As I was reading about the route Kafka used to take everyday to school accompanied by the family chef, suddenly the strains of HaTikvah was heard. It may not be much of a surprise since Kafka was known to have wanted to make aliya, the strange thing is that barely passing 8 bars, the music deviated from what I know so well. It then became apparent that this is not the Israeli national anthem, or a remix of it.
Recalling that the music of HaTikvah was adapted from some pretty pedestrian folk tune, I went to the Wikipedia page in hope of finding some confirmation that the presently playing piece was also a derivative of the same source. There, the name Smetana struck me familiar. Wasn’t that splendid hall where I listened to that underwhelming concert inside the municipal house called Smetana Hall? – It’s probably not the Prague Symphony Orchestra FOK’s fault, but my insisting in going to the concert after a whole day’s hike to blame. Now as the second movement of Smetana’s symphonic poem set, Vltava, greets me again, my hypothesis is validated. For some time, I enjoyed the discovery of the hidden links between these initially unrelated dots scattered all over my trip. But it seems to be a well known fact domestically.
Now as I think of it, isn’t it most suitable to choose this piece of music for that short film of Kafka’s Prague? On one hand, the HaTikvah-like melody alludes to his Zion heart, on the other, a Czech rendition reflects his cultural identity. By the way, this is not the only occasion where the museum designers show genius choice of music. Firstly I was met with some non-trivial ambient music in the introductory part. And close to the end in the literary analysis section, some spooky metal sounds are heard accompanying Kafka’s hand injury drawings made for his insurance company, creating a creepy absurd space. I would say the museum is quite experimental sonically and visually.
They also offered scholarly and deep interpretations for Kafka’s work, which were difficult to chew. To be honest, when I read Metamorphosis, I hardly saw anything beyond the storyline. But I’ll have plenty of chances to read between the lines now that I bought a set of three books compiling Kafka’s short stories from the museum shop – almost as impressive as the Autechre EP box that I got at the live show!
On a somewhat remotely related note, the nude with arms raised (and armpit hair exposed) by Pablo Picasso actually reminded me of George Samsa’s sister at the end of Metamorphosis, stretching herself to receive the infinite generosity from the sunshine as much as she could; her parents suddenly realize that here is a full fledged young woman ready for the future. This is not to say that I finally start to whole-heartedly appreciate that drawing. Although admittedly, Catherine’s explanation helped a lot towards that end. She says naivism tries to unlearn the academic training and focuses on the essence of what one wants to convey through childish paint strokes. In this particular drawing, I indeed starts to see the innocence, youthfulness and all the signs indicating the fresh positive, instead of singling out the grotesque squiggles supposedly representing her hair and hands. We also agreed that his intentional neglect of making her face pretty and leaving the natural underarm as is were an explicit challenge to typical modern viewers such as us, who are knowingly but irresistibly conditioned to popular media dictation of what is considered to be feminine beauty.