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After the end of the Second World War, the cultural life of the city was slowly getting back to normal. The Słowacki Theatre, the Groteska Theater, the Lalka Theater and the Seven Cats Cabaret (Kabaret Siedem Kotów) resumed their artistic activities. The Rapsodyczny Theatre connected with the person of Karol Wojtyła was still operating.

Museums and editorial offices of “Przekrój,”  “Tygodnik Powszechny,” “Znak” and “Twórczość” were opened.

Masses could be celebrated again in Wawel Cathedral, and such works of art as Wit Stwosz’s Altar, Leonardo da Vinci’s “The Lady with an Ermine,” and the Balthasar Behem Codex were returned to Kraków. Yet, the communists did not allow Wit Stwosz’s Altar to return to St. Mary’s Basilica. Instead, it was placed in the restorer workshop at Wawel and stayed there till 1956, when on the wave of momentary liberalization it was returned to its place of origin. However, the events of 1946 provoked a very strong reaction among the communists, and caused a violent attack on the world of culture and art. The Theological Faculty at Jagielloński University (founded there in the Jagiellonian times), and the Polish Academy of Learning (Polska Akademia Umiejętności) were closed down. Marxist ideology was introduced at schools and universities.

The Catholic Church suffered as well. First, Bishop Eugeniusz Baziak and numerous suffragan bishops were interned, many of the Kraków priests were arrested under false accusations, and the Kraków Catholic Church was given into the hands of the so called “patriotic priests.” In 1953, the editorial office of “Universal Weekly” was closed down after it had refused to print Stalin’s obituary. A couple of months later, the title of that weekly magazine was handed over to the PAX Association – the editorial office closely cooperating with the regime. Charities under the Church protection were liquidated. In 1953, the Rapsodyczny Theatre was also closed down. Its artistic independence was the immediate reason behind the decision.

In the meantime, in order to accelerate the assimilation process of the new inhabitants, the government took care to develop the Nowa Huta cultural life. Therefore, cinemas and a theatre were built to attract workers and their families. In this way, a new consumer of mass culture and the new social stratum of socialist intelligentsia came into existence. The centres of cultural life were:

Ludowy Theater (Folk Theatre) – this is the work of Janusz Ingarden, the urban designer and architect. It started its artistic activities on December 3, 1955. The play “ Krakowiacy i górale” (“Cracovians and Mountaineers”) by Wojciech Bogusławski was staged on the opening night. The play is set in the village of Mogiła near Kraków. Krystyna Skuszanka was the first director and stage manager of the theatre. William Shakespeare’s “The Tempest,” Juliusz Słowacki’s “The Silver Dream of Salomea,” Albert Camus’ “The State of Siege” and Jerzy Broszkiewicz’s “The Names of Power” were staged there. The theatre enjoyed immense popularity among the Nowa Huta citizens.

Światowid Cinema (“Svetovid” Cinema) – established in the years 1955-57 on the wave of the post Stalin political thaw. The cinema was to be the authorities’ answer to Adam Ważyk’s poem criticizing the realities of Nowa Huta.

Świt Cinema (Dawn Cinema) – established in 1953. It was the first purpose-built cinema in Nowa Huta. The opening premier was the film entitled “Three stories” (Trzy opowieści”). Architectonically, the cinema building reminds Egyptian structures. It has 12 columns whose capitals are in the Ptolomean style.

In 1956, the Auto Mobil Club Nowa Huta - motorcycle speedway club came into being.