In April 1969, Dubček was replaced as first secretary by
Gustáv Husák, and a period of "
normalization" began. Dubček was expelled from the KSČ and given a job as a forestry official. Husák reversed Dubček's reforms, purged the party of its liberal members, and dismissed from public office professional and intellectual elites who openly expressed disagreement with the political transformation. (Many of those purged would later become the
dissidents of
Czechoslovak underground culture, active in
Charter 77 and related movements which eventually met success in the
Velvet Revolution.) Husák worked to reinstate the power of the police and strengthen ties with the rest of the Communist bloc. He also sought to re-
centralize the economy, as a considerable amount of freedom had been granted to industries during the Prague Spring. The only significant change that survived was the
federalization of the country, which created the
Czech Socialist Republic and the
Slovak Socialist Republic in 1969. In 1987, the Soviet leader
Mikhail Gorbachev acknowledged that his liberalizing policies of
glasnost and
perestroika owed a great deal to Dubček's "socialism with a human face". When asked what the difference was between the Prague Spring and Gorbachev's own reforms, a Foreign Ministry spokesman replied, "Nineteen years." Dubček lent his support to the
Velvet Revolution of December 1989. After the collapse of the Communist regime that month, Dubček became chairman of the federal assembly under the
Havel administration. He later led the
Social Democratic Party of Slovakia, and spoke against the
dissolution of Czechoslovakia before his death in November 1992.
Normalization and censorship The Warsaw Pact invasion included attacks on media establishments, such as
Radio Prague and
Czechoslovak Television, almost immediately after the initial tanks rolled into Prague on 21 August 1968. While both the radio station and the television station managed to hold out for at least enough time for initial broadcasts of the invasion, what the Soviets did not attack by force they attacked by reenacting party censorship. In reaction to the invasion, on 28 August 1968, all Czechoslovak publishers agreed to halt production of newspapers for the day to allow for a "day of reflection" for the editorial staffs. Writers and reporters agreed with Dubček to support a limited reinstitution of the censorship office, as long as the institution was to only last three months. Finally, by September 1968, the
Czechoslovak Communist Party plenum was held to instate the new censorship law. In the words of the Moscow-approved resolution, "The press, radio, and television are first of all the instruments for carrying into life the policies of the Party and state." While that was not yet the end of the media's self-called freedom after the Prague Spring, it was the beginning of the end. During November, the Presidium, under Husak, declared that the Czechoslovak press could not make any negative remarks about the Soviet invaders or they would risk violating the agreement they had come to at the end of August. When the weeklies
Reporter and
Politika responded harshly to this threat, even going so far as to not so subtly criticize the Presidium itself in
Politika, the government banned
Reporter for a month, suspended
Politika indefinitely, and prohibited any political programs from appearing on the radio or television. The intellectuals were stuck at an impasse; they recognized the government's increasing normalization, but they were unsure whether to trust that the measures were only temporary or demand more. For example, still believing in Dubcek's promises for reform,
Milan Kundera published the article ("Our Czech Destiny") in on 19 December. He wrote: "People who today are falling into depression and defeatism, commenting that there are not enough guarantees, that everything could end badly, that we might again end up in a marasmus of censorship and trials, that this or that could happen, are simply weak people, who can live only in illusions of certainty." In March 1969, however, the new Soviet-backed Czechoslovak government instituted full censorship, effectively ending the hopes that normalization would lead back to the freedoms enjoyed during the Prague Spring. A declaration was presented to the Presidium condemning the media as co-conspirators against the Soviet Union and the Warsaw Pact in their support of Dubcek's liberalization measures. Finally, on 2 April 1969, the government adopted measures "to secure peace and order" through even stricter censorship, forcing the people of Czechoslovakia to wait until the
thawing of Eastern Europe for the return of a free media. Former students from Prague, including
Constantine Menges, and Czech refugees from the crisis, who were able to escape or resettle in Western Countries continued to advocate for
human rights,
religious liberty,
freedom of speech and
political asylum for Czech
political prisoners and
dissidents. Many raised concerns about the Soviet Union and
Soviet Army's continued military occupation of Czechoslovakia in the 1970s and 1980s, before the fall of the
Berlin Wall and the collapse of
Communism in Moscow and Eastern Europe.
Cultural impact The Prague Spring deepened the disillusionment of many Western leftists with
Soviet views. It contributed to the growth of
Eurocommunist ideas in Western communist parties, which sought greater distance from the Soviet Union and eventually led to the dissolution of many of these groups. A decade later, a period of Chinese political liberalization became known as the
Beijing Spring. It also partly influenced the
Croatian Spring in
Communist Yugoslavia. In a 1993 Czech survey, 60% of those surveyed had a personal memory linked to the Prague Spring while another 30% were familiar with the events in another form. The demonstrations and regime changes taking place in North Africa and the Middle East from December 2010 have frequently been referred to as an "
Arab Spring". The event has been referenced in popular music, including the music of
Karel Kryl,
Luboš Fišer's
Requiem, and
Karel Husa's
Music for Prague 1968. The Israeli song "Prague", written by
Shalom Hanoch and performed by
Arik Einstein at the Israel Song Festival of 1969, was a
lamentation on the fate of the city after the Soviet invasion and mentions
Jan Palach's
Self-immolation. "
They Can't Stop The Spring", a song by Irish journalist and songwriter
John Waters, represented Ireland in the
Eurovision Song Contest in 2007. Waters has described it as "a kind of
Celtic celebration of the Eastern European revolutions and their eventual outcome", quoting Dubček's alleged comment: "They may crush the flowers, but they can't stop the Spring." "The Old Man's Back Again (Dedicated to the Neo-Stalinist Regime)", a song featured in the American-English singer-songwriter
Scott Walker's fifth solo album
Scott 4 also refers to the invasion. The Prague Spring is featured in several works of literature.
Milan Kundera set his novel
The Unbearable Lightness of Being during the Prague Spring. It follows the repercussions of increased Soviet presence and the dictatorial police control of the population. A
film version was released in 1988.
The Liberators, by
Viktor Suvorov, is an eyewitness description of the 1968 invasion of Czechoslovakia, from the point of view of a Soviet tank commander. ''
Rock 'n' Roll, a play by award-winning Czech-born English playwright Tom Stoppard, references the Prague Spring, as well as the 1989 Velvet Revolution. Heda Margolius Kovály also ends her memoir Under a Cruel Star'' with a first hand account of the Prague Spring and the subsequent invasion, and her reflections upon these events. In film there has been an adaptation of
The Unbearable Lightness of Being, and also the film by director
Jan Hřebejk and screenwriter Petr Jarchovský, which depicts the events of the Prague Spring and ends with the invasion by the Soviet Union and their allies. The number 68 has become iconic in the former
Czechoslovakia.
Ice hockey player
Jaromír Jágr, whose grandfather died in prison during the rebellion, wears the number because of the importance of the year in Czechoslovak history. A former publishing house based in
Toronto,
68 Publishers, that published books by exiled Czech and Slovak authors, took its name from the event. == Memory ==