Miss La La (1858-c. 1919) was the star act at what was considered the greatest show on earth. Her strength and perceived exoticism made her the perfect subject for the renowned painter, Edgar Degas.
Miss La La (1858-c. 1919) was the star act at what was considered the greatest show on earth. Her strength and perceived exoticism made her the perfect subject for the renowned painter, Edgar Degas.
This month, we’re talking about muses–women who were drivers of creativity and inspiration. Once again, we’re proud to partner with Mercedes-Benz (whose famous namesake was inspired by a young muse named Mercedes). Tune in daily for stories of women whose lives inspired work that has shaped our culture.
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Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we’ll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more. Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures.
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Hello! From Wonder Media Network, I’m Jenny Kaplan, and this is Womanica.
This month, we’re talking about muses. Women who’ve captivated artists with their charisma, wit, and talent.
Today we’re talking about a woman who was the star act at what was considered the greatest show on earth. Her strength and perceived exoticism made her the perfect subject for the renowned painter, Edgar Degas. Let’s talk about Miss La La.
Miss La La was born Anna Olga Albertina Brown on April 21, 1858, in what is now known as Szczecin, Poland. She was of mixed race; her father was Black and her mother white.
It’s believed that Miss La La got involved in the circus at nine years old. In the 19th century, the circus was an extremely popular form of entertainment. It also provided an inclusive working environment. Not only did the circus accept women, but they were often the highest-paid performers.
Miss La La started with the basics but quickly became an expert wire walker, trapeze artist, hand balancer, and most notably, a strength performer. Although not very tall, Miss La La was incredibly strong. Edmond Desbonnet, the founder of the physical culture movement in France, recounts that he was jealous of her biceps when he first met her in 1887.
Miss La La and her aerial partner, Kaira Blanche, formed Troupe Kaira alongside two other performers. They traveled throughout Europe performing on some of the biggest stages including the Folies Bergère in Paris, the Royal Aquarium in London, and the Gaiety Theatre in Manchester.
In December 1878, the troupe had a month-long gig at the Cirque Fernando in Paris. The group was sensational, but spectators specifically kept coming back for Miss La La. With her iron jaw act, she was the star of the show.
In this amazing feat, Miss La La would hang from her knees on one trapeze while holding a second trapeze between her teeth. She would then have other performers alternate carrying out poses on the second trapeze. The only thing that was supporting the weight of these individuals was Miss La La’s teeth. As if that wasn’t impressive enough, Miss La La took it one step further. She hung upside down from a trapeze and with her teeth, lifted a 150-pound civil war era cannon into the air. The canon was then fired all while hanging from Miss La La’s jaw. Her body would inevitably reverberate from the blast of the canon, but she never lost her grip. This act won her the title of “La Femme Canon.”
But this wasn’t her only nickname. She was called “The Venus of the Tropics”, “Olga the Negress”, and “The Black Pearl”. Circuses in Paris advertised her as “The Black Venus”, while those in London went with African Queen. Because of her African and European heritage, Miss La La was exoticized. Circuses liked to harp on the mystery around her ancestry in order to increase ticket sales. There was even a rumor that Miss La La was a dethroned African princess. That she was sold into slavery after her court abandoned her and pledged their allegiance to Queen Victoria. Many Europeans struggled to reconcile their admiration for Miss La La with her ethnicity.
One man who attempted to reconcile this through his art. French impressionist Edgar Degas solidified Miss La La’s fame when she was 21. His studio was conveniently located close to Cirque Fernando. He went frequently for inspiration, citing the circus as a place to find “unnatural realism”. And when Miss La La’s troupe came to perform, he was so entranced that he went to see her four times. In his diary, he referred to Miss La La as “my beautiful negress.”
After many sketches and much deliberation over how to paint her, Degas created his only painting of the circus in 1879. “Miss La La at the Cirque Fernando” depicted Miss La La hanging from the roof of the circus by just a rope clenched between her teeth. Suspended from the ceiling, the viewer admires Miss La La from below. You can’t see her face as her head is thrown back, supporting herself just the strength of her jaw. She comes off as strong, but also graceful. Her pose demonstrates just how amazing this feat truly was. Art critic Roy McMullen called the painting “among the artist’s most striking and complex achievements.”
The painting is considered one of the world’s most famous paintings of the circus. Partly for the difficulty in capturing Miss La La in movement. And because the painting accurately portrays the societal misfits that the circus catered to. Rather than being judged for race, gender or socioeconomic status, performers are evaluated on their skill and physicality.
In the early 1880s, Miss La La and her partner Kaira formed their own duo. People referred to them as “Les Deux Papillons” – the two butterflies. They dazzled the circus circuit until 1888 when Kaira tragically fell to her death during a stunt.
Later that year, Miss La La married American contortionist Emanuel Woodson. The couple went on to have 3 daughters who continued in their parent's footsteps. They formed a troupe of ladder acrobats that went by the names of the Keziah Sisters or Three Keziahs.
We don’t know much about Miss La La’s final days. The last record of her existence is from a 1919 US passport application. She was 61 years old.
All month, we’re highlighting muses. For more information, find us on Facebook and Instagram @womanicapodcast.
Special thanks to Liz Kaplan, my favorite sister and co-creator.
Talk to you tomorrow!