Professional Documents
Culture Documents
Brunn (2011) STAMPS AS MESSENGERS OF POLITICAL TRANSITION
Brunn (2011) STAMPS AS MESSENGERS OF POLITICAL TRANSITION
Brunn (2011) STAMPS AS MESSENGERS OF POLITICAL TRANSITION
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide
range of content in a trusted digital archive. We use information technology and tools to increase productivity and
facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
https://about.jstor.org/terms
Taylor & Francis, Ltd. is collaborating with JSTOR to digitize, preserve and extend access to
Geographical Review
STANLEY D. BRUNN
abstract. Previous studies of.postage stamps noted their importance in promoting national
identity and the objectives of the state. Neglected in this literature by geographers and others is
a discussion of stamp themes and issues during political and economic transitions. A content
analysis of issues during the Soviet Union's last three years and Russia's first three years revealed
some significant changes. The Soviet Union issued many stamps and sets on a wide variety of
topics, including nature, folk items and legends, international ties, and ideology. Russia issued
fewer stamps: Nature was important, but religion and issues that promoted Russia's heritage
replaced ideology and international themes. Early Russian stamps evoked an "inward" worldview
that promoted a nascent nationalism. In its final years the Soviet Union noted evidence of these
changes in priorities and themes with issues that depicted Soviet environmental disasters or
honored the individuals killed in the failed Russian coup attempt in August 1991. Keywords:
geopolitics, images , nationalism , religion , Russia, Soviet Union, stamps, visualization.
2005 Pauliina Raento and I wrote, "It is the visual qualities which make a sta
an important messenger that implements the state's official outlook in the everyda
life of ordinary citizens" (p. 143). We couched our argument, using Finland a
example, by noting that when states emphasize "the visual," which includes m
postage stamps, currency, and official Web sites, they inform and educate their ow
populations and those beyond about where they are, who they are, and what t
are about. A policy of "political visualization" may also invigorate nationalism
times of political transition. In this study I investigate what stamps tell us about th
Soviet/Russian transition years.
The Soviet Union existed for more than seventy years, only to be replaced in lat
1991 by an elected government with new leaders. Russia became a renewed stat
the world political map, along with many of the former Soviet republics, espec
in Central Asia. As the replacement of an older and larger state proceeded, Ru
leaders faced a number of challenges concerning identity, security, and military an
economic preparedness, not to mention declines in industrial output and food
duction, an unstable currency, and the aspirations of minorities. One of the "v
challenges" leaders faced was what kind of images or messages they wished to
to their own citizens and to those beyond their country's borders. It could be
gued that the designs on stamps and currency, along with the language of the
constitutions, are among the most important early symbolic decisions at the s
level. In her analysis of the banknotes of new states Marcia Pointon correctly
knowledged that "the currency of a new state requires new or reinvented curre
(1998, 231). She also commented on the importance of maintaining a visual hist
* I wish to thank Richard Gilbreath, director of the Gyula Pauer Cartographic Laboratory in the Departme
Geography at the University of Kentucky, for preparing the graphics and Natasha Tyutenkova for her valued
tance in understanding many of the messages on Russian stamps.
Background Literature
expressly politi
depict" (2005, 3
creation and pr
onstrate chang
state elites" (p
reflected in th
be resurrected
Politics always play a crucial role in the stamp-issuing process, as Gabriel Joh
shows in his comparison of North Korea and South Korea and as Hugo Do
demonstrates in his comparison of the stamps issued by Japan and the United
dom (Dobson 2001, 2005; Johnson 2005). In Japan, a tripartite elite model- or
triangle"- of interest groups includes dominant government actors: the bur
cracy, the long-standing Liberal Democratic Party, and big business (Dobson 2
58). This decision-making apparatus contrasts sharply with that in the United K
dom, where the Royal Mail receives suggestions from the public and also wo
with the Stamp Advisory Committee on the appropriateness of designs. The
troller of stamp design then commissions artists for each stamp. The final de
are presented to the Stamp Advisory Committee and eventually to the queen
her approval (p. 65). In the United States the Citizens' Stamp Advisory Commi
makes the final decisions regarding stamp design. Each U.S. president appoin
members to the committee on a rotating basis; the members represent various
fessions, including artists, scholars, and noted public figures.
The "philatelic state" studies having the most direct bearing on this invest
tion are those by Raento and myself (2005, 2008), Raento on Finland's stamps (2
and Kate Covington and myself on music stamps (2006). All of these studies
amine stamps in the context of an imagined community. Raento and her coa
thors also use this context to discuss the visual methodologies of euro coinag
including the "monetary cartography" on the euro side of members' coins (2
934-937)- They document how "geopolitics of visualization" or "geopolitical v
alization" is an especially useful concept when looking at the "philatelic imag
transition."
The visual content of national banknotes can be compared with stamp iss
Pointon noted the importance of "nationalism and portraiture" on Euro
banknotes (1998, 233); Tim Unwin and Victoria Hewitt focused on the image
banknotes of former Eastern European countries (2001). Emily Gilbert saw na
currency as contributing to nation building (1999, 2007). Adrian Tschoegl also
phasized the importance of the pictorial and symbolic images in Bulgaria's ban
history (2002).
Don Zeigler's insights into the projections, colors, and legends of the maps
new European states and former Soviet republics provided evidence of a "car
raphy of independence" and "persuasive cartography" (2002). He also ma
deconstructing sta
ings. For example,
discern gender, eth
features. Other stu
small states and Sl
Dodds considered a
geopolitics," which
places" (2001, 73).
ocularcentric societ
what we see (word
Many stamps conve
a Nature category;
egory. Other stamp
national category c
German-Soviet spa
would be appropria
or perhaps more d
issued stamps that
stamps can be assi
tions, Transportati
tify the dominant
and Brunn 2005, 1
During the Soviet years the post office decided on topics and issued con
individual stamp designs. It also informed the artists what it wanted
lected the winning design (Winnick 2009). Designs, colors, evocative im
familiar figures caused stamps to be considered as an important propaga
the state. Jonathan Grant commented on the blatant political and propa
sages of Soviet-era stamps (1995). These visual representations revealed t
conception of how Soviet society should be structured.
The 312 Soviet stamps issued from 1989 to 1991 can be grouped int
categories (Figure 1). The most popular categories were Nature (forty-sev
Folklore & Crafts (thirty-seven), Other Countries (thirty-seven), Poets, A
(nineteen), and Lenin and Soviet Agents (eighteen). Less frequent, but n
important, were stamps that depict Architecture and Monuments, Space,
The large number of stamps and categories illustrate the importance th
viet Union placed on promoting itself to its own citizens and those else
ture themes- flowers, ducks, wildlife, trees, fish, and so forth- were popula
and were not considered to have any ideological context. Stamps illust
folk legends and musical instruments of each republic commemorated
sity that was important in promoting an all-union Soviet nationalism.
was true for the fifteen stamps depicting key monuments and architec
Fig. 2- Examples of s
1989-1991. Top: The
The Lenin Museum i
Kyrgyz culture; stam
These appeared at
space mission; both
The formal brea
Until new stamps
Latin and Cyrillic
printed stamps we
Soviet Union, the
time (five in Cent
Soviet postal histo
The early days of Russia and the former soviet republics were full of chaos a
confusion, not only for political leaders but also for citizens of new countries on the
Sidorov examines t
urban landscape bu
of this cultural r
depicted religious
part of Russian na
independent status
The second differ
cal and ideological t
the country's Sovi
maps of the forme
months of the Sov
Fourth, flags and maps, often iconographic features on the first issues of new
states, did not appear as familiar themes on Russian stamps in the first six months
or year (Brunn 2001). The first appearance of a flag commemorated a Russian-Ger-
man space mission in March 1992. Another miniature flag appeared later that year
in commemoration of Columbus's "discovery" of America. The situation was re-
markably different from the Soviet era, when flags were on a half-dozen series in the
country's final years. Maps appeared frequently on Soviet stamps but not on early
Russian stamps. No map of the entire Russian territory appeared in the first three
years, although small parts of the country appeared on stamps that celebrated Rus-
sian explorations, the 500th anniversary of Russian-Danish relations, a famous World
War II battle, and participation in European programs. Perhaps postal authorities
felt uncomfortable displaying a map of Russia, which would represent a shrinking
of the Soviet Union's former space. Perhaps some authorities even hoped that the
Soviet Union would be restored.
Fig. 7- New themes on Russian stamps issued in 1993. Left to right: Saint Sophia's Cathedral, in
Moscow; a Fedoskino lacquer miniature Easter egg depicting the Resurrection, from the National Museum
of Applied Arts and Folk Crafts, also in Moscow; and aids prevention. (Photograph by the author)
Nature continued t
but environmental
scientists, artists, a
Russians and Russia
for a 1993 stamp ca
riod to commemora
territorial borders
very unpopular- an
nuclear testing. Als
or abused childre
secular- that aided
cunae illustrate the
rather sensitive top
may have felt that
ing stamps with vi
needed to promot
This analysis raises several questions that would seem to merit study. An ob
one is whether the profile of issues in Russia's first three years continued int
next five or ten years. Did issues continue to focus on themes that promote Ru
identity and nationalism, or did more international stamps appear? Were no
Russians- of whom many live in areas that border the Central Asian and Bal
states- ever the subject of stamps? Did Russia ever commemorate its Soviet per
If so, with what images? And, finally, did flags and maps eventually emerge as
portant symbols on Russian stamps? Answers to these and related questions
help us further understand the emergence of popular nationalism in Russia.
questions merit contributions by social scientists other than geographers with
terests in the political iconographies of emerging nationalism, transborder reg
alism, and region building (Flusty and others 2008).
Future inquiries will be aided by investigating the role of the Council of t
Philatelic, a board of specialists, philatelists, and dealers that now oversees deci
on the topics and designs of Russian stamps (Adibekovym 2009), as well as by
formation garnered from the Web sites of the Rossica Society of Russian Phila
(Rossica Society 2010), Norvic Philatelies (2010), the Worldwide Society of Rus
Philately (wsrp n.d.), and "A History of Russian Philately" (Rowell 2010).
References
49-75.
Raento, P., A. Hamalainen, H. Ikonen, and N. Mikkonen. 2004. Striking Stories: A Political Geogra
phy of Euro Coinage. Political Geography 23 (8): 929-956.
Reed, D. M. 1993. The Postage Stamp: A Window on Saddam Hussein's Iraq. Middle East Journal 47
(1): 77-89.
Rose, G. 2007. Visual Methodologies: An Introduction to the Interpretation of Visual Materials. 2nd ed.
London: Sage.
Rossica Society. 2010. The Rossica Society of Russian Philately, [www.rossica.org].
Rowell, D. 2010. A History of Russian Philately, [www.rossia.com/stamps/history/history.htm].
Saussure, F. de. i960. Course in General Linguistics. Edited by C. Bally and A. Sechehaye. Translated
by W. Baskin. London: P. Owen.
Scott, D. 1995. European Stamp Design: A Semiotic Approach to Designing Messages. London: Academy
Editions.