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Many Masks: The Radical Politics and Performance of Míra Holzbachová
March 23, 4:00 pm - 5:00 pm
This event will be held virtually as a Zoom webinar and streamed via YouTube Live. There will be no in-person event.
To register and access live stream links, visit the event page on our website: https://harriman.columbia.edu/event/virtual-event-many-masks-radical-politics-and-performance-mira-holzbachova
Register here for the Zoom webinar, or tune in on YouTube Live.
Please join the East Central European Center at the Harriman Institute for a presentation by Meghan Forbes, Leonard A. Lauder Postdoctoral Fellow in Modern Art at the Metropolitan Museum of Art. This event is part of the event series East Central Vanguard: New Perspectives on the Avant-Garde.
The Czech dancer, choreographer, and anti-fascist activist Míra Holzbachová (1901-1982) enjoyed much popularity during her long lifetime, and yet, her story has been relegated to a few footnotes in the art historical record. Nevertheless, her fascinating and complex story offers a lens through which to offer a critical examination of socialist ideation at discreet moments across the twentieth century through various regime changes, from the democratic First Republic of the interwar period, through the Nazi occupation of the Second World War, the Stalinist years and subsequent Prague Spring of 1968, and the decade following its aftermath.
This talk for the series East Central Vanguard will focus on Holzbachová’s early career between the two World Wars and discuss her interwar performances against the backdrop of the colonial imaginary, identity formation, and leftist resistance. Her performances on the avant-garde stage, that employ pantomime and the mask, are introduced and presented as tropes in art making prevalent across Europe at the time that exhibit cultural appropriation and exoticization tied to the continent’s colonial legacy. These performances invite a consideration of Holzbachová’s dances alongside better known instances from Western sites of the avant-garde, such as Dadaist Sophie Taeuber’s performances at the Cabaret Voltaire. Through a comparative approach, this talk more broadly emphasizes that while small European countries without significant imperial holdings, such as Czechoslovakia, have largely been outside the field of vision in decolonial approaches to interwar art, such a methodology is indeed relevant in the context of Central Europe, and a critical approach to Holzbachová’s performance practices can likewise help to advance the discourse around better-studied sites, such as Dada in its Western European constellation.