Kvartirniki (Russia) - Revision history

Editor2018: Editor2018 moved page Kvartirniki to Kvartirniki (Russia)

2025-01-21T13:02:57Z

Editor2018 moved page Kvartirniki to Kvartirniki (Russia)

← Older revision	Revision as of 13:02, 21 January 2025
(No difference)

Editor2018 at 12:52, 21 January 2025

2025-01-21T12:52:20Z

← Older revision		Revision as of 12:52, 21 January 2025
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	{{infobox		{{infobox
	\| nameofpractice = Kvartirniki		\| nameofpractice =Kvartirniki
	\| flagemoji = 🇷🇺		\| flagemoji = 🇷🇺
	\| definition = Unofficial musical or literary concerts held in residential apartments.		\| definition = Unofficial musical or literary concerts held in residential apartments.
	\| location =Russia		\| location =Russia
	\| imagemap =Russia map.png		\| imagemap =Russia map.png
	\| clusters = [[:Category: Non-conformity\|Non-conformity]] – [[:Category: Resistance\| Resistance]]		\| clusters = [[:Category: Non-conformity\|Non-conformity]] – [[:Category: Resistance\| Resistance]]
	\| categories = [[:Category: FSU\| FSU]] – [[:Category: Art\| Art]] – [[:Category: Community\| Community]] – [[:Category: Concealment\|Concealment]] - [[:Category: Network\| Network] – [[:Category: Russia\| Russia]]		\| categories = [[:Category: FSU\|FSU]] – [[:Category: Art\|Art]] – [[:Category: Community\| Community]] – [[:Category: Concealment\|Concealment]] - [[:Category: Network\| Network]] – [[:Category: Russia\|Russia]]
	\| authorofpiece = Billy Franklin		\| authorofpiece =Billy Franklin
	\| authorinstitution =Alumnus, School of Slavonic and East European Studies, University College London, UK		\| authorinstitution =Alumnus, School of Slavonic and East European Studies, University College London, UK
	\| authorwebsite = }}		\| authorwebsite = }}
	<big>'''By Billy Franklin, Alumnus, School of Slavonic and East European Studies, University College London, UK'''</big>		<big>'''By Billy Franklin, Alumnus, School of Slavonic and East European Studies, University College London, UK'''</big>
	[[Category: Art]]		[[Category:Art]]
	[[Category: Community]]		[[Category: Community]]
			[[Category: Russia]]
	[[Category: FSU]]		[[Category: FSU]]
	[[Category: Concealment]]		[[Category: Concealment]]
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	[[Category: Non-conformity]]		[[Category: Non-conformity]]
	[[Category: Resistance]]		[[Category: Resistance]]
	[[Category: Entry]]		[[Category:Entry]]
	[[Category: 2024 entry]]		[[Category: 2024 entry]]
	~~[[Category: Russia]]~~
	{\| class="wikitable"		{\| class="wikitable"
	\|-		\|-

Editor2018 at 12:29, 21 January 2025

2025-01-21T12:29:47Z

← Older revision		Revision as of 12:29, 21 January 2025
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	\| imagemap =Russia map.png		\| imagemap =Russia map.png
	\| clusters = [[:Category: Non-conformity\|Non-conformity]] – [[:Category: Resistance\| Resistance]]		\| clusters = [[:Category: Non-conformity\|Non-conformity]] – [[:Category: Resistance\| Resistance]]
	\| categories = ~~[[:Category: Russia\| Russia]] –~~ [[:Category: FSU\| FSU]] – [[:Category: Art\| Art]] – [[:Category: Community\| Community]] – [[:Category: Concealment\|Concealment]] - [[:Category: Network\| Network]]		\| categories = [[:Category: FSU\| FSU]] – [[:Category: Art\| Art]] – [[:Category: Community\| Community]] – [[:Category: Concealment\|Concealment]] - [[:Category: Network\| Network] – [[:Category: Russia\| Russia]]
	\| authorofpiece = Billy Franklin		\| authorofpiece = Billy Franklin
	\| authorinstitution =Alumnus, School of Slavonic and East European Studies, University College London, UK		\| authorinstitution =Alumnus, School of Slavonic and East European Studies, University College London, UK
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	[[Category: Art]]		[[Category: Art]]
	[[Category: Community]]		[[Category: Community]]
	~~[[Category: Russia]]~~
	[[Category: FSU]]		[[Category: FSU]]
	[[Category: Concealment]]		[[Category: Concealment]]
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	[[Category: Entry]]		[[Category: Entry]]
	[[Category: 2024 entry]]		[[Category: 2024 entry]]
			[[Category: Russia]]
	{\| class="wikitable"		{\| class="wikitable"
	\|-		\|-

Editor2018 at 12:27, 21 January 2025

2025-01-21T12:27:46Z

← Older revision		Revision as of 12:27, 21 January 2025
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	\| flagemoji = 🇷🇺		\| flagemoji = 🇷🇺
	\| definition = Unofficial musical or literary concerts held in residential apartments.		\| definition = Unofficial musical or literary concerts held in residential apartments.
	\| location = Russia		\| location =Russia
	\| imagemap = Russia map.png		\| imagemap =Russia map.png
	\| clusters = [[:Category: Non-conformity\|Non-conformity]] – [[:Category: Resistance\| Resistance]]		\| clusters = [[:Category: Non-conformity\|Non-conformity]] – [[:Category: Resistance\| Resistance]]
	\| categories = [[:Category: Russia\| Russia]] – [[:Category: FSU\| FSU]] – [[:Category: Art\| Art]] – [[:Category: Community\| Community]] – [[:Category: Concealment\|Concealment]] - [[:Category: Network\| Network]]		\| categories = [[:Category: Russia\| Russia]] – [[:Category: FSU\| FSU]] – [[:Category: Art\| Art]] – [[:Category: Community\| Community]] – [[:Category: Concealment\|Concealment]] - [[:Category: Network\| Network]]

Editor2018 at 12:27, 21 January 2025

2025-01-21T12:27:27Z

← Older revision		Revision as of 12:27, 21 January 2025
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	{{infobox		{{infobox
	\| nameofpractice = Kvartirniki ~~(Russia)~~		\| nameofpractice = Kvartirniki
	\| flagemoji = 🇷🇺		\| flagemoji = 🇷🇺
	\| definition = Unofficial musical or literary concerts held in residential apartments.		\| definition = Unofficial musical or literary concerts held in residential apartments.

Editor2018 at 12:27, 21 January 2025

2025-01-21T12:27:07Z

← Older revision		Revision as of 12:27, 21 January 2025
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	\| imagemap = Russia map.png		\| imagemap = Russia map.png
	\| clusters = [[:Category: Non-conformity\|Non-conformity]] – [[:Category: Resistance\| Resistance]]		\| clusters = [[:Category: Non-conformity\|Non-conformity]] – [[:Category: Resistance\| Resistance]]
	\| categories = [[:Category: Russia\|Russia]] – [[:Category: FSU\|FSU]] – [[:Category: Art\|Art]] – [[:Category: Community\| Community]] – [[:Category: Concealment\|Concealment]] - [[:Category: Network\| Network]]		\| categories = [[:Category: Russia\| Russia]] – [[:Category: FSU\| FSU]] – [[:Category: Art\| Art]] – [[:Category: Community\| Community]] – [[:Category: Concealment\|Concealment]] - [[:Category: Network\| Network]]
	\| authorofpiece = Billy Franklin		\| authorofpiece = Billy Franklin
	\| authorinstitution =Alumnus, School of Slavonic and East European Studies, University College London, UK		\| authorinstitution =Alumnus, School of Slavonic and East European Studies, University College London, UK

Editor2018 at 12:03, 21 January 2025

2025-01-21T12:03:31Z

← Older revision		Revision as of 12:03, 21 January 2025
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	\| clusters = [[:Category: Non-conformity\|Non-conformity]] – [[:Category: Resistance\| Resistance]]		\| clusters = [[:Category: Non-conformity\|Non-conformity]] – [[:Category: Resistance\| Resistance]]
	\| categories = [[:Category: Russia\|Russia]] – [[:Category: FSU\|FSU]] – [[:Category: Art\|Art]] – [[:Category: Community\| Community]] – [[:Category: Concealment\|Concealment]] - [[:Category: Network\| Network]]		\| categories = [[:Category: Russia\|Russia]] – [[:Category: FSU\|FSU]] – [[:Category: Art\|Art]] – [[:Category: Community\| Community]] – [[:Category: Concealment\|Concealment]] - [[:Category: Network\| Network]]
	\| authorofpiece = Billy Franklin~~, Affiliation: Alumnus of the UCL School of Slavonic and East European Studies, UK~~		\| authorofpiece = Billy Franklin
	\| authorinstitution = Alumnus ~~of the UCL~~ School of Slavonic and East European Studies, UK		\| authorinstitution =Alumnus, School of Slavonic and East European Studies, University College London, UK
	\| authorwebsite =		\| authorwebsite = }}
	}}		<big>'''By Billy Franklin, Alumnus, School of Slavonic and East European Studies, University College London, UK'''</big>
	<big>'''By Billy Franklin'''</big>
	[[Category: Art]]		[[Category: Art]]
	[[Category: Community]]		[[Category: Community]]

Editor2018 at 11:41, 4 December 2024

2024-12-04T11:41:37Z

← Older revision		Revision as of 11:41, 4 December 2024
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	''Kvartirniki'' emerged following the Second World War in response to the USSR’s strict ideological censorship of the arts and the increased dissatisfaction of those returning from war with the Soviet regime. Although no statistics are available, it is reasonable to assume that their popularity peaked in the 1980s, as this decade is often referenced by Russian media sources comparing modern ''kvartirniki'' with those of the past. Public displays of discontent were scarce and thus Soviet citizens explored informal methods of expressing themselves in private. Figes highlights this attitude in his work The Whisperers, noting that ‘the art of wearing masks was perfected’ during this post-war period (Figes 2007: 139). The practice benefitted greatly from the construction of individual housing, the Khrushchevka flats, in response to the Soviet housing crisis of the 1960s. These low-cost apartment buildings marked a departure from Soviet communal living, giving a large proportion of the population their own private living space and therefore more freedom to discuss politics without fear of being reported. As a result, a new platform for dissent had emerged. The kitchen became a hotbed of dissident activity, providing an ideal location for sharing ''[[samizdat]]'' and ''[[magnitizdat]]'' and for hosting informal political discussion groups, known as ''‘dissident kitchens’''.		''Kvartirniki'' emerged following the Second World War in response to the USSR’s strict ideological censorship of the arts and the increased dissatisfaction of those returning from war with the Soviet regime. Although no statistics are available, it is reasonable to assume that their popularity peaked in the 1980s, as this decade is often referenced by Russian media sources comparing modern ''kvartirniki'' with those of the past. Public displays of discontent were scarce and thus Soviet citizens explored informal methods of expressing themselves in private. Figes highlights this attitude in his work The Whisperers, noting that ‘the art of wearing masks was perfected’ during this post-war period (Figes 2007: 139). The practice benefitted greatly from the construction of individual housing, the Khrushchevka flats, in response to the Soviet housing crisis of the 1960s. These low-cost apartment buildings marked a departure from Soviet communal living, giving a large proportion of the population their own private living space and therefore more freedom to discuss politics without fear of being reported. As a result, a new platform for dissent had emerged. The kitchen became a hotbed of dissident activity, providing an ideal location for sharing ''[[samizdat]]'' and ''[[magnitizdat]]'' and for hosting informal political discussion groups, known as ''‘dissident kitchens’''.

	[[File:Kvartirnikkrayeva.jpg\|thumb\|300px\|left\|~~CAPTION.~~ Kvartirnik at Krayeva, Leningrad, 1982. Source: https://www.yahha.com/myegallery.php?&do=showpic&pid=6251&orderby=dateD.]]		[[File:Kvartirnikkrayeva.jpg\|thumb\|300px\|left\|Kvartirnik at Krayeva, Leningrad, 1982. Source: https://www.yahha.com/myegallery.php?&do=showpic&pid=6251&orderby=dateD.]]

	The USSR’s collapse and sharp reductions in state censorship led to an increase in apolitical ''kvartirniki'', which nonetheless remained popular. Numerous regional Russian newspaper articles addressed this topic in the early 2000s and 2010s. A 2012 Riazanskie Vedomosti article compared modern ''kvartirniki'' in Ryazan with those of the 1980s, arguing that they maintained their popularity due to their intimacy, exclusivity and close contact with the artists (Shelyakina 2012). This view is corroborated by a 2010 Molodoi Kommunar article that examined ''kvartirniki'' in Tula. Although the article pointed out that there had ‘been no persecution of musicians for a long time, therefore there is no need to hide in apartments’, people were still drawn to the practice because of the connection formed between the artist and the viewer (‘Kvartirniki’ 2010). Despite losing their political connotations, ''kvartirniki'' evidently retained their popularity, with one Nezavisimaya Gazeta article arguing in 2004 that modern ''kvartirniki'' were almost as popular as they had been pre-perestroika (Okulova 2004). Their resurgence is often attributed to the rise of the internet, with the article pointing out the ease of spreading information online and the subsequent reduced reliance on word of mouth. New websites and forums dedicated to the practice often even had booking systems. As a result, the cultural significance of the practice had begun to alter. Furthermore, state responses to apolitical ''kvartirniki'' demonstrate that the practice is only tolerated by the authorities when they are not considered to represent dissent.		The USSR’s collapse and sharp reductions in state censorship led to an increase in apolitical ''kvartirniki'', which nonetheless remained popular. Numerous regional Russian newspaper articles addressed this topic in the early 2000s and 2010s. A 2012 Riazanskie Vedomosti article compared modern ''kvartirniki'' in Ryazan with those of the 1980s, arguing that they maintained their popularity due to their intimacy, exclusivity and close contact with the artists (Shelyakina 2012). This view is corroborated by a 2010 Molodoi Kommunar article that examined ''kvartirniki'' in Tula. Although the article pointed out that there had ‘been no persecution of musicians for a long time, therefore there is no need to hide in apartments’, people were still drawn to the practice because of the connection formed between the artist and the viewer (‘Kvartirniki’ 2010). Despite losing their political connotations, ''kvartirniki'' evidently retained their popularity, with one Nezavisimaya Gazeta article arguing in 2004 that modern ''kvartirniki'' were almost as popular as they had been pre-perestroika (Okulova 2004). Their resurgence is often attributed to the rise of the internet, with the article pointing out the ease of spreading information online and the subsequent reduced reliance on word of mouth. New websites and forums dedicated to the practice often even had booking systems. As a result, the cultural significance of the practice had begun to alter. Furthermore, state responses to apolitical ''kvartirniki'' demonstrate that the practice is only tolerated by the authorities when they are not considered to represent dissent.

Editor2018 at 11:39, 4 December 2024

2024-12-04T11:39:13Z

← Older revision		Revision as of 11:39, 4 December 2024
Line 28:		Line 28:

	''Kvartirniki'' emerged following the Second World War in response to the USSR’s strict ideological censorship of the arts and the increased dissatisfaction of those returning from war with the Soviet regime. Although no statistics are available, it is reasonable to assume that their popularity peaked in the 1980s, as this decade is often referenced by Russian media sources comparing modern ''kvartirniki'' with those of the past. Public displays of discontent were scarce and thus Soviet citizens explored informal methods of expressing themselves in private. Figes highlights this attitude in his work The Whisperers, noting that ‘the art of wearing masks was perfected’ during this post-war period (Figes 2007: 139). The practice benefitted greatly from the construction of individual housing, the Khrushchevka flats, in response to the Soviet housing crisis of the 1960s. These low-cost apartment buildings marked a departure from Soviet communal living, giving a large proportion of the population their own private living space and therefore more freedom to discuss politics without fear of being reported. As a result, a new platform for dissent had emerged. The kitchen became a hotbed of dissident activity, providing an ideal location for sharing ''[[samizdat]]'' and ''[[magnitizdat]]'' and for hosting informal political discussion groups, known as ''‘dissident kitchens’''.		''Kvartirniki'' emerged following the Second World War in response to the USSR’s strict ideological censorship of the arts and the increased dissatisfaction of those returning from war with the Soviet regime. Although no statistics are available, it is reasonable to assume that their popularity peaked in the 1980s, as this decade is often referenced by Russian media sources comparing modern ''kvartirniki'' with those of the past. Public displays of discontent were scarce and thus Soviet citizens explored informal methods of expressing themselves in private. Figes highlights this attitude in his work The Whisperers, noting that ‘the art of wearing masks was perfected’ during this post-war period (Figes 2007: 139). The practice benefitted greatly from the construction of individual housing, the Khrushchevka flats, in response to the Soviet housing crisis of the 1960s. These low-cost apartment buildings marked a departure from Soviet communal living, giving a large proportion of the population their own private living space and therefore more freedom to discuss politics without fear of being reported. As a result, a new platform for dissent had emerged. The kitchen became a hotbed of dissident activity, providing an ideal location for sharing ''[[samizdat]]'' and ''[[magnitizdat]]'' and for hosting informal political discussion groups, known as ''‘dissident kitchens’''.

			[[File:Kvartirnikkrayeva.jpg\|thumb\|300px\|left\|CAPTION. Kvartirnik at Krayeva, Leningrad, 1982. Source: https://www.yahha.com/myegallery.php?&do=showpic&pid=6251&orderby=dateD.]]

	The USSR’s collapse and sharp reductions in state censorship led to an increase in apolitical ''kvartirniki'', which nonetheless remained popular. Numerous regional Russian newspaper articles addressed this topic in the early 2000s and 2010s. A 2012 Riazanskie Vedomosti article compared modern ''kvartirniki'' in Ryazan with those of the 1980s, arguing that they maintained their popularity due to their intimacy, exclusivity and close contact with the artists (Shelyakina 2012). This view is corroborated by a 2010 Molodoi Kommunar article that examined ''kvartirniki'' in Tula. Although the article pointed out that there had ‘been no persecution of musicians for a long time, therefore there is no need to hide in apartments’, people were still drawn to the practice because of the connection formed between the artist and the viewer (‘Kvartirniki’ 2010). Despite losing their political connotations, ''kvartirniki'' evidently retained their popularity, with one Nezavisimaya Gazeta article arguing in 2004 that modern ''kvartirniki'' were almost as popular as they had been pre-perestroika (Okulova 2004). Their resurgence is often attributed to the rise of the internet, with the article pointing out the ease of spreading information online and the subsequent reduced reliance on word of mouth. New websites and forums dedicated to the practice often even had booking systems. As a result, the cultural significance of the practice had begun to alter. Furthermore, state responses to apolitical ''kvartirniki'' demonstrate that the practice is only tolerated by the authorities when they are not considered to represent dissent.		The USSR’s collapse and sharp reductions in state censorship led to an increase in apolitical ''kvartirniki'', which nonetheless remained popular. Numerous regional Russian newspaper articles addressed this topic in the early 2000s and 2010s. A 2012 Riazanskie Vedomosti article compared modern ''kvartirniki'' in Ryazan with those of the 1980s, arguing that they maintained their popularity due to their intimacy, exclusivity and close contact with the artists (Shelyakina 2012). This view is corroborated by a 2010 Molodoi Kommunar article that examined ''kvartirniki'' in Tula. Although the article pointed out that there had ‘been no persecution of musicians for a long time, therefore there is no need to hide in apartments’, people were still drawn to the practice because of the connection formed between the artist and the viewer (‘Kvartirniki’ 2010). Despite losing their political connotations, ''kvartirniki'' evidently retained their popularity, with one Nezavisimaya Gazeta article arguing in 2004 that modern ''kvartirniki'' were almost as popular as they had been pre-perestroika (Okulova 2004). Their resurgence is often attributed to the rise of the internet, with the article pointing out the ease of spreading information online and the subsequent reduced reliance on word of mouth. New websites and forums dedicated to the practice often even had booking systems. As a result, the cultural significance of the practice had begun to alter. Furthermore, state responses to apolitical ''kvartirniki'' demonstrate that the practice is only tolerated by the authorities when they are not considered to represent dissent.

Editor2018 at 11:21, 30 November 2024

2024-11-30T11:21:56Z

← Older revision		Revision as of 11:21, 30 November 2024
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	\| clusters = [[:Category: Non-conformity\|Non-conformity]] – [[:Category: Resistance\| Resistance]]		\| clusters = [[:Category: Non-conformity\|Non-conformity]] – [[:Category: Resistance\| Resistance]]
	\| categories = [[:Category: Russia\|Russia]] – [[:Category: FSU\|FSU]] – [[:Category: Art\|Art]] – [[:Category: Community\| Community]] – [[:Category: Concealment\|Concealment]] - [[:Category: Network\| Network]]		\| categories = [[:Category: Russia\|Russia]] – [[:Category: FSU\|FSU]] – [[:Category: Art\|Art]] – [[:Category: Community\| Community]] – [[:Category: Concealment\|Concealment]] - [[:Category: Network\| Network]]
	\| authorofpiece = Billy Franklin		\| authorofpiece = Billy Franklin, Affiliation: Alumnus of the UCL School of Slavonic and East European Studies, UK
	\| authorinstitution = Alumnus of the UCL School of Slavonic and East European Studies, UK		\| authorinstitution = Alumnus of the UCL School of Slavonic and East European Studies, UK
	\| authorwebsite =		\| authorwebsite =
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	{\| class="wikitable"		{\| class="wikitable"
	\|-		\|-
	\|style="font-size:1.1em;"\| The word ''kvartirnik'' derives from the Russian word for apartment (kvartira) and can be defined as an unofficial musical or literary concert held in residential apartments. The art performed is usually seen as contradicting the values of the state, therefore it is difficult for these artists to perform in public and the practice is strongly associated with dissident culture. Following the USSR’s collapse in 1991, ''kvartirniki'' initially lost their political connotations and embraced a kind of nostalgia for Soviet ways of human cooperation. However, following Russia’s 2022 invasion of Ukraine, increases in censorship once again sufficiently narrowed public forums for dissent and thus such practices began to reclaim their Soviet-era meanings. The re-emergence of dissident ''kvartirniki'' was alluded to in a 2023 CNN article, which highlighted the concerns of a Russian citizen that her daughter had begun attending them frequently (Hodge 2023). ''Kvartirniki'' are a particularly mobile concept, regularly being organised outside Russia’s borders by liberal-minded Russian expats in cities with significant Russian diasporas (such as London, Paris and Tbilisi).		\|style="font-size:1.1em;"\| The word ''kvartirnik'' derives from the Russian word for apartment (''kvartira'') and can be defined as an unofficial musical or literary concert held in residential apartments. The art performed is usually seen as contradicting the values of the state, therefore it is difficult for these artists to perform in public and the practice is strongly associated with dissident culture. Following the USSR’s collapse in 1991, ''kvartirniki'' initially lost their political connotations and embraced a kind of nostalgia for Soviet ways of human cooperation. However, following Russia’s 2022 invasion of Ukraine, increases in censorship once again sufficiently narrowed public forums for dissent and thus such practices began to reclaim their Soviet-era meanings. The re-emergence of dissident ''kvartirniki'' was alluded to in a 2023 CNN article, which highlighted the concerns of a Russian citizen that her daughter had begun attending them frequently (Hodge 2023). ''Kvartirniki'' are a particularly mobile concept, regularly being organised outside Russia’s borders by liberal-minded Russian expats in cities with significant Russian diasporas (such as London, Paris and Tbilisi).
	\|}		\|}