructed by a technique that is similar to brick laying, the tiles in a regular pattern. From afar it’s difficult to even realise that it is a mosaic but getting close you can appreciate the artistry of those workers from the Mansudae Art Studio who created these images.

On the left hand side of the bas reliefs there’s another large mosaic. This is, again, a victory scene but this time a group of combatants are on the rocky summit of a high hill. Tall pine trees set the scene but it’s uncertain exactly what has been achieved. Interestingly here the banner is not the national flag but the red flag of Communism. Although a scene of jubilation the feeling is different. Yes there are one or two weapons raised high in the air but the celebration is much more intimate. An older man, who could be the commander of the group, is hugging a young bugler and a couple of young women are also holding each other. You get the impression of what has been achieved is a victory over their own weaknesses rather than that of the enemy – as in the first mosaic.

Victorious Comrades

Kneeling down at the bottom left of the image a male soldier has scooped up a couple of handfuls of soil which he holds in his hands as he looks, smiling, in the same direction as the others. Soil to a peasant is everything and here we are given the impression that these fighters are now the possessors of all they survey.

The rest of the outside

There were many parts of the building, from the outside, I wasn’t able to visit due to constraints of time but I was aware that there were many other bas reliefs on display, especially on the part of the museum extension that was completed in 2012.

The interior

It’s not permitted to take pictures inside the museum but you can get an idea of what is presented from book Victorious Fatherland Liberation War Museum, published in 2014. Unfortunately, although an English version exists (the introduction at the beginning of the blog comes from that version) it’s not available for download. To get a copy which shows the same images but with captions in Korean go to Publications of the DPRK.

Who started the war?

No one ever starts wars – or, at least, it’s always the other side. That obviously is impossible. War is the extension of politics by other means and truth is always the first casualty of war. Whatever answer you give to this question in relation to the Fatherland Liberation War, as well as in what you might call that particular conflict, is equally a statement of political allegiance.

I don’t intend to go into any depth here about the conflict between 1950 and 1953 – which, in theory still exists. An armistice was signed, not a treaty. However, as this post is about the Museum in Pyongyang that celebrates the achievements of the workers and peasants of the north in that war I don’t think it can be completely ignored.

So a few points:

The idea of ‘drawing lines’ at the end of World War Two might have seemed like a good idea at the time but it’s long-term effects have been disastrous for many millions of people. I believe this was agreed by the Soviet union as an attempt to prevent war – the problem the agreement was made with imperialist powers who were not prepared to give up what they had or wouldn’t be prevented from acquiring more control in those parts of the world where the weakened European imperialist could no longer guarantee their control of the old colonies.
Although prepared to support the DPRK against imperialist aggression both the Soviet Union and the People’s Republic of China were tired of war and it made no sense to instigate another confrontation with the capitalist states so soon after such destructive wars in their respective countries. The US had no qualms about this having benefited from the World War Two and feeling that it had the right to decide what peoples’ should do and what system they should live under.
It was under US instigation that aggressive border controls were set up along the 38th parallel in 1946, restricting movement and creating needless antagonism in the border region.
The US constantly went back on agreements when they could get a way with it. In Korea they supported the ultra-right, ultra-nationalist, neo-Fascist Syngman Rhee who would be a willing tool in the attempts by the US to destroy any attempts to construct Socialism in the Korean peninsula. (It should be remembered, when many people refer to ‘Democratic’ South Korea, that Rhee and his successors were virtual dictators of the country and it wasn’t until 1988 that any sense of a parliamentary system was instituted in the country. During all that time the country was supported militarily, politically and economically by the US – with no criticism of a dictatorship.)
Korea was seen by the US as a place where they had to stand against the spread of Communism, especially after the success of the Communist Party of China, led by Chairman Mao, and the creation of the People’s Republic of China in 1949. The failure of the US (and its UN puppet supporters, such as the UK) to defeat the DPRK in the 1950s was to lead, inevitably, to the US involvement in Vietnam in the 1960s.
Although tensions were high at the beginning of 1950 overtures from the DPRK for nationwide elections were summarily rejected by the puppet regime in the south. Only a spark was needed to ignite a full confrontation but the south (with American support) made no attempt to reduce the tense atmosphere.
The U.S. Diplomat John Foster Dulles visited Korea on 18 June 1950, seven days before hostilities broke out. Syngman Rhee would have done nothing without US approval and would also do whatever they required.
The US sought ‘legitimacy’ from the United nations, securing a resolution of the Security Council on 7th July 1950. The USSR at that time was boycotting the UN in support of the seat on the Council reserved for China was held by the Nationalist Government in Taiwan and denying hundreds of millions of Chinese representation in the international forum. The US doesn’t always need UN support (and had not called for it in the previous five years in their wars of intervention and didn’t call for it in Vietnam) but it helps in the propaganda war to have a piece of paper to justify the killing. When they failed to get such a resolution in 2003 they invaded Iraq nonetheless.

For more detailed ideas of how the war is seen by the DPRK have a look at The Korean War – An unanswered question. If you want the point of view of the ‘victim of aggression’ – the put upon United States – I’m sure you will find justification in spades.

Further information

The attempted isolation of the DPRK means that it’s not very easy to obtain information about the country from the country itself – most information in the west being filtered through antagonistic capitalist media outlets. For those interested in the opportunity to see the DPRK from another perspective go to Publications of the DPRK where there are a number of language options (although not all books and pamphlets are necessarily available in all those languages).