First I notice the scaled-down resin copies of the Orkhon steles with Old Turkic inscriptions in the puszta of Bugac, and only then do I pay attention to the nomadic warrior posing in front of them. “What flag is this?” I ask, pointing to the green wolf-headed flag in his hand, but he responds in German. I mistakenly considered him an ancient Hungarian warrior. He is actually German, he says with a Turkish accent, this is the first time he is in Hungary, otherwise he had attended similar traditional reenactment meetings in Turkey and Mongolia – the home of the Orkhon steles – with this portable apotheosis of Turkish writing. The green wolf is the imagined flag of the Göktürks ruling Orkhon in the 6th and 7th centuries. It was there that this runic script, adapted from the Aramaic script to the Turkic language, was first used to record the history of the empire. I say good-bye in Turkish, the silver head of his small symbolic animal nods in gratitude.
The nomadic Kazakh archer does a long photo session of a man demonstrating ancient Hungarian blacksmithing, pulling his Canon camera out from under his saddle. The master blacksmith, sitting on a bench covered with a rag rug, comments on the masterstrokes of his apprentice, spinning an empty drinking cup in his hand. “Is the drinking cup from the time of the Conquest?” asks one of the reverent spectators. “Actually, it’s a Tunisian tourist souvenir, but it would pass for the Late Iron Age.”
The highlight of the day is when, at noon, a cloud of dust rises in the Bugac steppe, from which the outlines of a cavalry column slowly unfold. They are the Hungarians who, after more than a thousand years, reenact how their ancestors arrived here, in the Carpathian Basin. Determined-looking men and women on horseback, behind them are heavy-footed infantrymen, between them carts for the old and the small folk. I can feel how this sight may have frozen the bowels of the Slavic onlookers of the time. Just as for the Hungarians when, a few centuries later, our nomadic brothers marched here in similary military columns. As they come closer, and I can clearly perceive that they are ours, I can better appreciate their enthusiastic participation and homage to the memory of our ancestors. Only one thing bothers me: I’ve been to many historical reenactment gatherings, and period clothing is essential everywhere. The participants subtly but clearly comment on possible anachronistic features of each other’s clothing. This parade, where everything goes from imagined Árpád dynasty costumes to csikós’ dress and 1848 military uniforms, is thus less a reenactment than rather a ritual procession, for which everyone has donned their best historical Sunday clothes. For the sake of the perfect experience, those who understand Hungarian should turn off the sound with the unctuous commentary of the celebrant:
In Iran, on the second day of Ashura, there is a procession in Nushabad, where representatives of all parts of the country march long from the desert through the clay city, dressed in 7th-century warrior’s clothing, exotic armor and on various war animals, to fight for Imam Hussain who fell on this day, against the disgraceful Sunnis. A great visual advantage of this parade is that it proceeds along a two-meter corridor left open between the spectators, so that everyone can take a look at the horse or camel’s jewelry, the weapons, and the little boys’ clothes, since most of the warriors also bring a nicely clothed little boy in his lap, in memory of Imam Hussain’s little son who was escaped from the massacre. In Bugac, the conquering Hungarians are kept far away from their late successors, but then those of them incompatible with a group image – the pedestrians, carts and camels – quietly slink away among the yurts after the march. There you can take a closer look at them, and the spectators happily take advantage of the opportunity. Just be careful not to get bitten by a camel – this danger is one of the central metaphors of the main speaker of the event, a founding member of the right-wing government party.
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