alternatiivsed eluviisid ja vastupanu igapäevaelus alternatiivsed hariduse vormid
autoritaarsete / totalitaarsete režiimide tagakiusamise all kannatanud
avangard, neo-avangard
demokraatlik opositsioon
emigratsioon/eksiil
etnilised liikumised
film filosoofilised/teoreetilised liikumised järelevalve
kaunid kunstid keskkonnakaitse
kirjandus ja kirjanduskriitika kriitiline teadus
liikumine inimõiguste eest meediakunst muusika
naiste liikumine
noorte kultuur partei dissidendid
popkultuur
rahuliikumised rahvakultuur rahvuslikud liikumised
samizdat ja tamizdat
sõltumatu ajakirjandus
südametunnistest lähtuvalt
teaduslik kriitika
teatri- ja etenduskunst
tsensuur underground kultuur
usuline aktiivsus
visuaalkunst
vähemusliikumised ühiskondlikud liikumised
üliõpilasliikumine
The Nelu Stratone collection is one of the most impressive collections of rock, jazz, and folk records created in communist Romania, as a result of the happy combination between its owner’s exceptional passion for alternative music and his ability to acquire records that were not imported officially. The collection is important not only for its size, but even more for the significant number of albums of Western provenance, which were unavailable in shops in Romania but could nevertheless be obtained due to the existence of an alternative market for such products. The creation and preservation of such a collection were activities regarded with suspicion by the communist authorities in Romania, because they proved the younger generation’s fascination with Western cultural products, in contravention of the spirit of Nicolae Ceauşescu’s Theses of July 1971.
The No Art Collection is a part of the Anti-Museum founded by Vladimir Dodig Trokut. It consists of characteristic avant-garde and post-avant-garde artefacts. The Anti-Museum’s No Art Collection was established during the many years of Trokut’s activity as a member of the informal cultural opposition, which was supported by prominent individuals and public personalities, such as artists and politicians like Koča Popović and Jure Kaštelan.
Ferenc Bodor’s Nomad Dossiers is a collection representing a unique component of cultural opposition in Eastern Europe: materials related to ethno-folk revival and its Hungarian manifestation, the so-called “dance-house movement”. This collection also contains material regarding the Studio of Young Folk Artists, which was formed in the 1970s. Communist authorities considered the movement to be suspicious. They feared that it might increase nationalism among young people and, furthermore, that it might generate a powerful rival to the official youth organization.