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6: AN ARCHAEOLOGY OF THE IRON CURTAIN border guard stations allowed for new stories, new perspectives. Something that would not have been noticeable when the border guards were here crowding these spaces or something the texts and documents in the archives could never convey. This is also what we somehow ‘expect’ from an archaeological site, for the people to have left, a hangover from studying periods where people are long gone and all that remains are pieces. Here studies of a more recent past do differ from studies of earlier periods. Often we study the abandoned, such as ruins, which we in some way seem to be more comfortable with. We know what to do here, our methods just work. But what happens with those sites that are still used Archaeologists are used to dealing with the abandoned. In fact one of the criteria for protecting an archaeological site through policy and legislation in Sweden is that it has been abandoned for a considerable amount of time (varaktigt övergiven) which means it is no longer in use and will not be taken into use again (SFS 1988:950). Even though this definition may not be present as such in other countries’ heritage laws it demonstrates a general attitude within archaeology of how we deal with that which is abandoned and no longer in use. But what does this mean when we are pushing the materials that we study further and further into the present I do not believe it to be a coincidence that the sites that contemporary archaeologists, including my own research, tend to search out are the places that are deserted and uninhabited (although see Kiddey and Schofield 2011 for a different approach). This is what we are used to and what our methods generally allow us to look at. Andreasson et al. as well as Pétursdottír and DeSilvey make a very good case for how the material stands out clearer when not crowded by people. How in the abandoned we can see the ‘thingness’ of the objects left behind. But what happens in places where people are still present Where materials and humans are still acting together creating networks and connections Do we ask people to leave the scene or should we wait until a place have been abandoned Something that has become clear during my research is that we need to develop and adjust the methods that we use to allow people and objects both to take centre stage without one crowding the other. Surely this emphasis on things in a ‘material turn’ should not increase the divide between things and humans; rather it should bridge it by putting them on equal terms Of course ruins often entice our imagination. Political scientist Anca Pusca (2010) writes of how the decay of buildings is often connected with the notion of dystopia and explains that as spaces and buildings were often highly important for the communist utopia their subsequent fall and ruin 197
AN ARCHAEOLOGY OF THE IRON CURTAIN has come to symbolise the demise of this ideology. Walking in ruins also awakens a sense of curiosity within us. Edensor describes the feeling as: “movement in ruins becomes strangely reminiscent of childhood sensory immersion and of the pleasurable negotiation of space largely denied to adults” (Edensor 2005a:838). As I walk through the abandoned border guard stations I am spurred on by my curiosity and sense of adventure and I move through the rooms and the corridors eager to find out what is hiding behind the next corner. Is this how one should react when investigating Cold War remains Should I not be more taken back by the severity of place But this is exactly the paradox that is with me through many of the visits along the former Iron Curtain. My knowledge of these places’ history and a hindsight perspective tells me that I should experience the serious reality behind the Cold War metaphor but what I mostly come across is the traces of the mundane and the everyday. Things that are easy to relate to as part of the ordinariness of life, we sleep, we eat, we have obligations and we try and entertain ourselves. The military remains we often hear about such as bunkers and fortifications, airfields, graves, nuclear research sites and missile bases are important to the understanding of war, but so are the smaller sites, the places of the everyday activities for a large part of those who participated within the war. These sites will provide an understanding of the many different angles and perspectives a war or a conflict can be experienced through. I could be criticised for producing a too ‘nice’ portrait of the Iron Curtain, that the severity and cold bloodedness of this monument and of the Cold War is understated to give way to the everyday stories of a more harmless character. But it is not a conscious decision from my side to angle the stories in this way. Instead this is the result of the material that I have encountered. I have no doubt that if I had used different sources and different focus that the picture would have been different. If I, for example, had based my research mainly on personal stories including people from all over the former Czechoslovakia or even the former Eastern Bloc in general or of those that had crossed over or have relatives and friends that have tried to cross over the border the picture of the Iron Curtain would have been a different one. But I wanted to start at the sites and at the materials and work from there to see what stories that emanated from these. This showed a slightly different side of the Iron Curtain than what we know from history writing. From the archives a few stories and pictures gave a glimpse of the horrors that these militarised borders could entail. Mostly, however, the sources provided a more mundane picture. This demonstrates the 198
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An Archaeology of the Iron Curtain
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An Archaeology of the Iron Curtain
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Contents Acknowledgements 11 CHAPTE
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The end of a journey 212 Sammanfatt
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AN ARCHAEOLOGY OF THE IRON CURTAIN
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CHAPTER 1 Introduction Standing on
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1: INTRODUCTION carried out of the
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1: INTRODUCTION they may be… It i
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1: INTRODUCTION where the observer
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1: INTRODUCTION former Iron Curtain
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1: INTRODUCTION criticism from othe
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1: INTRODUCTION itioned somewhere i
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1: INTRODUCTION World War II dividi
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CHAPTER 2 A physical metaphor Concr
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2: A PHYSICAL METAPHOR established
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2: A PHYSICAL METAPHOR The changing
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2: A PHYSICAL METAPHOR the events t
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2: A PHYSICAL METAPHOR As time has
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2: A PHYSICAL METAPHOR highly influ
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2: A PHYSICAL METAPHOR popular idea
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Figure 16: Postcard of the newly op
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402 Kojsko Hum 402 THE OSIM
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Figure 50: Map demonstrating the bo
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CHAPTER 5 Case Study 2 The Czech/Au
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5: CASE STUDY 2: THE CZECH/AUSTRIAN
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Figure 55: Bunker near the crossing
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Figure 59: Military map from 1980 o
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Page 218 and 219: SAMMANFATTNING En fysisk metafor I
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Stockholm Studies in Archaeology Se
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29. LINDGREN, Christina. 2004. Män
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The Iron Curtain was seen as the di
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