UKA i Ås in the 1940s:

Rebuilding and a momentous transition

After the second world war, Norway was occupied with both rebuilding society and a strong need to embrace the joys of life. In 1946, after 6 years with neither revue nor parties, it was debated whether the festival should even happen, and no UKA i Ås was arranged that spring. The Student Society building had been without students since 1942, as the German’s had used many parts of the building until the end of the war. A huge restoration had to happen, and they therefore needed money. 

In the autumn of 1946, the students worked hard to organise a grand UKA i Ås. As opposed to earlier, a limit on the amount of people and a complete ban on bringing alcohol was introduced – this event was supposed to be of a higher moral ground than previous years. Something which gave a more dignified feel to the whole thing, was when the Crown prince Olav and Crown princess Märtha came to attend the premiere of the revue. That year’s revue, “Stud-i-Ås-us”, was “without rhyme or reason” and received mixed reviews.  It was nevertheless a big success and captured both the humour and relevant societal themes from that time. 

After a little back and forth, a new UKA i Ås was held in 1948 with decent preparations done beforehand. The bodega was restored, and there was a bigger focus on reusing decorations and traditions so that the festival wouldn’t have to be rebuilt from scratch every year. The revue «Vivat Moecademia» carried on the tradition of mixing humour, satire and societal criticisms. The female contribution was stronger than ever before, and women began filling up the Student Society, this despite no invitations to the Ur-premiere.  

The revue that year marked the transition from the old revue form to the new; a more costly and professional performance. It made a strong impression, despite a little criticism, and NRK broadcast a recording of it over the whole country!

UKA i Ås in the 1940s became a symbol of rebuilding and renewal. Throughout all of the challenges and adjustments, the students’ ambition to carry on their traditions shined, while they at the same time moved towards a more modern and professional festival, still based only on the voluntary spirit. With an increased focus on reuse and with more input from both women and the country’s royalty, UKA i Ås strengthened its position as an important cultural event in post-war Norway!