Because of the European schism between the USSR and every other nation within the continent, as Eurovision commenced, the Soviet nations could not readily participate in the contest. While some would assume the leaders of the Soviet Union would start a counter-contest, it was not they who organized and maintained the contest.

The first era of Intervision, the Intervision Golden Clef or Zlat媒 kl铆膷 Intervize, began in 1965 as a part of the second annual Golden Prague International Television Festival, produced by the International Radio and Television Organization. It was during this era that Eurovision stars such as Udo Jurgens and Sandie Shaw performed as interval acts, likely to give the Golden Clef legitimacy among critics. It is not known exactly when they performed, but Jurgens and Shaw likely performed a few months after their respective Eurovision 1966 and 1967 wins, considering the Eurovision contests would take place months before the same year鈥檚 Intervision contests. All of the contests were held in Czechoslovakia during this era, though they moved cities twice, beginning with Prague, then Bratislava, staying an additional year, and lastly Karlovy Vary.

The very first Golden Clef took place in the Karlin Music Theatre on June 12, 1965. That year, Czech singer and future Eurovision competitor Karel Gott won his first Golden Clef with his song 鈥淭am, kam chod铆 v铆tr sp谩t (Where the Wind Goes to Sleep).鈥�

The second annual Golden Clef moves to the Slovak city of Bratislava, now part of the Bratislavsk谩 lyra music festival. That year, the non-Soviet nation of Finland joined the contest, a foreshadowing of the international, bridge-crossing aspects of future Intervision contests. This time, Lili Ivanova, representing Bulgaria, wins her Golden Clef with the song 鈥淎dagio.鈥� The 1967 Golden Clef went to Eva Pilarov谩, another Czech singer, with her song 鈥淩ekviem (Requiem).鈥�

In 1968, the competition moved one more time, to Karlovy Vary, the Czech part of Czechoslovakia. That same year the Prague Spring took place, which allowed Intervision to expand, including new competitors from outside the Iron Curtain, such as Austria, Belgium, Finland, Spain, Switzerland, West Germany, and Yugoslavia! All of these nations have competed in prior Eurovision contests. But did the new competition matter to Czechoslovakia? Considering Karel Gott鈥檚 second Golden Clef, won with his song 鈥淧ro膷 pt谩ci zp铆vaj铆? (Why do birds sing?),鈥� not really. In fact, it鈥檚 Gott鈥檚 second Golden Clef, but he actually won three Clefs, earning his Silver Clef in 1966, while also earning second place in the Golden Lyre award in a different competition at the same Bratislava festival.

Due to the invasion of Czechoslovakia by Soviet forces in August 1968, Intervision would no longer take place, never to be produced by Czechoslovak Television again.

One humorously incorrect assumption about the first contest has to do with the voting process, where rumor had it that voting was done by the electrical currents running through the viewers homes, determining if the TV or lights were on or off during a competitor鈥檚 performance. The truth is that, just as in Eurovision, juries determined who the winner was.

For a brief moment, hidden in history, the Golden Clef temporarily returns. As a part of the 1971 D臎膷铆n Anker Festival, the Golden Clef acted as a non-competitive gala featuring many great singers of the Iron Curtain. Representing Czechoslovakia was 1967 Golden Clef winner, Eva Pilarov谩. It鈥檚 unknown whether the event was associated with Intervision or even televised, and current information is quite sparce.

In 1977, the Golden Clef came back in full swing, though it was not hosted in Czechoslovakia. Rather, it was Poland who brought the competition back to the airwaves, with Polish Television wanting to make Intervision part of their Sopot International Song Festival, which takes place in Sopot, Poland. One major change between the Czechoslovak era and the Polish era was the addition of record companies, including Western companies, in their own competitive category.

Interestingly, the first year鈥檚 winner of the Sopot Intervision competition was a Czech, singer Helena Vondr谩膷kov谩, with her winning song being 鈥淢alovan媒 d啪b谩nku (Painted mug).鈥� The next year, Russian singer Alla Pugacheva won with her song 鈥淰syo mogut koroli (Kings can do anything).鈥� The year after, Polish singer Czes艂aw Niemen won with his song 鈥淣im przyjdzie wiosna (Before comes Spring)." And in the final year of the Intervision Song Contest edition of the Sopot International Song Festival, Finnish singer Marion Rung won with her song 鈥淗yv盲sti y枚 (Good night).鈥�

Unfortunately, due to martial law, the song festival was canceled for the next four years, only to return with the Sopot Music Festival Grand Prix, taking Intervision鈥檚 place.

Surprisingly, this is not the end for Intervision. Its second revival happened very briefly, lasting just one year, 2008, when the Russian state, in an effort for a Soviet Re-Union, invited former Soviet nations to participate. Some did, but some could not, such as Uzbekistan due to making a late pick for a singer and Georgia due to the War in South Ossetia. Lithuania refused their invitation. Neither former Czechoslovak nation, the Czech Republic nor Slovakia, were invited. This 2008 edition took place in Sochi, future venue for the 2014 Winter Olympics.

The format the competition utilized was three nights of competitive singing, the first for an 鈥淥riginal Song鈥� written for the competition, the second for a 鈥淩etro Hit鈥� from the 20th century, and the third for a 鈥淲orld Hit,鈥� where the audience would telecast their votes. The winner of the 2008 Intervision contest was Tahmina Niyazova from Tajikistan with her song 鈥淶angi Telefon (Telephone Ring)鈥� and her renditions of 鈥淭svety Pod Snegom (Flowers in the snow)鈥� and 鈥淗ero.鈥� Due to Tahmina鈥檚 win, Tajikistan won the right to host the next year, but this was not to occur.

After the 2008 contest, there have been two revival attempts, the current one seemingly more successful than the first. The first attempt began after Conchita Wurst鈥檚 2014 Eurovision win, due to Russian officials taking umbrage with Conchita鈥檚 LGBT identity and activism. This contest would鈥檝e returned to Sochi and taken place in October, but the Annexation of Crimea delayed and ceased the return of Intervision. Beginning in 2023, due to Russia鈥檚 exclusion from Eurovision as a result of the Russian invasion of Ukraine, the nation鈥檚 officials restarted efforts to revive Intervision. Now, the supposed 2025 edition of Intervision will take place later in the year.

Despite the winding road of decisions made down the line for the Intervision song contest, it鈥檚 best to remember its lofty beginnings as a bridge over the Iron Curtain, built in Czechoslovakia.

Written by Emanuel Linton

Sources:

Vuletic, Dean. 鈥淭he Intervision Song Contest.鈥� Music and Democracy, 5 Nov. 2021, pp. 141鈥�156, https://doi.org/10.14361/9783839456576-006.

Johnston, Raymond. 鈥淭he 鈥榦ther鈥� European Song Contest: Czechoslovakia鈥檚 Intervision Was Meant to Rival Eurovision.鈥� Expats.Cz, Howlings s.r.o., 21 May 2021, www.expats.cz/czech-news/article/the-other-european-song-contest-czechoslovakia-s-intervision-was-meant-to-rival-eurovision.

Vuletic, Dean. 鈥淭he Many Myths of the Intervision Song Contest - the First Attempt to Produce a Regional Version of Eurovision.鈥� Wiwibloggs, wiwibloggs.com, 22 Aug. 2020, wiwibloggs.com/2020/08/20/the-many-myths-of-the-intervision-song-contest-the-first-attempt-to-produce-a-regional-version-of-eurovision/256850/.

UzReport. 鈥淔ive Stars Intervision to Open in Sochi.鈥� UzReport - Information Agency, Information Agency of Uzbekistan, 20 Aug. 2008, web.archive.org/web/20140714163035/news.uzreport.uz/news_9_e_49317.html.

鈥淚ntervision Song Contest 2008.鈥� Eurovoix, Eurovoix World, 25 Feb. 2024, eurovoix-world.com/intervision-song-contest-2008/.

Adams, William Lee. 鈥淔ollowing Outrage over Conchita, Russia Is Reviving Its Own Straight Eurovision.鈥� Newsweek, Newsweek, 23 Feb. 2016, www.newsweek.com/2014/08/01/following-outrage-over-conchita-russia-reviving-its-own-soviet-eurovision-260815.html.

Granger, Anthony. 鈥淚ntervision: 2014 Contest Is Cancelled.鈥� Eurovoix, Eurovoix World, 1 Sept. 2014, eurovoix.com/2014/09/01/intervision-2014-contest-is-cancelled/.

鈥淢ore than 16 Countries Will Take Part in the Music Contest 鈥業ntervision.鈥欌�� 袪袠袗 袧芯胁芯褋褌懈, 袦袠袗 鈥溞犘狙佈佇秆� 褋械谐芯写薪褟,鈥� 8 June 2024, ria.ru/20240608/shvydkoy-1951601188.html.

鈥淧utin Signs Decree Creating Russian Eurovision Alternative.鈥� The Moscow Times, The Moscow Times, 3 Feb. 2025, www.themoscowtimes.com/2025/02/03/putin-signs-decree-creating-russian-eurovision-alternative-a87845.

Since its emergence in the 1950s, rock and roll has been associated with rebellion. However, the stakes for rock bands were dramatically higher behind the Iron Curtain. For one band, The Plastic People of the Universe (PPU), music was a vehicle for political revolution.

Historical Context

On January 5th, 1968, Alexander Dub膷ek became First Secretary of the Communist Party of Czechoslovakia and with his position, planted the seed for the revolution in decades to come. Dub膷ek鈥檚 objective was to restore Czechoslovakia and create "socialism with a human face," a system blending the socialist framework with increased political, economic, and cultural freedoms. Under Dub膷ek, citizens experienced increased freedom of speech and press, as well as economic and political reforms that encouraged individual autonomy. For a brief moment, cultural third spaces appeared where citizens gathered to openly discuss art, politics, and ideas. With this era of relaxed restrictions, known as Prague Spring, came a flourishing of the arts and an influx of Western influence- one of which being rock music.

Dub膷ek鈥檚 new policies were designed to humanize the current political and economic framework of the Soviet Union- not oppose it. Despite this, the Soviet government was concerned that the loosening of their policies would result in rebellion and encourage other nations to follow suit. Prague Spring came to a striking end on August 20th 1968. On this day, the Soviet government sent Warsaw Pact troops to invade Czechoslovakia and return the state to a conservative pro-Soviet government. Dub膷ek was immediately expelled and replaced by Gust谩v Hus谩k who immediately reversed all of Dub膷ek鈥檚 reforms. Under Hus谩k鈥檚 鈥渘ormalization鈥� policies, censorship tightened and previous freedoms were stripped away.

Just three weeks after the invasion, The Plastic People of the Universe was formed.

Rock-N-roll in the Period of Normalization

All aspects of Czechoslovakian life, including music and live performance, were impacted by Gust谩v Hus谩k鈥檚 鈥渘ormalization鈥� policies. In order to obtain a license to perform in Hus谩k鈥檚 Czechoslovakia, bands were required to comply with the following regulations:

1. They were required to play soft pop music (not hard rock) and follow 鈥済entle melodic lines鈥� (Ramet, 2019).

2. Lyrics had to be submitted for approval

3. Performers were mandated to maintain a conservative appearance. (e.g., no long hair for men)

4. Bands were not allowed to sing in English.

5. Bands were not allowed to play music genres with 鈥渓ife destroying effects鈥� and 鈥渦nacceptable excessive levels of noise鈥�(Ramet, 2019).

Bands that violated these rules and performed publicly without a license were charged with 鈥渋llegal business activity鈥� and 鈥渄isturbing the peace鈥� (Ramet, 2019).

Plastic People of the Universe (PPU)

PPU was formed by bassist Milan 鈥淢ejla鈥� Hlavsa in 1968, just three weeks after the invasion of Czechoslovakia. The band was heavily inspired by Frank Zappa and the avant-garde band Velvet Underground.

Though their lyrics had no overtly hostile or anti-government sentiment, their refusal to comply with Hus谩k鈥檚 鈥渘ormalization鈥� policies rendered them political. They sang in English, they continued to rock long hair, and they refused to change their English band name. By 1970, the government revoked their license to perform and confiscated their state-owned instruments. However, the band was not deterred. They continued to perform at illegal underground venues and private parties. Oftentimes, their shows were framed as 鈥渓ectures鈥� on The Velvet Underground to evade detection. Despite precautions to hide the locations of their performances, police frequently raided their events, sometimes subjecting attendees to beatings and interrogations.

Tension escalated at the 1976 Second Music Festival of the Second Culture, an alternative music festival hosted and promoted by PPU鈥檚 own manager, Ivan Jirous. What began as a celebration of independent alternative art set off a chain of events that ultimately contributed to the downfall of the Soviet regime.

The Final Straw

For their participation in the Second Music Festival, police arrested all members of PPU. One member, Paul Wilson, was expelled from the country. Four members faced trial and were sent to prison for singing 鈥渧ulgar lyrics鈥� and 鈥渙rganized disturbance of the peace鈥� (Ramet, 2019). Their imprisonment sparked domestic and international outrage and drew attention to the oppressive nature of Hus谩k鈥檚 policies.

Playwright V谩clav Havel emerged as one of PPU鈥檚 most prominent supporters. He recognized the broader implications of the band鈥檚 persecution, stating: 鈥渁n attack on the Czech musical underground was an attack on the most elementary and important thing, something that bound everyone together... The freedom to play rock music was understood as a human freedom and thus as essentially the same as the freedom to engage in philosophical and political reflection, the freedom to write, to express and defend the social and political interests of society" (Sterling, 2016). Havel's support for PPU mobilized public dissent and unified citizens around the shared values of free speech and expression.

From Charter 77 to the Velvet Revolution

Motivated in part by the imprisonment of PPU band members, scores of intellectuals united under Havel to compose Charter 77- a manifesto condemning the Czechoslovak government for violating the human rights provisions outlined in the constitution and the Helsinki Final Act. Though the signatories of Charter 77 explicitly stated that they were a humanitarian cause and not an organizational political opposition, the Czechoslovakian government reacted with intense repression. Signatories were subject to harassment and the leaders of Charter 77, including V谩clav Havel, were imprisoned.

Despite these challenges, Charter 77 laid the groundwork for broader resistance and unity. By the late 1980s, cracks in the communist regime began to show. Inspired by movements across the Eastern bloc, Czechoslovakia witnessed growing protests which ultimately culminated in the Velvet Revolution of 1989. During mass demonstrations, citizens demanded political reform, and the communist government finally collapsed.

Havel, once imprisoned for his activism, became the last president of Czechoslovakia and first president of the Czech Republic. By then, the members of the PPU were free and their role in inspiring resistance was cemented in history. Today, the PPU鈥檚 story is a testament that music, whether intentionally or not, can inspire change.

References

Beaumont, Mark. 鈥淭he Plastic People of the Universe: How the violent suppression of a rock band led to a revolution in Czechoslovakia.鈥� The Independent. The Independent, 15 Mar. 2021. https://www.the-independent.com/arts-entertainment/music/features/plastic-people-of-the-universe-czechoslovakia-revolution-b1816340.html

Ramet, Sabrina P., and Vladimir 脨or膽evi膰. 鈥淭he Three Phases of Rock Music in the Czech Lands.鈥� Communist and Post-Communist Studies, vol. 52, no. 1, 2019, pp. 59鈥�70. JSTOR, . Accessed 4 Dec. 2024.

Severo, Richard. 鈥淎lexander Dubcek 70 dies in Prague.鈥� The New York Times, The New York Times, 9 Nov. 1992,

Sterling, Bruce. 鈥溾�楾he Power of the Powerless鈥� by Vaclav Havel.鈥� Medium, Medium, 28 Sept 2017, https://bruces.medium.com/the-power-of-the-powerless-by-vaclav-havel-84b2b8d3a84a

鈥淪oviet Invasion of Czechoslovakia, 1968鈥� U.S. Department of State, U.S. Department of State,

鈥淭he Plastic People of the Universe鈥� The Plastic People of the Universe, plasticpeople.cz.

Anny Ondra was a prominent Czech actress who starred in various films, or picture shows, as they were called in the 1920s, throughout her career. She not only acted in Czech films but also in German and English films. She established herself as a leading actress early on in her acting career, and with the invention of talking pictures, Ondra was able to remain in the public limelight and movie audiences were able to witness her artistic skill sets in sound films. Ondra is remarked as one of the trailblazing actresses of her time possessing the ability to entertain movie audiences in both silent and sound films. 

Before the public fully knew of and fell in love with Anny Ondra 鈥攖he dazzling blonde actress recognized for her international performances in both silent and speaking films鈥� there was first Anna Sophie Ondr谩kov谩, a young talented girl who had her sights set on making herself known in picture films. 

On 15 May 1903, Ondra was born to Czech parents, Anna Mracek and Bohum铆r Ondr谩kov谩, an officer in the Austro-Hungarian Army. Due to the nature of her father鈥檚 work, Ondra鈥檚 family traveled with him throughout Europe to where he would be stationed. Anna became exposed to different cultures and learned to speak several languages, including German, French, English, as well as her native Czech. The early part of Ondra鈥檚 childhood was spent traveling between Tarn贸w, Pula, and Prague. 

During her teenage years, Ondra made her stage debut at the age of 15 in a local Czech theater. Ondra鈥檚 comedic timing, charisma, and acting talents were applauded by audience members and her performances would go on to be noticed by an industry film employer who hired her to act in a film. At the age of 17, Ondra made her silent film debut in Gilly in Prague for the First Time under the direction of Karel Lama膷, an up-and-coming actor who also starred in the film. Upon the completion of the film, Lama膷 and Ondra would go on to have a romantic relationship. 

The concluding outcome of the film would meet Ondra with an upsetting ending. Once her family had discovered that she had voluntarily acted in a picture film, her parents, especially her father, Bohum铆r Ondr谩k, were greatly upset with Ondra. She and her father had a shouting match over her involvement in the film, and her father gave Ondra a beating for allowing herself to think that acting was a suitable career choice for herself.

With her father鈥檚 employment as an officer, her parents wanted her to pursue a career that was more socially accepted, as working as an actress during the 1920s was seen on par with being a beggar. Her father sought to not have Ondrea seek acting as a career through sending her to a convent school in hopes of straightening out his daughter. He even found her a job in a governmental position so that Ondra would stop considering a career in acting. Upon seeing the lack of support from her family, Ondra realized that if she truly wanted to become a successful actress, she would have to leave her household to make her dreams a reality. Upon this realization, Ondra moved in with her boyfriend Karel Lama膷, determined to become an actress.

Ondra went on to star in over 20+ movies alongside Lama膷, who would also direct and star in the majority of their films together. Their collaboration in the film industry helped to establish Ondra as a European star, introducing her to audiences in Czechoslovakia, France, and Germany, as well as gaining the attention of Alfred Hitchcock, a prominent English film director during the 20th century. 

Hitchcock was not only taken by Ondra鈥檚 performances in both comedy and drama films but also by her magnetic ability to entertain audiences from various parts of the globe. Ondra was cast as the lead actress in Blackmail, which would go on to become the first successful European talking picture in 1929. 

However, not everyone in the making of the movie was thrilled to have Ondra cast in the starring role. While Ondra was able to speak in English, she spoke it in a Czech accent, which producers of the film felt was not suitable for the English film. This caused disagreement amongst the filmmaking team as Hitchcock did not want to make the film without Ondra starring as the leading actress. 

To alleviate the situation, producers hired British actress Joan Barry to dub the voice of Ondra in the film. While sound films were slowly increasing in popularity over silent films during the early part of the 1930s, their newness still provided filmmakers with certain filmmaking obstacles. 

The only solution that producers were able to come to was to have Ondra lip-synch her lines while Barry spoke the dialogue off-camera. Inadvertently, this act of dubbing led for Ondra to become the first foreign-language dubbed actress in filmmaking history and Barry the first voice actress. 

The release of Blackmail was met with critical and commercial success, with critics praising the use of sound in the film. Blackmail has since gone on to be regarded as a landmark film and in recent years has been ranked as the 59th best British film in Time Out magazine. 

Upon the release of the movie, Ondra left England and settled down in Germany, where she and Lama膷 formed their own production company, Ondra-Lama膷 Films. Sadly, their romantic relationship would come to an end with both of them parting but remaining lifelong friends and continuing to work with each other in several films. 

Later in 1933, Ondra married the love of her life, Max Schmeling, a German heavyweight champion boxer. Their marriage caused a rapid sensation throughout Europe, with tabloids writing about Ondra and Schmeling as the fairytale couple of the 30s. During World War II the Nazi regime noticed the popularity of their marriage and tried exploiting the couple by having them support Nazi Germany. However, the couple refused as they did not support them. 

Throughout her marriage to Schmeling, Ondra continued to act and made over 90 films throughout her career. Of those films, 40 were made during the sound era. Ondra鈥檚 legacy is remembered as a young girl who believed in her talent and followed her dreams which eventually became a reality.  Her bravery and courage for starting in the film industry when films were transitioning from silent to sound will forever be remembered.

Written by Elizabeth Arebalo

Sources: 

鈥淎nny Ondra.鈥� Wikipedia, . Accessed 13 Mar. 2025.

鈥淏lackmail (1929 film). Wikipedia, . Accessed 13 Mar. 2025.

Baker, Rob. 鈥淎nny Ondra, Alfred Hitchcock, a Nazi Heavyweight Boxer and the First Actress to the Bishop Joke.鈥� Flashback, . 9 May 2020.

鈥淔ist Czech actress to conquer Europe born 120 years ago.鈥� Radio Prague International, . 15 May 2022.

鈥淎nny Ondra.鈥� Alcetron, . 10 Oct. 2024.

鈥淎nny Ondra - Biography.鈥� IMDb, . Accessed 13 Mar. 2025.

Everyone has a bedtime routine: eat dinner, take a shower, put on some pajamas, brush your teeth, and finally hop into bed to relax. For people from the Czech Republic, especially kids, their bedtime routine is never complete without 痴别膷别谤苍颈膷别办. This is a children鈥檚 bedtime story show showcasing a character in the intro and outro called 痴别膷别谤苍颈膷别办. It always plays before seven o鈥檆lock and features one ten-minute long story. 痴别膷别谤苍颈膷别办 was created by a team, drawn by Radek Pila艡 and animated by Anton铆n Bure拧, the music composed by Ladislav Simon, and the show directed by V谩clav Bed艡ich. This group collaborated with many other talented authors, leading today to the wide selection of stories 痴别膷别谤苍颈膷别办 offers. 

The beloved character, 痴别膷别谤苍颈膷别办, is portrayed as a young boy with blue hair, sporting a shirt, yellow pants, and shoes, with his signature triangle paper hat made from newspaper. The intro to 痴别膷别谤苍颈膷别办 shows the boy going through the night sky using a variety of different types of transportation while throwing pages left and right, symbolizing that there is a story about to be told. Right from there is where the ten-minute bedtime story begins, culminating with 痴别膷别谤苍颈膷别办 making an appearance once more to say 鈥淒obrou noc!鈥� which means 鈥淕ood night!鈥� in English. 

One popular kid鈥檚 cartoon that was broadcasted on 痴别膷别谤苍颈膷别办 is 鈥淢axipes F铆k鈥�, created by V谩clav Bed艡ich, about a dog who grows to be very large causing 鈥渢error鈥� on the neighborhood, but inside he is a truly kind and caring animal who ends up venturing out in the world with the help of his family. Another popular cartoon was called 鈥淏ob a Bobek鈥� which is made by multiple people but directed by V谩clav Bed艡ich, Miroslav Walter, and Ivo Hejcman. The show follows the adventures of two rabbits that live in a magician鈥檚 hat. Next up on the list is 鈥淢ach a 艩ebestov谩鈥� which is written by Milo拧 Macourek and Jaroslav Doubrava and illustrated by Adolf Born. This cartoon shared stories about two children, Mach and 艩ebestov谩, who possess a magical phone that fulfills their wishes, taking them anywhere and allowing them to encounter interesting situations. Lastly, another very good and popular story broadcasted on Ve膷ern铆膷ek is Krte膷ek by Zden臎k Miler. This cartoon is very widely known and may be the most popular. Krte膷ek showcases stories about a little mole who experiences a variety of adventures with his woodland friends in the forest and several other places. Krtek became a major cultural symbol of the Czech Republic and is known in households worldwide.

With the help of these collaborators providing their diverse cartoons, 痴别膷别谤苍颈膷别办 remains the longest broadcasted show in the Czech Republic. 痴别膷别谤苍颈膷别办 also claims its importance in gaining cult status and becoming a part of the Czech cultural heritage and the nation鈥檚 identity. 痴别膷别谤苍颈膷别办 is the bedtime routine for not only children but everyone in the Czech Republic.

Written by: Lucy Vanecko

Works Cited

Petra. 鈥淰e膷ern铆膷ek - Czech Bedtime Stories.鈥� Czechology, 17 Feb. 2025, . 

Romandash, Written by Anna, et al. 鈥淟ong Live Ve膷ern铆膷ek: The Enduring Appeal of a 55-Year-Old Czech Children鈥檚 Television Show.鈥� Global Voices, 2 Jan. 2020, . 

鈥淰ecernicek Celebrates 40 Years.鈥� Radio Prague International, 7 Apr. 2021, . 

The Czech Republic can trace its poetry and literary origins to the 9th century when its texts were written in the Old Church Slavic language. The Old Church Slavic language is the oldest documented language and was created by Saints Cyril and Methodius. Cyril and Methodius were brothers born in the early 9th century and were recognized as saints for influencing Slavic people's religious and cultural development. Both brothers worked as missionaries to educate the Slavic people, teaching them Old Church Slavic by translating the texts from the Bible. The creation of the language was also used to fight against Frankish (German) influence. 

The earliest Czech poems were of songs written in Old Church Slavic, 鈥淟egends of King Wenceslas鈥� and 鈥淗ospodine, pomiluj ny鈥� (Lord Have Mercy on Us), and date back to the 10th century. It would not be until the 13th century that Czech hymns, religious songs, or poems began to appear. Czech hymns were written later in this period, including the courts of the P艡emyslid Kings of Bohemia. 

At the start of the 14th century, verses in Czech were more prominent in literary works consisting of chivalrous romances, epics, legends, and biographies of saints. In regards to the genres of poetry, epic poems were more widespread during this time. There were two types of epic poetry: poems of mythical legends and tales of knights' battles. Both of these epics contained traces of religious elements throughout the poems. 

The Great Divide on Religion 

As literary works in Czech began to appear more, Jan Hus 鈥攁 Czech theologian and philosopher鈥� set in motion in the early 15th century the Hussite movement. This movement challenged the authority of the Roman Catholic Church and addressed the grievances of the Czech people. The Hussite movement went on to create a definite break in the Czech literary works and finally allowed the Czech to form a new beginning within literature. The divide between Latin and Czech writing remained rampant throughout the later ends of the 15th century with poetry and intellectual prose being written in Latin whereas popular prose was written in Czech or German. The Hussite period developed the genre of Czech religious songs as a replacement for Latin hymns and liturgy.  

Hus is not only credited with inspiring the Hussite movement but also creating rules of grammar and spelling that would be implemented in Czech literature in the 17th and 18th centuries. 

The middle of the 15th century was when the Hussite movement came to a halt with the election of the sixteenth King of Bohemia, George of Pod臎brady, who ruled from 1458 to 1471. George was born out of wedlock to a Bohemian nobleman, at the height of the Hussites movement he served as a leader, but he was more tolerant of the Catholic faith. Due to his toleration of the Catholic faith he was chosen unanimously by the estates of Bohemia in 1458 to be king. His ruling was marked by his attempts at peace between the Hussites and Catholics in the religiously divided land of Bohemia. This earned him the nicknames of 鈥淜ing of Two Peoples鈥� and 鈥淔riend of Peace.鈥� 

The people's religious divide remained evident in the literary works after the crowing of King George, where competition amongst Catholics writing in Latin and Protestants writing in Czech proceeded. 

The Austrian-Habsburg Takeover

Czech literary works faced a further change in 1620 after the Battle of White Mountain which was due in part to the religious divide that the Czech lands were still faced with that resulted in the Austrian Habsburg control for the next 300 years. Under the Austrian Habsburg crown, the literary traditions of the past two centuries were banned. This led to the re-Catholization and Germanization of Bohemia, in turn splitting the literature into two groups: Catholic and Protestant. 

It was through Czech exiles that the literary works were able to survive. One among them was Jan Amos Comenius, whose written works in Czech divulged him as a prominent writer throughout Europe. His Labyrinth of the World and Paradise of the Heart stands as one of Czech鈥檚 greatest prose literary works. 

The Arrival of the Romanticism Movement 

The end of the 18th century brought the wave of the Romanticism movement in literary works, arts, music, and architecture. The Romanticism movement sought to express people鈥檚 emotions, visions, and imaginations. Offering the creativity to explore and indulge in fantasies and romance. This wave of excitement and feeling of limitless opportunity catalyzed the Czech people to begin reviving their literary works. This working effort to inaugurate Czech literature was in tandem with both scholars and literary artists. 

The Greatest Czech Poem Ever Written 

Of the Czech poets who came about during the Romantic period, the most celebrated and recognized of them was Karel Hynek M谩cha. His poems were known for their lyrical intensity and usage of flawless language. Of them, the most famous poem that M谩cha wrote was 惭谩箩 (May). Upon publication in 1836, the poem was met with unfavorable views with people finding M谩cha鈥檚 poem confusing and not following the national views of the time. 

It would not be until later in the 1850s after M谩cha鈥檚 death that the poem was reintroduced to the younger generation of poets and novelists it was met with critical acclaim for its existentialism, alienation, isolation, and surrealism. 

The 惭谩箩 Poem and its Poetic Impact

惭谩箩 pays homage to the beauty of spring and was heavily inspired by the nature and architecture of the Czech Republic. The poem is set on an open land landscape and features a lake called Big Pond which is now renamed Lake M谩cha after the poet. Castles such as Bezd臎z, Karl拧tejn, and K艡ivokl谩t also influenced the poem鈥檚 setting as well. 

The poem tells the tragic love story of Vil茅m, a bandit who is in love with Jarmila, a kind and pure girl, but has committed a murderous crime and is to be killed for his horrible acts. The crime he committed was murdering his father who attempted to seduce Jarmila while Vil茅m was away. Upon awaiting his execution, Vil茅m reflects on his life and ponders the beauty of nature. 

Since the rediscovery of 惭谩箩, poets who followed in the footsteps of M谩cha published their writing in an almanac titled 惭谩箩 after M谩cha鈥檚 poem. These writers were known as the 惭谩箩 Circle or the May Generation and sought to incorporate Czech literature into European culture. Their literary works focused on the simplicity of the 19th century and commented on the invasion of the Industrial Revolution. 

The Poetic Waves That Swiftly Followed 

The later part of the 19th century saw new waves of poets arriving after the conclusion of the May Generation. The first wave was the Neo-Romantics who furthered the efforts of the romantic works through their literary writing. Their poems not only focused on the romantic traditions of the Romantic movement but incorporated contemporary styles of realism, decadence, and symbolism. 

The next wave was Naturalism, and poets of this period sought to explore the Czech lands through their writing by emphasizing the morals of the people, especially those of the lower classes. 

The final wave came near the end of the 19th century with the introduction of Modernism. The characteristics of the Modernists were known for their particular style of writing and having critical views on the work of past generations. These characteristics of the Modernists lead to the birth of the literary critic as not only a working profession but also helping new up-and-coming writers. This was seen as a helpful tactic in garnering feedback on a writer鈥檚 literary works before publishing the final piece for the public to read. 

20th Century and Beyond 

The establishment of Czechoslovakia as an independent nation is when Czech literature began to thrive. Czech artists revolutionized written areas such as plays, novels, and poems. Between 1918 and 1945 poets like Franti拧ek Halas, V铆t臎zslav Nezval, and Jaroslav Seifert were writing in a wide range of poetic genres. 

After World War II, Czechoslovakia was overtaken by communism which impacted the literary freedom of writers and led Czech literature to decline amongst the public. During the communist regime, the standard style of poetry was drab social realism. The 1960s saw the communist reigns loosen, leading poetry to undergo yet another renaissance. Among the new generation of poets were Ji艡铆 Sotola, Miroslav Florian, Miroslav Holub, and Karel Siktanc who sought to write poetry on 鈥榚veryday life.鈥�

After the Warsaw Pact invasion in 1968, conditions again became harsh for writers. Many left the Czech Republic, while others stayed and wrote for the underground samizdat press or had their manuscripts smuggled to the West.

The end of the communist era allowed Czech poetry to finally thrive and reach audiences throughout the world, allowing Czech writers and poets to write freely in any style of writing and connect with others through their literary works. 

Written by Elizabeth Arebalo

Sources: 

鈥淐zech Literature.鈥� Britannica, . Accessed 7 Feb. 2025. 

鈥淪aints Cyril and Methodius.鈥� Britannica, . Accessed 7 Feb. 2025.

鈥淐zech literature.鈥� Wikipedia. . Accessed 7 Feb. 2025.

鈥淥ld Church Slavic Online.鈥� The University of Texas at Austin - Linguistics Research Center, . Accessed 7 Feb. 2025.

O鈥橦ara, Natalie. 鈥淐zech Poetry.鈥� expats-cz, 30 April 2007,  

Stehl铆kov谩, Olga. Zedn铆k Ladislav. 鈥淐ontemporary Czech Poetry.鈥� Czech Lit, 13 Feb. 2017, .

As the second of three daughters of painter Vojt臎ch Preissig, Irena Bern谩拧kov谩 was born on February 7, 1904, in Prague, Bohemia. She and her family lived in Boston, during the First World War. Their home became an important place for politicians and statesmen fighting for Czechoslovak independence to meet.

Bern谩拧kov谩 herself was a resistance member actively fighting against German occupation. Alongside that, she was a Czechoslovak journalist. After the establishment of the Czechoslovak Republic in 1918, Bern谩拧kov谩 and her sisters returned to Prague in 1921 where they went to study with their Aunt. Here she met her cousin Eduard Bern谩拧ek, whom she fell in love with and married at the age of 21. Her father was angry with her decision and did not support their marriage in any way, and therefore, cut off contact with Bern谩拧kov谩 for four years.

During this time, the couple had a home in the Spo艡ilov area of Prague. These years of marriage were not happy as her husband, Eda, did not want a strong woman but rather one to control. Arguing day by day, her husband started to come home later and later giving him time to spend with a certain widow. To top things off, Bern谩拧kov谩 had a miscarriage followed by a difficult procedure which led to her inability to have more children. The marriage had fallen apart.

Bern谩拧kov谩鈥檚 father returned to Czechoslovakia in the late 1930s where he ultimately decided it was time to reconnect with his daughter. With their political views matching one another's, their bond was strengthened once again. They both joined the anti-Nazi resistance while Bern谩拧kov谩 volunteered as a nurse in the Red Cross and treated refugees from the occupied Czechoslovak border.

The German troops marched into the rest of former Czechoslovakia in 1939, when Bern谩拧kov谩 and her father had started collaborating on publishing the largest illegal magazine 鈥淰 boj鈥� with Josef 艩kalda. Bern谩拧kov谩 rewrote the texts on a typewriter and distributed her copies while her father, who was a member of the editorial board, painted the covers and did translations. With every issue made, a copy was sent as provocation to the Gestapo. After the summer of 1939, where the State Secretary KH Frank received several copies directly, the Gestapo started going after resistance fighters on orders from the highest ranks. When most of the leading publishers were arrested, Bern谩拧kov谩 and her father escaped and moved production to her apartment. 

The Gestapo was still after her. Receiving a warning from an anonymous person saying, 鈥淭he Gestapo has requested your papers. You must not stay at home any longer, you are in danger of arrest. A friend from the police.鈥� Bern谩拧kov谩 decided to go underground. She slept in the winter garden below her father鈥檚 studio, dyed her hair, wore glasses, and only went out with false documents. Unfortunately, the Gestapo were already on her tail, and they arrested her on September 21, 1940, alongside her father and many other collaborators.

Bern谩拧kov谩 endured three days of interrogation by the Gestapo, but she did not break. She took all the blame for herself, only giving out names of those who were imprisoned or already dead. In doing so she saved the lives of many others, but as the head of a resistance organization, she was sentenced to death and executed on August 26, 1942. Due to her honorable actions, in 1946, Bern谩拧kov谩 received the Czechoslovak War Cross in memorial, and a Medal for Bravery in 1998.

Written by: Lucy Vanecko

Sources:

鈥淚rena Bernaskova.鈥� Prabook.Com, .  Accessed 31 Jan. 2025. 

http://www.publix.cz, PubliX software -. 鈥淧ortal of Prague 2.鈥� The Borough of Prague 2: Irena Bern谩拧kov谩, .  Accessed 31 Jan. 2025. 

Monika Kuncová 鈥淚nka Bern谩拧kov谩: Zasnoubena Se Smrt铆.鈥� Novinky, Novinky, 31 Oct. 2021, 

Early Life

Born in 1912 in Pilsen, Bohemia (now Plze艌, Czech Republic), Ji艡铆 Trnka鈥檚 artistic destiny was shaped early on under the guidance of Josef Skupa, a celebrated Czech puppeteer and his art teacher. Skupa鈥檚 influence ignited Trnka鈥檚 enduring passion for puppetry. 

Though puppetry was his calling, Trnka initially worked as a children's book illustrator, bringing the stories of Czech fairy tales, the Brothers Grimm, and Shakespeare to life. Trnka is credited with illustrating over 100 novels throughout his career. In 1945, Trnka shifted into animation. His first puppet film premiered in 1947, marking the start of a groundbreaking chapter in his career. From that point on, puppets became his primary medium of storytelling.

While his illustrations catered to children, Trnka鈥檚 puppet films explored mature themes, most of his films targeted towards adult audiences. His magnum opus, The Hand, remains a haunting allegory of oppression and power, proving that stop motion, animation, and puppetry - traditionally seen as children鈥檚 mediums - could deliver profound messages as effectively as any other art form.

The Walt Disney of Eastern Europe?

Western critics often labeled Trnka as the 鈥淲alt Disney of Eastern Europe,鈥� a comparison quite misleading and which oversimplifies his unique contributions to animation. This label reflects the global dominance of Disney鈥檚 name rather than the true nature of Trnka鈥檚 work. In this new era of animation, Disney鈥檚 influence was so prevalent that any notable animator was inevitably compared to him. For many, it was nearly impossible to view animation through any lens other than Disney's.

Yet, Trnka鈥檚 creations stood apart鈥攈is films drew deeply from Czech puppetry traditions and offered a cinematic language entirely his own. Far from imitating Disney鈥檚 formulaic approach, Trnka redefined animation鈥檚 potential. Critics of his time recognized his challenge to Disney鈥檚 dominance. American critic Stephen Bosustow even hailed Trnka as 鈥渢he first rebel against Disney鈥檚 omnipotence.鈥� (Balz, 2007)

Trnka embraced stop-motion puppetry as his medium, crafting deeply personal and visually stunning films that told stories Disney didn鈥檛. Each of his films had a unique style and distinct vision. This is largely due to Trnka鈥檚 artistic vision and, more importantly,  his ability to inspire and cultivate the talent of his team of animators.

Studio Brat艡i v triku

Ji艡铆 Trnka was a founding member and leader of the film studio Bratri v triku. Established in 1945, the studio became a fertile ground for artistic innovation, even as the Communist Party鈥檚 rise to power in 1948 reshaped every facet of Czech life. Remarkably, Brat艡i v triku appeared insulated from the control and ideological pressures that were imposed on other art forms. 

The studio鈥檚 relative protection stemmed from two key factors. First, the Communist Regime benefited from the prestige and revenue that the studio brought. In 1947, one of its films, based on a popular Czech fairy tale and directed by Trnka, won the award for best animated short film at Cannes, launching the studio鈥檚 reputation across Europe. Over the years, Trnka himself would garner even more accolades, including the Gold Medal at the Venice International Film Festival, the M茅li猫s Award for best animated film, and the Special Prize at Cannes, cementing his status as a celebrated artist on the global stage. This international acclaim reflected favorably on the Communist regime, which touted Trnka鈥檚 achievements as evidence of Czechoslovakia鈥檚 cultural sophistication creating a paradox where Trnka鈥檚 success served both his artistic integrity and the state鈥檚 propaganda narrative.

Second, animation proved to be a medium the regime found difficult to manipulate. 鈥淲e were protected from communism for the simple reason that nobody understood anything about animation,鈥� shares filmmaker Zdena Deitchov谩. (Falvey) Trnka鈥檚 work was so richly metaphorical and imbued with poetic imagery that it was impossible to infuse with propaganda. After all, how do you censor a film that has no dialogue? It also helped that many of Trnka鈥檚 films were often based on fairytales and Czech folktales. Thus, the studio鈥檚 films were mostly safe from direct interference from the state.

This meant that the studio had at least some degree of freedom of artistic expression that was unattainable in any other medium while under Communist rule be it theater, television, or live-action film. Thus, the preservation of Czech art and its advancement was in the hands of Bratri v Triku. As one observer noted, 鈥淭hroughout a long, bleak and often frightening period of totalitarianism, Brat艡铆 v triku built a colourful world of tenderness and artistic brilliance that remains the hallmark of Czech children鈥檚 films today.鈥� (Falvey) In Trnka鈥檚 hands, the studio became more than just an entertainment hub 鈥� it safeguarded the soul of Czech culture.

Czech Puppetry

The relative flexibility that Trnka and his studio experienced under the Communist Party is fascinating, especially when viewed through the lens of Czech history.

In the 17th century, during Habsburg rule, Bohemians (now the Czech Republic) were forced to speak German, and the Czech language faced complete erasure. However, puppet theater provided a unique loophole: the rules didn鈥檛 apply to puppets- only people. Through public performances, puppeteers preserved the Czech language and identity, offering a cultural lifeline during a time when both were at risk of being lost.

Centuries later, Trnka carried this legacy forward, operating in a vastly different political climate but with a similar mission. His stop-motion films, steeped in Czech folklore and mythology, became cultural cornerstones. What makes Trnka鈥檚 work even more remarkable is how he bridged tradition with innovation. His puppets were not mere carriers of old stories - they were modern works of art that elevated the medium of puppetry. 

Through his work, Ji艡铆 Trnka carried forward the spirit of Czech puppetry as a form of resilience and cultural preservation. His films served not only as artistic achievements but also as a reminder of the enduring power of storytelling to sustain a nation鈥檚 identity, even in the face of profound oppression.

The Hand

While the animation studio benefited from a degree of flexibility, both Trnka and his animators were fully aware that their artistic freedom, though greater compared to other mediums like theater and live-action film, was far from absolute.

Trnka's position was both advantageous and precarious. The Soviet state funded his projects, providing the resources necessary for his groundbreaking films, but this support came at the cost of complete independence. Zdena Deitchov谩, a colleague at the studio, reflected on this compromise: 鈥淣ow you can do whatever you want, but you have no money. In those days [1950s-60s], you were restricted, but you had money... so what鈥檚 better?鈥�. (Osmond, 2003) 

As one of Czechoslovakia鈥檚 most celebrated cultural figures, Trnka became both an emblem of national pride and a tool of the Communist state. The regime viewed his global acclaim as evidence of its cultural sophistication. 鈥淎s an artist, [Trinka] needed absolute freedom, and to a great extent, he had it,鈥� one observer noted, 鈥渂ut he was also part of the Communist machinery, and he knew this full well.鈥� ("A Very Famous Man")

This tension reached its peak in The Hand (1965), Trnka鈥檚 haunting stop-motion allegory about authoritarian control. Widely regarded as one of the most subversive works in Czech cinema, the film depicts a puppet artist coerced by a menacing hand into abandoning his own creative vision to craft works that glorify the hand itself. The film鈥檚 sparse, dialogue-free narrative brims with symbolic resonance, making its critique of power and oppression both unmistakable and universal.

Though The Hand initially escaped immediate censorship, it was officially banned after Trnka鈥檚 death in 1969. By then, it had already cemented its legacy as a work of defiance. Trnka鈥檚 final masterpiece remains a powerful testament to his ability to navigate and challenge the oppressive constraints of his era.

Trnka鈥檚 Legacy

Trnka鈥檚 influence is so deeply embedded in the craft that it鈥檚 nearly impossible to watch a stop-motion film today without encountering echoes of his genius. What is perhaps most remarkable is how seamlessly his style and techniques have been absorbed into contemporary animation, so much so that many animators today may not even realize they are working under his influence.

The following prominent figures in animation have credited Trnka: 

• Jan Pinkava: Czech animator and director of Geri鈥檚 Game 鈥� Pixar鈥檚 first short featuring a human protagonist, which won an Academy Award for Best Animated Short 鈥� and co-writer of Ratatouille.

• Kihachir艒 Kawamoto: Japanese puppet master and filmmaker 

• Rebecca Sugar: Creator of Steven Universe 

• Henry Sellick: Director of The Nightmare Before Christmas, James and the Giant Peach, Coraline, and Wendell & Wild

Ji艡铆 Trnka's films are inextricably tied to the Czech identity in a way few animators have ever achieved. He was a celebrated artist who, despite his fame and position, could never escape the political forces that sought to control him. Yet, in the face of these challenges, he produced work that transcended political boundaries and continues to inspire. His ability to create films that were both personal and universal, political and deeply human, is what solidified his legacy as one of the most influential animators of the 20th century. 

Trnka died in 1969 at the age of 57, his entire film career conducted under the shadow of totalitarian rule. One can鈥檛 help but wonder what new artistic territories he might have explored had he been given full artistic freedom. Nevertheless, his ability to create beautiful, deeply poetic, and at times defiant films under oppressive circumstances speaks to the spirit of his artistry.

Written by: Lucilla Chavez

References

Animation Obsessive. "A Very Famous Man." Animation Obsessive, Substack,. Accessed 27 Nov. 2024.

Balz, Adam."Ji艡铆 Trnka." Not Coming to a Theater Near You,. Accessed 27 Nov. 2024.

Falvey, Christian. "Studio Brat艡i v Triku: Cradle of Czech Animation." Radio Prague International,. Accessed 20 Nov. 2024.

Gene Siskel Film Center. "Five Questions with Irena Kovarova, Programmer of The Puppet Master: The Complete Ji艡铆 Trnka." Medium,. Accessed 20 Nov. 2024.

Jackson, Richard. "Political Oppression and Resistance in Ji艡铆 Trnka鈥檚 Ruka (The Hand) (1965)." Fantasy/Animation,. Accessed 27 Nov. 2024.

Osmond, Andrew. "Czech Animation: Two Perspectives." Animation World Network,. Accessed 20 Nov. 2024.

Puppets in Prague. "Czech Puppet History." Puppets in Prague,. Accessed 20 Nov. 2024.

Shehadi, Sammy. "Why Czechs Don鈥檛 Speak German." BBC Travel,. Accessed 20 Nov. 2024.

"The Grandmaster of Stop-Motion." Animation Obsessive, Substack,. Accessed 20 Nov. 2024.

Zita of Bourbon-Parma, born a royal, was the last empress of the Austria-Hungary Empire. She was born on 9 May 1892 at the Villa Pianore in the Italian Province of Lucca. Her father, Robert I, Duke of Parma, lost his crown during the Italian Unification, becoming a duke in name only. Her mother, Infanta Maria Antonia of Portugal, was born in exile after her father, Infante Miguel, usurped the Portuguese throne, which caused his brother, Pedro I of Brazil, to banish him from Portugal for his treason against the crown.

While Zita didn鈥檛 grow up in a palace, she was still raised in a luxurious lifestyle. She was also raised Catholic, which shaped her life throughout. She attended boarding school in Germany and was able to speak multiple languages such as her native Italian, Spanish, French, English, German, and Portuguese.

While in boarding school, Zita received news that her father had suddenly passed. After this tragic news, her maternal grandmother Adelaide of Lowenstien-Wertheim-Rosenberg arranged for Zita to finish her schooling at a covenant on the Isle of Wight. 

Chance love encounter 

Upon completing her education, Zita visited her maternal aunt, Archduchess Maria Theresa of Austria, where she became reacquainted with her distant cousin, Archduke Charles of Austria-Este, the future emperor of Austria and her soon-to-be husband. They had met in their childhood but their schooling kept them apart. Charles was stationed with his dragoon and visited his aunt where he reencountered Zita. After nearly 10 years, the two fell back into their friendship as if no time had passed.

Charles quickly fell in love with Zita, considering her a noble, well-educated, and well-traveled. However, Zita took longer to reciprocate Charles鈥� feelings. Over the course of their two-year friendship, she felt romance towards him. Charles proposed to Zita, and on 21 October 1911, they were married at the Schwarzau Castle.

Empress during World War I 

Their blissful time would tragically cease on 28 June 1914 upon the assassination of heir Franz Ferdinand and his wife Sophie, Duchess of Hohenberg, leaving a shocked Charles and Zita next in line to rule the Austrian-Hungarian Empire.

Soon after, World War I broke out. Difficulties grew for Zita as her home country of Italy joined the fight against Austria-Hungary, leaving her subjects distrustful and resentful, referring to her as 鈥淭he Italian.鈥� During the war, Zita鈥檚 weariness increased with her brother taking opposing sides in the war leaving Zita with a feeling of helplessness.

While the war raged on, Zita and Charles were crowned in Budapest on 30 December 1916 as the new rulers of the Empire. Both were mindful of the war and decided that the festivities would be kept short with only a banquet for the newly crowned rulers. Her husband Charles led a war-stricken nation while Zita dedicated her time to her subjects at charitable organizations and hospitals, visiting wounded soldiers.

The Fall of the Austrian-Hungarian Empire

The war ended in 1918 and life would begin to return to normal for millions, but not for Zita and Charles. The young royal couple were now faced with the dissolution of their nation. Both lost their thrones and titles, while their fate was further sealed when Charles signed a manifesto that ended the Austrian-Hungary Empire in place of the Republic of German-Austria. However, this new state would not last, as most of the land went to the newly formed Czechoslovakia.

Now no longer rulers, Zita and Charles, along with their children, departed for Austria. They lived in a shooting lodge while left to comprehend the massive loss of their titles, thrones, and Empire.

Help from unlikely places

Seeking to help her sister, Prince Sixtus connected with King George V, King of the United Kingdom, and appealed to him to help Zita鈥檚 family. King George V understood their mourning as he too experienced loss, via his Russian relatives, the Russian Imperial Romanov family, who met their untimely deaths in a gruesome manner.

King George V sent British Army officers to assist Zita鈥檚 and Charles鈥檚 family on their journey from Austria to Switzerland by train. They found their situation in Switzerland to be unstable, so they moved to the Portuguese island of Madeira, instead.

Although Madeira turned out to be a pleasant location, Charles caught bronchitis that progressed into pneumonia. Zita cared for him while he remained ill. At the age of 34 years, Charles died, leaving behind Zita and their 8 children. Zita never remarried and wore black throughout the remaining 67 years of her life. 

After the death of Charles, her relative Alfonso XIII of Spain made arrangements for Zita and her children to live at the Palacio Uribarren at Lekeito on the Bay of Biscay. Zita attended to her children鈥檚 well-being and education into their adulthood. By 1929, Zita moved her family to Brussels, where they lived in a castle while her children pursued higher education. 

Living through World War II 

The Nazis invaded Belgium on 10 May 1940. Seeking to protect her children, Zita and her family moved back to Portugal, staying until granted visas to the United States. They arrived in New York City on 27 July 1940 and lived there until they moved to Quebec for the remainder of the war. World War II ended on 9 May 1945, the same day Zita turned 53 years old. She toured the United States and Canada to raise funds for war-stricken Austria and Hungary. 

Zita鈥檚 later years

With her children now grown and with the decrease of political tensions, Zita moved back to Switzerland and lived in a massive castle fit for a family. In 1982, after six decades, Zita finally visited Austria, subsequently doing so frequently as she traveled throughout Europe. 

Zita鈥檚 health dwindled after the celebration of her 95th birthday party. She developed pneumonia while visiting her daughter in the summer of 1988, which left her weak and bedridden. She called her children to attend her deathbed. Her children took turns caring for their mother until she passed on 14 March 1989, living to the age of 96.

Zita鈥檚 funeral was held in Vienna on 1 April, the same day as Charles died. Her funeral had over 6,000 attendees, with 200 of them being members of the Habsburg and Bourbon-Parma families.

Written by Elizabeth Arebalo

Sources: 

鈥淔irst Czechsolvak Republic.鈥� Wikipedia.

Da Costa, Brendan. 鈥淭ragic Facts About Zita of Bourbon-Parma, The Refugee Empress.鈥� Facinate, 3 Aug. 2021.

Mutschlechner, Martin. 鈥淶ita, the last Empress.鈥� The World of the Habsburgs.

鈥淶ita of Bourbon-Pama.鈥� Wikipedia.

鈥淚s There A Czech Royal Family? Royal History.鈥� Magazine of Travel. 16 June, 2022.

The story begins with Tom谩拧 Ba钮a, born in Zlin, Moravia on April 3, 1876. Among a family of shoemakers, Tomas, along with his brother Antonin and his sister Anna, established the Bata Shoe Company in 1894. Rather than begin with one-man shops, the company utilized 10 workers at the very start before expanding to 50. This likely allowed the Bata Shoe Company to release the Batovka, a shoe that combined leather and canvas and sold at a low price, in 1987.

Between 1897 and 1912, the company rapidly expanded, including opening the first Bata store in Zlin in 1899, producing over 2,000 shoes a day by 1905, and employing 600 workers by 1912.

Of course, the company continued expanding into 1932, the same year that Tom谩拧 Ba钮a, along with the pilot Jind艡ich Brou膷ek, died in a tragic plane crash on July 12.

After his death, Tomas鈥� half-brother, Jan Antonin Bata, took his place. Jan continued the expansion efforts that Tomas started and found much success. Specifically, before Tomas鈥� death, the Bata Shoe Company employed over 16000 employees and maintained over 1600 shops and 25 enterprises. Under Jan鈥檚 leadership, the company more than doubled in size, with over 38,000 employees and 2200 shops and 70 enterprises maintained. By 1942, the number of employees, both in Czechoslovakia and internationally, grew to over 105,000.

These employees were not just creating shoes, however. Jan was involved in many enterprises. For example, in the world of advertisement and documentary, the Bata Film Studio, founded by Jan, was headed by Czech-American director Alexander Hackenschmied. One of the studio鈥檚 most famous films, directed by Alexander and Elmar Klos, is 鈥淭he Highway Sings.鈥� Some of his other enterprises supported the Allied forces鈥� future war efforts via pilot training.

Administration Building Number 21 (No. 21) is a landmark that signifies Jan鈥檚 success as the successor of the Bata Shoe Company. Even for a building completed in 1938, it is fairly modern by today鈥檚 standards. Each floor has its own temperature, in contrast to one temperature for the entire building. The flagship feature of No. 21, however, is the office inside an elevator. The office elevator can stop on every floor of the building. It has a sink that utilizes two water tanks: fresh above and used below. Other than the sink, it has standard office furniture and electric/light fixtures. Unfortunately, Jan Antonin Bata was unable to ever enjoy his novel elevator office.

Because of the Nazi occupation of Czechoslovakia, Jan lost control of the Bata Shoe Company in Zlin, but not before he attempted to negotiate with the Nazis. Due to the failed negotiation, Jan had to flee Czechoslovakia. After settling in the United States briefly, he was once again forced to leave, exiled due to his previous negotiation attempt. Having moved to Brazil, the entrepreneurial spirit still resided in the disgraced yet determined businessman, after which he established several company towns and continued to expand the Bata Corporation until his death in 1965. Bataipor茫, Bataguassu, Anauril芒ndia, and Mari谩polis are examples of company towns Jan established. His granddaughter Dolores Bata Arambasic lived in Batatuba, residing in the Piracaia municipality, until she was 16 to pursue education in the greater Sao Paulo state.

Administration Building Number 21, now known as the Bata Skyscraper, serves as a Zlin government office, museum, and tourist attraction. A nearby park hosts a statue of Jan right across from the building.

Even at the height of success, some people lose grasp of it due to circumstances out of their control. Jan Antonin Bata and his story shows us that achieving success is always within our grasp.

Written by Emanuel Linton

Sources:

鈥淗istory.鈥� The Bata Company, Bata Corporation, . Accessed 7 Jan. 2025.

鈥淰ideo: P谩d Letadla Tom谩拧e Bati. Co Se Odehr谩lo Na Palub臎?鈥� iDNES.Cz, MAFRA, a. s., 8 Aug. 2023, .

鈥淎 Testament to the Leadership and Innovation of Jan Antonin Bata!鈥� History of Jan A. Bata, Czech Shoe Industrialist, 26 Apr. 2007, .

Tom Scott. 鈥淭his man built his office inside an elevator.鈥� YouTube, Google LLC, 28 Aug. 2023, .

鈥淏谤补锄颈濒.鈥� Bata鈥檚 World -- World of Bata, Univerzita Tom谩拧e Bati ve Zl铆n臎, . Accessed 7 Jan. 2025.

Willoughby, Ian. 鈥淛an Anton铆n Ba钮a Always Said He Put His People First, Says Granddaughter Dolores Bata Arambasic.鈥� Radio Prague International, 11 Oct. 2023, .

Before adopting the Christmas tree to their holiday traditions the Czech Republic would instead use conifer branches or decorated evergreen branches that would be hung upside down over the dinner table.

The adoption of the Christmas tree in the Czech countryside came at a later date as they had viewed the Christmas holiday and traditions tied to the birth of Jesus. Because of this view, they saw the adoption of the Christmas tree as foreign in their lands, and took a while before they started to incorporate the Christmas tree into their households.

Eventually, in the second half of the 19th century, the Christmas tree soon became a part of the Czech Republic's holiday traditions. During this time period, families would decorate their trees with pastries, fruit, candies, paper chains, and knitted decorations on the morning of December 24th. Even though it was a different era the food that was on the tree was not allowed to be eaten as it is in today鈥檚 time with popcorn chains and candy canes being hung for decoration on the tree only.

At night once family diners had finished, families would gather together around the tree and start to shake the branches until the pastries, fruit, or candies fell down. These sweets would be the presents that would await the children. In today鈥檚 modern time presents are left under the tree but it is not Santa who leaves the gifts but baby Jesus who visits households leaving presents for good children.

The Czech's adoption of the Christmas tree has undergone various changes and revamps from the tree being seen as unpatriotic to decorated branches being hung on the ceiling to presents being left by baby Jesus.

All of this shows the unique history of how the Czech Republic came to incorporate the Christmas tree into their holiday festivities which has led to the creation of the country鈥檚 own traditions that are forever tied to the Christmas tree. Currently, the Christmas tree can be seen present throughout households in the Czech Republic. 

Written by Elizabeth Arebalo

Sources:

鈥淗istory and Present of Christmas Tree in Czech Republic.鈥� Czechlogy. 18, Dec. 2021.

鈥淧ublic Christmas Trees: A bittersweet Story.鈥� Flying Golem. 7, Dec. 2018.

鈥淗istory of Christmas Trees.鈥� History. 28, Nov. 2023.

鈥�10 Czech Christmas Traditions That Surely Aren鈥檛 Real (But They Totally Are!).鈥� CityScape Bliss. 24, Dec. 2016.

In the 12th century, St. Barbara鈥檚 Feast was included in the Tridentine calendar to be celebrated on December 4th. Now, that day is celebrated as Barborky. Barborky is a commonly practiced Czech tradition around the holiday season. On December 4th, it is customary to cut a branch from a cherry tree and put it in a vase inside the home of an unmarried woman. According to the folk tradition, the branch must be from a tree at least ten years old, and must be cut with the first ray of sun. If the branch blooms before Christmas Eve, it鈥檚 said the woman will marry in the coming year. With Barborky being celebrated early in Advent, it has a Christmas spirit to it. The cherry tree twigs are regarded as pre-Christmas decorations before putting up the Christmas tree later in the month.

While cherry tree twigs are the most typical practice of Barborky, there are two lesser known traditions that are still followed in smaller towns and villages. The first are the women in white. On December 3rd, women dress themselves head to toe in white. In some regions, the women wear only white veils over their face. In other regions, they add flower crowns. In the scariest versions, the women comb their hair over their face and scare misbehaving children, similar to the tradition of Mikul谩拧.

Lastly, the most niche tradition of Barborky is the passing of the light. As mentioned, St. Barbara is regarded as the protector of sudden death and patron of sailors, miners, and artillerymen. To commemorate this, a light called Barbor膷ino Sv臎tlo is passed around mining villages to signify her protection.

If you find yourself in Czechia on December 3rd and 4th, you鈥檒l now know why hordes of women are dressed in white veils or cherry trees seemingly missing all their twigs. However, you may see a couple more Advent traditions taking place such as Mikul谩拧 walking around with And臎l and 膶ert, or young girls carrying lights for St. Lucy鈥檚 Day.

鈥淗istory of Saint Barbara.鈥� Old Spanish Days | Fiesta Santa Barbara, Old Spanish Days | Fiesta Santa Barbara, 5 July 2024, www.sbfiesta.org/history-of-saint-barbara. 

Je啪ek, Zahrada. 鈥淩ozkvetl茅 V谩noce - Barborky: Zahrada Je啪ek.鈥� Zahradajezek.Cz, 28 Nov. 2017, www.zahradajezek.cz/rady-a-tipy/rozkvetle-vanoce-aneb-nezapomente-na-barborky/. 

Petra. 鈥淏arborky, the (Not so) Well Known Czech Tradition.鈥� Czechology, 4 Dec. 2023, www.czechology.com/barborky/.

A large part of the activism of the Velvet Revolution took place in universities. Many students took part in demonstrations or printed posters and news stories about the protests. Because some American academics and graduate students were studying in Czech universities under the Fulbright program, they got a first hand view of the demonstrations. For example, Michael Kurkal was a graduate student at Charles University. On October 28, 1989, he participated in an anti-government demonstration in Wenceslas Square. He filmed the event of police dressed in riot gear beating and arresting protesters. 

Meanwhile, an American Fulbright lecturer named James Grove was working in Palack媒 University. On November 17, he watched as the students went on strike in response to the suppression of the previous protest in Prague. Over four thousand protesters marched through the streets of Olomouc, carrying candles in remembrance of injured demonstrators. They continued their demonstrations over the next few days by printing and distributing eyewitness accounts of the events. On December 8, they got creative by building a wall of cardboard boxes outside government headquarters to symbolize the distance between the government and the outside world.

Declassified documents from the United States Department of State have revealed the experiences of the American embassy鈥檚 staff during the Velvet Revolution. Reporters such as Paula Butturini covered events such as the Wenceslas Square protest and reported them to American media outlets. She even described being beaten by police officers during the demonstration. Despite these violent incidents, the Revolution proceeded in an effective and relatively peaceful manner. The demonstrations ultimately culminated in a massive general strike at the end of November.  This forced the Communist Party to negotiate with its opposition, which led to a transition government being formed and a new president being elected. Shirley Temple Black, who was a U.S. ambassador to Czechoslovakia at the time, summarized America鈥檚 surprise at the sudden success of the revolution with a statement quoted in People Magazine: 鈥淚 knew there would be change someday. I鈥檓 astonished and thrilled and delighted that it happened so fast - and peacefully.鈥�

To learn more about the Velvet Revolution, visit the Czech Center Museum鈥檚 Witness to the Revolution exhibit, available until Saturday, December 21st.

Written By Maya Bouchebl

Sources:

Witness to the Revolution. National Czech & Slovak Museum & Library. 2024.

245 km away is Shark Herders, a sculpture placed outside of Vysehrad Castle. The sculpture by Michal Gabriel consists of five sharks swimming above the grass and six male figures following behind them. The piece represents make-believe and lightheartedness. The sculpture is open to interpretation and draws attention to itself. The sharks and figures are dark brown with holes covering them.                                                                           

Right down the road in Prague, is the sculpture Man Hanging Out by David Cerny which depicts a man dangling over the cobblestone. The figure looks like a man about to plummet to his death. Some people think the sculpture is a person attempting suicide. The sculpture represents Sigmund Freud and intellectualism. The figure has traveled around the world because of its popularity. David Cerny is one of the most (if not the most) famous contemporary visual artists in the Czech Republic.                            

In Utero, another sculpture by David Cerny in Prague, is located at Gallery Golf Hostivar. The six-meter stainless steel figure is a pregnant woman on her knees. The piece is open to interpretation, but her provocative pose may suggest she is trying to be seductive. She also looks to be in labor.                      

Sources:

CzechTourism. 鈥淭he 10 Most Famous Figures in Czech Sculpture 路 #VisitCzechia.鈥� 路 #VisitCzechia, 9 Nov. 2023, www.visitczechia.com/en-us/news/2023/11/n-czech-sculpture.

鈥淟egs out of Water: Provocative Artist Kurt Gebauer Makes People Take Notice.鈥� Radio Prague International, 19 Aug. 2024, english.radio.cz/legs-out-water-provocative-artist-kurt-gebauer-makes-people-take-notice-8826045.

鈥淪culpture Line Prague.鈥� Prague | Sculpture Line, www.sculptureline.cz/en/city/prague. Accessed 22 Aug. 2024.

Ugc. 鈥淢an Hanging Out.鈥� Atlas Obscura, Atlas Obscura, 5 Nov. 2015, www.atlasobscura.com/places/man-hanging-out.

Written by: Mikayla Faires

The carousel is open on Fridays, Saturdays, and Sundays, May through September. The cost to ride is 120 CKZ or $5 in U.S. money. The carousel is housed in a wooden pavilion that has been there since it was open. Music is played in the background that is supposed to sound like an orchestra or band operated by coins. The carousel was pushed by a person under the floor but switched to an electric motor in the 1930s. The multiple sizes of the horses suggest that not only kids rode the carousel. In the present day, kids and adults enjoy riding the carousel. Radio Prague spoke with a long-term resident while they were in Letna and asked her about her memories of the carousel. She said that as a kid, she would sit on the horse while pushing the carousel around with one foot. When she became an adult, she took her kids to the carousel and eventually her grandkids.  

Sources:

Hor谩kov谩, Pavla. 鈥淩epair Work Continues on Europe鈥檚 Oldest Merry-Go-Round.鈥� Radio Prague International, 7 Apr. 2021, english.radio.cz/repair-work-continues-europes-oldest-merry-go-round-8624933.

Hummingbird Stories. 鈥淢ore than a Century-Old Carousel with Horses on Letn谩.鈥� Our Beautiful Prague, 29 Apr. 2024, www.ourbeautifulprague.com/more-than-a-century-old-carousel-with-horses-on-letna/.

Johnston, Rosie. 鈥淢oney Makes the Merry-Go-Round: The Fight to Save the Letna Carousel.鈥� Radio Prague International, 8 Apr. 2021, english.radio.cz/money-makes-merry-go-round-fight-save-letna-carousel-8097815.

鈥淭he Letn谩 Carousel.鈥� National Technical Museum, www.muzeum-chomutov.cz/en/for-visitors/opening-hours/the-letna-carousel. Accessed 27 Aug. 2024.

McEnchroe, Thomas. 鈥淧rague鈥檚 Historic Letn谩 Carousel Set to Be Restored and Reopened by Spring 2022.鈥� Radio Prague International, 16 July 2021, english.radio.cz/pragues-historic-letna-carousel-set-be-restored-and-reopened-spring-2022-8723232.

鈥淢erry-Go-Round Brings Joy to Praguers for over 130 Years.鈥� Radio Prague International, 14 July 2024, english.radio.cz/merry-go-round-brings-joy-praguers-over-130-years-8822494.

鈥淥谤肠丑别蝉迟谤颈辞苍.鈥� Wikipedia, Wikimedia Foundation, 10 Apr. 2024, en.wikipedia.org/wiki/Orchestrion.

Written by: Mikayla Faires

These artifacts are relatively well-preserved for their age. Martin Trefn媒, who is an archaeologist and head of the Pod艡ipsko Museum, states that the collection was probably deliberately buried. Trefn媒 provides a few potential explanations for this. It is possible that the hoard was meant as a tribute to the deities, or that the site was used as a storage pit for a merchant. Trefn媒 also notes that the Bronze Age inhabitants of the area may have buried their property in response to some kind of incident. For example, if their village was being attacked by invaders, they could have stored their belongings underground to protect them from thieves. 

The exact reason why the cache was buried is impossible to determine. Nevertheless, researchers may still be able to make other discoveries about the collection. They may perform tests to determine the origin of the metal or use microscopic photography to figure out how the axes were used. The artifacts are currently going through conservation treatments, but they are expected to be on display at the Pod艡ipsko Museum in 2025. 

Written by Maya Bouchebl

Sources:

Radio Prague International. 鈥淯nique Bronze Age hoard discovered in north Bohemia.鈥� June 25, 2024.

Independent. 鈥淎rchaeologists find 3,600-year-old stash of buried weapons and jewellery in Czech Republic.鈥� August 1, 2024.

Stalin used forced labor to make money for the economy for war, post-war reconstruction, and the quasi-war. Almost all production mining plants and infrastructure construction were forced labor. People in forced labor camps were overworked, not paid, and required to work in non-ideal conditions. The labor camp was rediscovered because the initial reason for the search was to look for remains of the fortifications added to the Prague Baroque bastion fortification. A fortification is a wall used to defend an area from attack. It was soon discovered that the fortifications were gone after 1859 because the area was turned into a park.                                                                                                              

The positions of two barracks were found on the west side of the camp only by the corruption of the soil where they used to be. The third dwelling was 30% recovered on the south side. The archeologists found out that the bathroom did not have a heating system because of the coal in the urinal. Some of the chimneys and roofing of the kitchen survived demolition. The foundation of the sewerage system and a well were uncovered as well. Lost items and food waste, which consisted of coins, combs, small bones, and peach pits, were found.        

The presence of women in the camp was revealed after finding female buttons. The archeologists also pieced together what they ate from the scraps they found. They recovered almost 1000 duck bones because of them being eaten. It is concluded that at least 89 ducks were consumed and were probably brought to the camp all at once because of their age. Pre-adult to adult duck bones were discovered at the camp.                                                        

The labor camp closed in 1954 and was destroyed. The remains of the camp were covered with multiple meters of dirt, and the park was created. The Statue of Stalin was completed in 1955 with the remains of the labor camp right next to it, which is disturbing. After the statue was removed, the space was repurposed for several reasons. It was the meeting place of Prague鈥檚 first rock club in the nineties, and a statue of Michael Jackson was placed on the pedestal briefly in 1996. Behind the pedestal is an area where people hang out and skateboard. The Czech government has been thinking about how to redo the space, with one idea being to build an aquarium. 

Written by: Mikayla Faires

Sources:

鈥淐zech Archaeologists Discover a 7,000-Year-Old Neolithic Settlement.鈥� Radio Prague International, 12 Aug. 2024, english.radio.cz/czech-archaeologists-discover-a-7000-year-old-neolithic-settlement-8825442.

Hasil, Jan, et al. 鈥淭he rediscovery of a labour camp on the construction site of the Stalin Monument in Prague.鈥� Acta Universitatis Lodziensis. Folia Archaeologica, no. 37, 30 Dec. 2022, pp. 7鈥�29, https://doi.org/10.18778/0208-6034.37.01.

鈥淪talin Monument (Prague).鈥� Wikipedia, Wikimedia Foundation, 7 May 2024, en.wikipedia.org/wiki/Stalin_Monument_(Prague)#:~:text=Stalin鈥檚%20Monument%20(Czech%3A%20Stalin%C5%AFv%20pomn%C3%ADk,was%20demolished%20in%20late%201962.

Stefan Banic was born in 1870 in Smolenice, Slovakia. There isn鈥檛 much on record about his life in Europe, but in 1907, he emigrated to the United States to build a life in a country that, at the time, promised prosperity and success. Banic settled in the state of Pennsylvania and took up work as a coal miner. Life as a coal miner was both demanding and dangerous. While the exact story of inspiration for the parachute is not documented, historians and writers assume that Banic, who witness a horrible plane crash in 1912 wanted to invent a safety measure that would save lives. Its safe to say that he jumped to this conclusion after experiencing how important even the smallest of inventions came into play in his dangerous coal mining profession. To allow individuals to escape a malfunctioning aircraft safely, he began mock-up designs, through research, that would eventually change aviation safety forever.

Banic envisioned that any device made would be worn on a person's body, preferably the chest or back and would be opened and 鈥榓ctivated鈥� to help a person safely and slowly descend to the ground unharmed. His background in coal mining made him more informed than other inventors at the time because he knew all about what resources were available to him and how appropriate the materials were for his prototype. Banic鈥檚 awareness of the importance of safety measures likely influenced his determination to create a device that could save lives. This experience most likely is where the act of deployment of the parachute was heavily thought out because, as a coal miner, Banic saw the need for quick and effective emergency response in a situation like the tragic accident he first witnessed. In the testing process, the initial design of the parachute was its umbrella-like shape with a canopy above connected by rope or string. Something crazy to others at the time was Banic himself following through with his vision in 1913 and jumping off of a 15-story building to test the parachute and theory himself.

In 1914, Banic presented the parachute through a demonstration to the US Army. This test was a fantastic success and quickly earned a patent (US Patent Number 1,108,484). While today we don鈥檛 use the design drawn initially out and created by Banic for the historic patent testing, through innovation and technology, the parachute has been reworked to fit the changing safety standards and, most importantly, to change the evolution of parachute technology and aviation safety.

Stefan Banic鈥檚 legacy today is seen in small, intimate ways but is, in fact, still relevant. In 1997, the Stefan Banic Parachute Foundation was created with the purpose of skydivers celebrating and remembering the parachute inventor who made such an activity possible. As of the past few years, a little under 3 million people skydive worldwide, and it is only possible and done with such safety and security because of Banic and his brain. Most recently, in 2020, Slovakia featured the inventor on a collector 10 Euro coin. This collector's coin is currently worth anywhere between 30 USD and 70 USD, so there鈥檚 no telling what it could be decades from now if you by some chance have it in your collection. What remains most important is that inventor Stefan Banic is remembered and acknowledged for his influence on aviation safety and one of the greatest inventions, the parachute.

Written by Jacqueline Nicole Denson

Hochel, Martin. 2023. 鈥溑爐efan Bani膷, The Slovak Inventor of the Parachute.鈥� 3 Seas Europe. https://3seaseurope.com/parachute-slovak-inventor/.

鈥淚t was 45 years ago that Bill Newell, a California skydiver, created the Star Crest Recipient Awards program in honour.鈥� n.d. Skydiving Museum. https://skydivingmuseum.org/sites/skydivingmuseum.org/files/newsletters/Spring-Su mmer-2012-Newsletter.pdf.

Slov谩k Bani膷 z铆skal pred Storo膷铆m Americk媒 patent na pad谩k ... Accessed August 15, 2024. https://www.webnoviny.sk/slovak-banic-ziskal-pred-storocim-americky-patent-na-padak/.

鈥淲WI parachutes and Stefan Banic.鈥� 2006. The Aerodrome. https://www.theaerodrome.com/forum/showthread.php?t=25917.

Early Orphism artists brought color back to the grayscale period of Cubism. Orphism is embedded in Cubism but learned towards abstraction. Orphism was one of the first art styles to introduce non-objective paintings. Non-objective paintings consist of geometric shapes to convey simplicity.                                                                   

Piano Keys Lake (1905) was Kupka鈥檚 first Orphism piece. The painting contains a piano with some of the keys floating away. There are also people in a boat and more people on the shoreline.  Nocturne (1910) is Kupka鈥檚 first abstract painting. The painting is made of multiple vertical brush strokes with shades of blue, green, and purple. The following year, he created Disks of Newton, Study for Fugue in Two Colors (1911), inspired by Isaac Newton鈥檚 color theory. Newton鈥檚 color theory was that color can be formed by white light. He used a prism to refract light that resulted in colors, which he then wrapped around itself to make a color wheel. Disks of Newton consist of multiple circles overlapping each other in various colors.                                                                               

Kupka passed away on June 24, 1957, in Puteaux, France. His paintings are still in exhibitions decades after he died. There will be an exhibit called Harmony and Dissonance: Orphism in Paris, 1910-1930, with some of Kupka鈥檚 work at the Guggenheim Museum in New York from November 8, 2024-March 9, 2025. Disks of Newton will be among the pieces displayed in the exhibit. A number of his paintings are housed at the same museum permanently.             

Kupka was one of the artists that developed Orphism. Orphism is an art form that focuses on color and abstraction. This art style was the shift from Cubism to abstract art. Cubism uses geometrical shapes in an abstract form to give the subject multiple perspectives. In Abstract art, cohesive figures are not seen, but colors, shapes, and forms are used to express emotions.                                                                              

The term Orphism was made by poet Guillaume Apollinaire, inspired by the Greek god Orpheus, known for his singing abilities. Orphism artists often arranged color after music scales to reach the abstraction of music. Music can bring out emotions even though it is not tethered to the real world. The artists also used bright colors to display movement.                                                                                                                                                   

The Yellow Scale (1907) was Kupka鈥檚 first dip into color theory. The painting is a self-portrait with yellow as the dominating color. This painting is on view at the Houston Museum of Fine Arts. The Women Picking Flowers Series (1909) was Kupka鈥檚 earliest painting that conveyed motion. The woman鈥檚 silhouette is dark blue, and is moving from it because of the blurriness. Another painting that represents motion is the Organization of Graphic Motifs II (1912-1913). The piece looks like it is spinning downwards, decorated with vibrant colors.                                                                                                                 

Written by: Mikayla Faires

Sources:

Artmajeur. 鈥淗istory of Czech Art.鈥� Artmajeur Online Art Gallery, 25 Nov. 2023, www.artmajeur.com/en/magazine/5-art-history/history-of-czech-art/334564.

Cushman, Emily. 鈥淔ranti拧ek Kupka | Moma.鈥� MOMA, 2016, www.moma.org/artists/3302.

鈥淗armony and Dissonance: Orphism in Paris, 1910鈥�1930.鈥� The Guggenheim Museums and Foundation, www.guggenheim.org/exhibition/harmony-and-dissonance-orphism-in-paris-1910-1930. Accessed 15 Aug. 2024.

鈥淥rphism Movement Overview.鈥� The Art Story, www.theartstory.org/movement/orphism/. Accessed 15 Aug. 2024.

鈥淧rice Database.鈥� Artnet, www.artnet.com/artists/frantisek-kupka/. Accessed 15 Aug. 2024.

Sonn, Milton. 鈥淜upka, Frantisek - 1909-10 Planes by Colors, Large Nude (Solomon R. Guggenheim Museum).鈥� Flickr, Yahoo!, 15 Aug. 2024, www.flickr.com/photos/32357038@N08/3577355216.

Tate. 鈥淣on-Objective Art.鈥� Tate, www.tate.org.uk/art/art-terms/n/non-objective-art#:~:text=Non%2Dobjective%20art%20defines%20a,sense%20of%20simplicity%20and%20purity. Accessed 15 Aug. 2024.

鈥淭he University of Chicago Library.鈥� The Origins of Color - The University of Chicago Library, www.lib.uchicago.edu/collex/exhibits/originsof-color/color-theory/#:~:text=Newton%20had%20split%20white%20light,primary%20color%20was%2C%20however%20disputed. Accessed 15 Aug. 2024.

Shepherd axes, or 鈥榁alaska鈥�, hold significant historical and cultural importance in Central or Eastern Europe and Eurasia. The Shepherd axe has historically originated from Eurasia; during the 9th century, they were first used for combat fighting and self-defense by warriors from Bulgaria and Hungary, who called it the Fokos axe. It then migrated to Central Europe through the Carpathian Mountains from the 14th to 17th centuries, leading to its evolution throughout Europe by being used by shepherds for various tasks, such as a walking stick, cutting branches, and trimming hooves. Shepherds were inseparable from their axes in Czechoslovakia and Poland, often engraving the shaft with messages or initials to indicate their origins or ownership. Over time, the Shepherd axe became a symbol of identity and community, customized with decorations representing one's heritage or religious beliefs. These axes also featured prominently in folklore, with many stories and songs celebrating the axe's role in cultural and historical connotations. Regional variations of the Shepherd axe emerged, reflecting local traditions and artistic influences. This rich cultural heritage is preserved in traditional dances, where the axe is often used as a prop, and in art and literature, it symbolizes artistic beauty and cultural pride.

Construction and Techniques

The Shepherd鈥檚 axe is adorned with beautiful traditional designs and stamps that represent their owner, often imprinted by a skilled blacksmith. Common motifs include the Edelweiss flower from the Tatra mountains, flowers, mountains, cosmic, and geometric designs, each carrying symbolic significance and personal meaning. These intricate decorations reflect the craftsmanship and cultural heritage associated with each axe. The length of Shepherd axes is longer than typical axes, designed to provide good reach and serve as support while walking, especially during wartime. Historically, these axes were used as weapons in combat and for practical tasks like chopping small branches, leading to their increased length and lightweight design. This combination made them ideal for long-distance walks and various shepherding tasks. The headpiece of the axe known as the bit is typically sharp on one side being used for chopping branches, while the butt of the axe is flat being used as a hammer. The crafting process involves selecting high-quality wood for the handle and forging the metal blade to ensure durability and sharpness. Traditional techniques are often employed, including hand-carving the handle and applying decorative engraving. These methods are still incorporated and blended with contemporary innovations to preserve the art of Shepherd axe-making. The result is a tool that is not only functional but also a symbol of identity and craftsmanship.

Present day Usage

Shepherd axes remain relevant, symbolizing cultural heritage and craftsmanship. They are used in traditional ceremonies and as cherished collectibles. One notable example is the Slovak dance known as the Odzemok, where dancers skillfully incorporate Shepherd axes into their performances. This dance, traditionally performed by men, showcases strength and agility, with the axe serving as a central prop. The use of Shepherd axes in the Odzemok highlights their historical significance and cultural symbolism, connecting modern performances with traditions.  Additionally, Shepherd axes are highly valued as artistic objects. Their intricate designs, often featuring detailed engravings, reflect the craftsmanship and creativity of their makers. Collectors appreciate them for their aesthetic appeal, with many axes displayed in museums, cultural centers, and private collections. This dual role in contemporary dance and as art pieces ensures that Shepherd axes continue to be celebrated and preserved, maintaining their cultural importance.

Examples of Shepherd Axes 

Shepherd Axe 1:

• Description: This axe has a silver hatch with cosmic design on it. The wood handle is plain without any words or additional designs.

• Key Features:

• Silver hatch with cosmic design.

• Plain wood handle.

Shepherd Axe 2:

• Description: The axe features a silver hatch that has an inscription saying "hello from the trojans," possibly indicating it as a gift. The wood handle is decorated with designs, including one depicting a scene of pigs and a hoe in a forest, and another showing a person playing an instrument with pigs eating outside.

• Key Features:

• Inscribed silver hatch Pozdrar z Trojanovic ("hello from the trojans").

• Decorative designs on wood handles (pigs and hoe in forest, person playing instrument with pigs).

Shepherd Axe 3:

• Description: This axe is wooden and has various sections of coloring on it. It features a floral design on the side and is embroidered with the name of the town where it was made, Buchlovie.

• Key Features:

• Wooden axe with colored sections.

• Floral design on the side.

• Embroidered town name ("Buchlovie").

Shepherd Axe 4:

• Description: This axe has a bronze hatch from Frenstat pod Radhostem in Czechoslovakia, made in 1977. The wood handle has a design that likely symbolizes the creator's signature, along with a flower and town design on the hatch. It is embroidered with themes such as flowers and letters.

• Key Features:

• Bronze hatch from Frenstat pod Radhostem, Czechoslovakia (1977).

• Wood handle with symbolic design.

• Flower and town design on hatch.

• Embroidered with floral and letter themes.

Written by Thomas Popoca 

Sources 

鈥淥诲锄别尘辞办鈥�, Folkdance Footnotes Beyond Choreography, , (Accessed August 8, 2024).

鈥淪hepherd Axe鈥�, Gransfors Bruk Sweden,, (Accessed August 8, 2024).

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Burgess, Keith, 鈥淎 Woodrunner鈥檚 Diary: The Shepherd Axe鈥�, Woodrunner鈥檚 Diary, , November 10, 2016.

Linden Trees symbolize peace, unity, and protection in Slovakian culture. This green flowering tree, consisting of coarsely toothed heart-shaped leaves, holds its own history and cultural significance today. In Norse mythology, the linden tree is particular to the goddess of love and fertility, Freya, and the goddess of love and marriage, Frigga. Later in history, the Romans in Slavic regions saw the Linden tree as a symbol of stability and marital love. There was once a point where newlyweds would decorate their homes with linden tree branches to keep away evil spirits that may cross the threshold and stir with the couple's romantic entanglement and intimacy. Until Saints Cyril and Methodius spread Christianity to this region, the Linden tree was associated with truth and justice. Germanic tribes in Western Slovak regions would hold official proceedings ranging from criminal trials to marriage ceremonies under the branches of linden trees because there was a firm belief that a person couldn鈥檛 lie in the presence of the trees. All that history led to the Slovakia region today, where Slavs see the Linden tree as a representation of the Spring season, love, renewal, and marriage. There is also a belief that the linden wood holds majestic powers that protect against demons, vampires, and villainous majestical creatures which is why today many decorate centerpieces and their gardens with the branches or pieces of the tree itself. Linden Trees were brought here to America by European settlers in the 18th century because of their beauty and sturdy solid wood, and present-day are all around us. In the States today, we use these trees for landscaping and aesthetic purposes, which is very different from Slovakians, who view the tree as a national emblem.

The Legend 

Greek Mythology

The Linden Tree of Tilla appears in the myth of Philemon and Baucis. This elderly couple lived in poverty in the village of Phrygia and were known for their hospitality and kindness. One day, Zeus and Hermes descended in disguise to Earth and tested the hospitality of the region's people. Both Gods were ignored throughout the village until they reached the doorstep of Philemon and Baucis, who welcomed them warmly even though the couple had little to nothing. It is said that both Zeus and Hermes were so impressed that they revealed their identities and told the couple to follow them up a nearby hill in the region. Upon doing so, the two Gods sent a massive storm that flooded and ruined the village of Phrygia but saved the couple鈥檚 home and transformed it into a grand temple. As a reward for their acts of kindness, Zeus grants them one wish: the couple wants to serve as priests in the temple and then die together at the same time so they never have to live without one another. Many years later, at the time of their deaths, Philemon and Baucis were transformed into trees when it came time for their deaths. Philemon became an oak tree and Baucis a linden tree. Eventually, the two trees would have branches that intertwined, and this union would symbolise the couples鈥� everlasting love. 

Hellenistic Period 

The Hellenistic period in Egypt emphasized botanical research, cultural exchange, and the blending of Greek and Egyptian traditions, which is why the Linden tree held symbolic significance during this time. While there is no pinpoint evidence of this, many believe that the symbolism of the tree from both cultures representing unity, peace, love, and protection could have influenced artistic works during the Hellenistic Period. 

Magic in Northern China 

The leaf shape is similar to that of the sacred Buddhist Bodhi Tree, which isn鈥檛 found on Chinese soil. Over time, empresses have visited these trees planted in front of temples to worship Buddha. It is said that The Song of the Bodhi Tree was actually carved into the wood of the Linden, otherwise known as Tilla, hundreds of years ago. 

Norse Mythology 

Freja (Freya), the goddess of love, beauty, and fertility, and Frigg (Frigga), the goddess of marriage and motherhood, are deities that embody the qualities that resonate with the symbolism of the Linden Tree. The linden tree was often used as a gathering place for social and judicial matters aligned with the goddess鈥� roles in fostering community and maintaining harmony.  

Baltic Mythology 

The goddess Laima is responsible for the fate of childbirth and marriage and is the patron saint of pregnant women. The belief was that Laima could be the bird of fortune and influence fate, so many pregnant women sacrificed and prayed under Linden trees to gain fortune and luck. Therefore, the goddess Laima and her devoted practices kept her bound to the cultural meaning of these trees. 

Germanic Mythology 

In German Folklore, the tree, otherwise known as Tilla, was believed to ward off evil spirits and provide protection from lightning. In some stories, the Tilla was often highlighted for its power to ward off evil spirits that would make humans lie. Because of this, under the trees became a place for judicial meetings, and the tree was labeled 鈥淛udgement Linden ''. The protective nature of linden trees in Germanic culture often extended to homes and churches where people plant them to safeguard their community. 

Celtic Astrology 

It is said that those born under the sign of the Linden tree would embody its qualities of love, peace, and healing. While not prominent in planetary and zodiac symbols, the Linden tree can enhance astrological interpretations. Overall, the Linden tree accepts what life dishes out in a composed way through symbolism in astrology. 

For Example: 

Libra: The Linden tree symbolizes Libra's characteristics of harmony and balance. It is associated with Venus and the quest for harmony. 

Taurus: The values of beauty, comfort, and sensuality align with the soothing qualities of the Linden Tree. 

Cancer: Governed by the moon and has nurturing and protective qualities that can be a link to the healing symbolism of the Linden tree. 

Healing Nature 

The Genus Tilla, another name for the Linden Tree, had many medicinal properties that people harvested and used for centuries. Every part of the tree, such as its bark, flowers, and leaves, was used, which meant removing parts or the entirety of the plant was never a waste. A few of the issues treated were cold and cough relief, calming relaxants, anti-inflammatory, digestive aid, pain relief, and sedatives, treating high blood pressure, protecting blood vessels, increasing urine production, aiding kidney health, and treating irritated and inflamed skin. Most commonly, people drink linden tea 1-3 times a day or apply tree extracts to topical creams and lotions to use daily or as an occasional compress. Because of the medicinal properties of the linden tree, it is still used today in traditional and herbal medicine. It is known for its versatility in treating a variety of issues in different body systems. 

Linden Tree in Slovak Independence 

In many Slovakian towns and villages, linden trees are planted in central squares or the front of places of worship, thus making them gathering places in the community and symbols of unity. Slovak poets and artists often drew inspiration from the trees, using their symbolism to evoke national pride, endurance, and struggle for independence. The current Slovakian national flag features a white cross atop a blue field representing the blue sky and white clouds observed during the pan-Slavic congress of 1848 Prague. In conclusion, the Linden tree remains a cherished symbol of heritage and independence.

Ecological Importance Modern Day

Linden Trees today serve ecological importance by improving soil health and enhancing urban environments. By implementing conservation efforts for these trees in sustainable land management practices, we can see to it that their continued presence and benefits are possible for future generations as a community. Today, you can visit Bohnice Castle in Slovakia and view the linden tree that was planted by King Mathias Cs谩k of Tren膷铆n in 1301 in the castle鈥檚 park following the death of Ondrej III, the last King of the Arp谩d family. The Slovak National Museum now owns this specific tree. If you ever find yourself in the Czech Republic, you can visit their oldest known tree, which happens to be the Linden in the 沤elezn茅 Mountains. This tree is suspected to have been planted more than 1,000 years ago, during the 14th century.

While it may sound like you have to travel far to see a linden tree or have a piece of Slovak culture near you here in Houston, check again. Varieties and hybrids of Linden Trees can be found all over Houston thanks to Sustainable city development planning. You could even check your local tree nursery and see if you can take home and plant your very own Linden Tree.

Written by Jacqueline Nicole Denson

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