Conclusion: Jugoslovenka: a wide-ranging model for feminist performance politics in art and culture

In a 1908 colored etching by Nasta Rojc, titled Žena Spaja Kontinente (Woman Brings Together Continents), a naked woman’s body is shown hovering elegantly above a gap between two landmasses (Figure 6.1). Behind her, we can partially see the Sphinx of Giza, whose powerful static gaze has captivated the attention of historians and tourists for centuries. While her stiff body, made of limestone, contrasts with the fragility of a woman’s living body, they are linked in subject matter: both act as connective tissues between East and West, the Sphinx with her gaze, and the naked woman with her body. The