Pharaonic Symbols during the Egyptian revolution at 2011…Vernacular Memories or more? Part 2

Zeinab Abdelhamed

The second comparative analysis will focus on a representation of a group of women and girls with raised hands, mourning a dead person  (see figure 1) and a religious procession (see figure 2 ) This is a well-known wall painting from Thebes, Amenophis III, 1411 - 1375 B.C.

Figure 1  group of women and girls mourning 

figure 2 a religious procession

The ancient Egyptian burial process evolved over time. It was an extremely important process that involved elements, details and specific rituals. The preparation of the body and the mummification practice were all essential parts of the funeral. Moreover, in Pharaonic culture death was an important journey to prepare the soul for the afterlife.  Furthermore, the depiction of professional mourners is also an essential part of the process. In short, it is part of ancient Egyptian culture to portray these women in grief included wailing and beating exposed breasts.This representation will then be analyzed in comparison with “The Funeral of the Martyrs” graffiti by the Egyptian artist, Alaa Awad  (see Figure 3)  During the revolution, the Egyptian artist, Awad, created the stencil that was driven by his deep feeling of grief. Indeed, the graffiti contributed to the formation of vernacular memory that used icons from Pharaonic death symbol to express that grief and sorrow for the innocent victims of the Revolution. The number of people who died or suffered because of the police brutality was enormous. The artist managed to give an artistic afterlife to those who perished in the very moment of unrest.  He hoped to provide a model of cultural identity using Pharaonic rituals to actually display these moments of sorrow.

Figure 3 The Funeral of the Martyrs

 Analyzing in greater depth the image’s iconic connotations, it is crystal clear for the viewer that during the funeral a sarcophagus is being carried while the soul is ascending to heaven. (see Figure 4)  Unlike in the authentic image, in the contemporary graffiti of the group of mourner women, we can also notice the presence of a little girl who hugs her mother. This emotional gesture can be interpreted as testimony of the new generation that eye witnessed the revolt against injustice. In addition to this interpretation, the stencil is an element of the praised ancient Egyptian legacy marking the claim of contemporary Egyptians for a cultural identity that owes connection to a glorious past.

Figure 4 The Funeral of the Martyrs

As argued, the Egyptian artists and activists redefine their cultural identity through vernacular memories on the walls of Tahrir square by employing Pharaonic icons of the past to epitomize current historical and political events (e.g. January Revolution). Despite the period in which was forced to embrace an “imagined” cultural memory enforced by the government, the protesters against the Mubarak regime fostered a new set of identity concerns that exceeded the initial meaning of the Pharaonic images. The activists explicitly reform their cultural identity through vernacular memories. In the wake of the revolution, activists and artists alike continue to inspire a whole generation. The downfall of the regime was not their only achievement. They have changed the cultural identity content by bringing in the vernacular memories that were disseminated both online and offline. They employed the Pharaonic icons to represent a new structure of their cultural identity, namely resistance to tyranny and hegemony. This resistant dimension of cultural identity was not part of the ancient Egyptian icons. Therefore, these powerful representations reflect a cultural identity that unify the group and connect them with their roots. It is no surprise to realize the efforts that the government made to remove these memories, as the Egyptian government sees it as instigating revolt and not as a search for new powerful cultural identity.

  

Nataliia Tomenko

Visual Representations of the Roma Genocide

As a fact Roma people were classifying as "enemies of the race-based state" by Adolf Hitler during World War II, thereby placing them in the same category as the Jews. Historians estimate that between 220,000 and 500,000 Romani were killed by the Nazi Germans and their collaborators—25% to over 50% of the slightly fewer than 1 million Roma in Europe at the time. A more thorough research by Ian Hancock revealed the death toll to be at about 1.5 million. I am sure that Roma Genocide is a part of the history of each country and it has to be shown for mass.

At any rate, Roma museums and Roma exhibitions, which are part of state local exhibitions present real life of ethnic minority during the period of Roma Genocide with their own ethic culture, and to demonstrate their culture beyond stereotypes. Museums communicate their own particular interpretation of the Genocide via permanent exhibitions, as well as through publications and programmes of educational activities.

Often exhibition about Roma Genocide include portraits of individuals, histories of families and scenes from everyday life. Some permanent exhibitions are factual and artefact‐based, seeking to provide visitors with a coherent linear historical narrative. Others question the possibility of a single narrative or history.

Sometimes “classic” ethnographic exhibitions are supplemented with separate segments devoted to contemporary fine arts. There along with materials of the Roma Genocide, can present also art works of Survivors or modernist Roma painters about that horrible period. Also exhibiting of Roma Genocide can be permanent or portable, created by museum funds or Non- Governmental Organizations.

I took three main and well-done, on my opinion, exhibitions about Roma Genocide: The Permanent Exhibition in Heidelberg (Germany), The Permanent Exhibition in Auschwitz “Block13” (Poland) and the Permanent exhibition in Brno(Czech Republic).

Photo from The Permanent Exhibition in Heidelberg

First, the Documentation and Cultural Centre for German Sinti and Roma in Heidelberg is a research and cultural center which has the Permanent Exhibition aims to show visitors that a large part of German society as well as the state institutions of the "Third Reich" were involved in this crime of Roma Genocide. Exhibition has two parts: daily life of a minority on the one hand, and the persecution apparatus and terror on the other. These brunches related to one another in a way that creates a constant tension, which not only challenges visitors to reflect critically on the documents produced by the perpetrators, but also urges them to show empathetic understanding for the victims.

There are a lot of family photos serve as a constant reminder of the countless destroyed lives. Also there are memories of the genocide victims and a wall displaying with names of the more than 21.000 Sinti and Roma who were deported to Auschwitz-Birkenau, where almost all of them were murdered.

Photo from The Permanent Exhibition in Auschwitz

Second, The Permanent Exhibition “Block 13” at the Auschwitz-Birkenau State Museum was created as well as by the Documentation and Cultural Centre the new exhibition in Auschwitz in co-operation with designer Wieland Schmid. This exhibition is a part of large Auschwitz-Birkenau State Museum that is valuable by itself and shows that Roma minority was repressed by Nazi also. There are reports from survivors, family photos of people deported to Auschwitz. The photographs, documents and reports compiled by the perpetrators - testimonies of terror and industrially executed extermination - are contrasted with the biographies of the victims and the perspectives of those who were personally affected. This approach allows visitors to reflect critically upon the hostile and distorted images of the "Gypsies" presented by the Nazis.

Photo from The Permanent Exhibition about Roma Genocide
in the Museum of Romani Culture in Brno 

Third, the Museum of Romani Culture in Brno is a unique phenomenon on my opinion. There are just few museums of Roma culture of the world. As well as museum in Brno has generous exhibition of Roma history from start with separated sector about Roma Genocide which called “Le Romengero murdaripen – Holocaust”. There are a lot of photos on the walls of two different sides. On part consists of family personal stories, another one include collections of Nazi’ photos and sculptures of people’ heads from medical experiments. 

In conclusion, after comparing of various exhibitions of Roma Genocide, clearly shows that in this case it is something similar of concepts about presentation. In all three exhibitions displayed Roma people ‘as victims’ and the other one ‘as victors’. These two visions are based on the mentioned several times above, dimensions of Roma existence ‘as community’ and ‘as society’, as a community they were victims, as part of the society they are victors, who defeated Nazism. Between these two visions there is in fact no controversy, and in many cases they are presented in various combinations. On the other hand, exhibitions are going out from the frames of national museums of the respective countries, show something very important – personal history.

Personally, I have been just at the Permanent Exhibition in Auschwitz “Block 13”, which had big impact on my personality. I have seen people’ photos and staff of daily life and head pray voices which I will never forget. 

 Towards  a  dream  of   joint  festivals: beyond  nation-state  borders and  territorial  conflicts

                                                                                                                                                                          Lilit Manukyan

                                 In 2006 a group of Armenian and Azerbaijanian young people gathered 

                                   in came together in Eskişehir  (Turkey) and talked about peace and 

                                                               common life without a third party

" We must protect our cultural values from our muslin neighbors"

" Turks present the Armenian carpets as theirs"

“If you ask an Armenian what ‘dolma’ means in their language, they won’t be able to answer, it is a meaningless word"

These kind of statements are widespread in Armenia and Azerbaijan. The words " our own culture", "protect", "fight" are quite common. Because of the war cultural elements also become a "battlefield" for two sides.

 When I became a student in the Anthropology department I was fortunate to get thinking "tools"- theories, methods to better understand different cultural traditions and people no matter they are in conflict or not. I would always question to myself:  Are really traditions so separated and bordered?   What if a villager in Armenia has got skills of circle dancing similar to the one practiced in one of the Azerbaijanian villages? What if there is not one version of food-tolma (sarma) but many more ones practiced among many people?

My anthropologist professors would help me to confirm the belief that  in some cases there are more similarities among peoples' cultures and traditions than differences, that separate  national borders and flags don’t mean that all the other cultural elements are different, that cultural traditions of food making or craft skills can develop independently but have similar features.

Unfortunately, coming out from the anthropology institute I would hear completely other statements in public area- giving cultural traditions national belonging and excluding the other people to have similar traditions. Discussions  are everywhere: in social media, NGOs for preserving and protecting national traditions and even governmental levels. As I would learn from some young people living in Azerbaijan, the same atmosphere is there.

They influence on public beliefs and mood more than academics, e.g. anthropologists can do.

In this context what is the role of  international organizations, particularly UNESCO?

One of the main missions of this organization is to promote mutual understanding and piece building among different people and safeguarding free expressions of cultural traditions of all. 

Does it really encourage cultural collaboration between states in conflict?

As practice shows, the nominations of cultural traditions (intangible cultural heritage) are  state-based hence oftentimes resulting competition and "war" over cultural elements.

 Concerned by these thoughts I decided my thesis would raise the issue of intangible cultural traditions, their bearers-people who are in territorial conflict  and UNESCO with its missions of piece building and mutual understanding.

I would like this organization to be more sensitive to the issues that some people can be the bearers of similar culture but be in political conflict. That is why it should encourage joint nominations between countries having territorial disputes.  For me it is very strange that lavash- traditional bread has become UNESCO intangible cultural element twice:in the earlier case (2014) as a cultural tradition in Armenia, in the later case as a cultural tradition in  Turkey, Azerbaijan, Iran, Kazakstan,  Kyrgyzstan? (2016). Doesn’t it tell about a competition over this cultural tradition among those two sides?

Isn't it possible to create common platform within UNESCO and organize nominations jointly regardless national  conflicts?

Through my thesis I want to promote making changes in its policy, encourage joint nominations by people in territorial dispute. In this way UNESCO will become a platform where representatives of conflicting countries can collaborate and do joint work at the cultural heritage level.

Eventually, my dream is to see a piece building festival organized by UNESCO where the representatives of the countries in dispute will collaborate with each other and represent their cultural traditions around one table showing all the similarities and differences, acknowledging  that many cultural elements- food, crafts, etc., do not recognize national borders, and sometimes can be represented as belonging to one region but not country.

 I am sure those kind of initiatives and events will create a nice tradition of joint festivals and finally promote the discourse of mutual understanding and piece building among countries in conflict, create more tolerant attitude at least on the level of cultural traditional practices.

                                                 Lavash bread and baking traditions
                                                  in UNESCO Intangible Heritage List

 in Turkey     in Armenia

                        

                                                                                  in Azerbaijan

In the Search for a Bloody Brigand

Şahin YALDIZ
29.09.2019-Budapest

                Horrifying bandits. Uncontrollable rebels. Bloody bastards. Are they? Yes! They are! Whom are we talking about? I’ll tell a thorough story of them however let’s bore you with some historical aspect!
                Zeibeks, fearless social bandits of Western Anatolia. Some historians named them as the left-over of a prehistoric community in Western shores of Anatolia, some claimed that they were king of the seas in prehistoric times but dwelled deep into the mountains, some said that they came to Anatolia in the 7^th century from Central Asia, some said that they were the soldiers of lost Luwian culture. We are not sure about their origin however the only aspect everybody agree on is: FEAR.

A Zeibek from 1858

           

What did they do? We know that since 16^th century, they’d been dwelling on mountains generally with 12 membered bandit group. They were robbing the rich and giving money to the poor. They were investing on villages not to be betrayed by villagers. They were building fountains, arranging marriages, giving land to the poor. They were fierce killers at the same time. They were not contented with just killing the rich man, they were killing all the family of those rich people because they wanted to remove the small risk of the rich man’s 3-month-old baby’s growing up and coming back for revenge. They were amazingly brutal!

Most of their times they were fighting against Ottoman executives in the Aegean region. The pitiless taxation of the governors and corrupted behaviours of them were devastating the peasant. As a result, the peasant in the villages were supporting those Zeibeks and Zeibeks were fighting for their own personal interests and the peasant. They were sometimes used as mercenaries by Ottoman Empire. To give an example of their brutality and greatness at guerilla war I’ll give an example. There was a war in 1853 between Ottoman Empire and Russian Empire. Ottoman was so desperate that they sought the help of Zeibeks. When they went to that war in Crimea and the chief commander of the Ottoman army ordered: ‘One who brings 10 head for me, can go back home.’. The day after the war begin, some of the Zeibeks were coming back home already… They were everywhere, they were nowhere. The name of Zeibek meant “being the king of yourself” for some Zeibeks. This banditry tradition ended around 1930-1940.

A Zeibek from the beginning fo 19th century

They had also their unique dances called with the same name: Zeibek dances. I’m that dance’s instructor also a folklorist loving collecting stories, songs and dances about those Zeibeks. Since my childhood I’d been hearing stories about a zeibek named Murad of Çavdar however everybody was praising him. He was the best, he was helping everybody, handsome, great gunman etc. While stories of Murad begin with the great achievements, he had those stories in a while evolves into something horrifying and every storyteller begin to tell about a guy who is evil. However, the inclination for the bad had already started in Anatolia waaay before Joker, Hulk, Suicide Squad. When you name bad, this guy deserves that adjective. Who is that bad? Hüseyin the Little. Okay okaaaay. Are you lost? Don’t! With some examples I’ll make you understand who the hell those Murad and Hüseyin are?
                As I mentioned I love the stories about them. Since I first heard stories about them I wanted to go for the villages that I could seek their traces. Did I find? HELL YES!

For nights and days, I went to those villages where those two acted as bandits, I’ve found psychopathic stories.

“He is an amazing musician. There is not any better musician on the instrument of baglama. While he could play it with one hand, with other hand he could engage in skirmish. Let me tell you a story that really happened. One day Hüseyin the Little was staying at home playing his baglama. The two wives of him were knitting. He loved them really. While he was playing the instrument, with other hand the pointed his rifle to one of his wives and shot her fron her arm. She screamed as if she was dying the other wife went to get some already boiling water. Huseyin waited her bring the water but when she was about to clean the wound with that water, he left his instrument and began to beat the wife who brought water. Do you know why those happened?’’

A classical depiction of a Zeibek

I was so curious about the answer because all the process was meaningless. A loving guy shooting one of her wives and beating the other. Why?

            

       “Because he wondered what her older wife would do if one day, he comes home wounded. He shot her to use as an example. Do you know why he beat the other one? Because she should have helped with cold water. “

                “While he was riding by a coffee shop, he shot a man who did not look at Huseyin. He should have looked at him and be terrified by his presence.’’

                “He burned this olive oil factory because the owner did not want to give him some money.’’

                “He buried more than 1 ton of gold in the mountain.”

        

       This infamous guy got lost for 30 years after his brother Murad of Çavdar’s death due to a fault of Hüseyin the little. Nobody knew nothing his whereabo
uts. This 30 year is between 1918-1948. Huseyin was 23 when he got lost. During my search I met with a really old grandpa. He was 110 years old when I talked with him. Huseyin the Little was his uncle so let’s hear his story about Huseyin the Little:

                

Beşparmak (Latmos) Mountains where Huseyin the Little and Murad of Çavdar were brigands.

          ‘’My mom was about to give birth to me. It was her 8^th month of pregnancy. However, if I would be born my uncle would have to share the inheritance with me. So, he tried to chop my mother’s belly with an axe. However my mother did not die and gave birth to me. Before he got lost he hid some of the golds he stolen under the stairs. Behind each stair step a huge box of gold was hidden. We wanted to renovate the house but one morning when we woke up, we found out that all the workers working on renovation had gone. We learned that they became rich and they sent us a small amount of money for this treasure.’’

                          After finding this old man, this Huseyin the Little’s physical appearance became a wondrous curiosity for me, so I began to search for some hints about his appearance.

                

                “He was two meter high.”

                “He had amazing moustaches on a horrorful face”

                “He was like a monster.”

                

          While building an image on my mind I got a phone call from Huseyin the Little’s grandson. He invited me to his shop to have some tea and talk about Huseyin. I went there and began listening the same stories. However, there was a new story I did now know. His reappearance in 1948.

               

            “I was playing in the garden. I was 9 or 8. An old guy came. Asked my name. I said my name is Murad. ‘Oh, my brother’s name.’ he said. He got a branch from the lemon tree in the garden and began to draw some triangles and unknown shapes and ordered me to show this to my grandmother (that he shot). I said okay. He took me to the mountains with his horse and showed me a huge rock. He said ‘I managed to hide a ton of gold inside that rock. Don’t forget this rock, the only way to get is to destroy it with a dynamite. Don’t forget this rock Murad! I can’t show no one else than you. Don’t tell anything about this rock to anybody! I’ll leave you next to house and show the signs I made to your grandmother.’
             He left me home and I asked my grandma to come to garden. At the moment she saw the signs she began to scream: Come on! Help us! The devil has come back! He has come back! The monster is here! He is not dead! He is here! Call the army! Not the police! Call the army! He is gonna kill all the village! Neighbours! Come here come and help! Heeeeelpppp! In a moment the news scattered all around the village. Hundreds of people gathered from nearby villages and until the midnight thousands of people came from nearby cities. He’d went into the garrison to surrender for the murders he committed (more than 100-150) and for being a zeibek. Thousands of people were waiting to see him. The chief commander told him that he could not arrest him because he had committed those murders in the time of Ottoman Empire. Now there was a new state. So he let ‘the monster’ go. When he step out of the garrison there was an amazing silence. Our heartbeats could be heard. He walked slowly among the thousands to the mountains. a guy came up and punched Hüseyin the Little in the face. This guy screamed: You are not a zeibek. You are a fucking killer! Hüseyin did not say anything and continued to walk to the mountains. That was the last time people saw him. However, there is something which I keep remembering him. A photograph of him. Would you like to see?’’

Years of curiosity was about to end. It ended with that:

Huseyin the Little (in zeibek costume)

Is he a monster? It does not look so huh?

The Mbira, Cello and Hate Speech Monologues

When the stage is your preferred home, it quickly finds you. Exactly two weeks from the day I arrived in Budapest, I joined an event dubbed "Hate Speech Monologues that Turn Prejudices to Love".  Conceived and directed by Peter Malnor, the event took the form of story telling theater. It was an artistic counter-speech to prejudices, "hate speech" and discrimination. Interesting to note that this was the last of such events when all Central European University (CEU) students are in Budapest.

I never planned to be part of this event. It so happened that the day before the event, I met Melissa. Melissa is a student at CEU. She is from Zimbabwe. It was the first time I was meeting Melissa. With the little time we spent together, she found a way of making me to reluctantly agree to be the guy that gets to play the mbira at the event. The mbira is a traditional musical instrument from back home. I am certain its found in Zimbabwe, Zambia and Malawi. Called by different names. I dont know about other countries in Africa.

The Mbira.

While we had a team of speakers to do the monologues, I was only going to sit there and play the mbira. The only problem was that I had never played it before. Well, I did but not in front of people. As a performance. I had played it a few times and I came with one but clearly I was not ready for this.

The great thing is that I had these great people around me who were so supportive and thought I could actually do it. I was the only one to play music. I was joined by another musician who was going to play the cello. That eased up things. "We now have someone who can actually play something", I said to myself. Well, she was definately good at playing the cello but she preferred me taking the leading role. I was still in for it.

I did play it. Made the sound and played the drum part of it. It went as it should have. Even more exciting was that we could have the mbira and cello on the same stage. Two different types of instruments from two different continents share the stage and make music together. Music made by two people who just met. Nora was great. She continuously talked about how I just needed to enjoy the music and play. And so I played.

Nora and myself

The highlight of the night were the speakers. They shared their experiences and challenged hate and prejudice. Listening to each and every one of them, I was inspired and reassured that I was in the right place at the right time. By the way, Will Smith was right around the corner dancing the city away on his birthday. Would I do this one more time? definitely! The night brought together four continents on one stage. An amazing way to celebrate your two weeks in Budapest and help to spread love and not prejudice😆 

Here is to more weeks of music, monologues and sharing love in Budapest

Four continents. One stage. 

By Suzyika Nyimbili

Pharaonic Symbols during the Egyptian revolution of 2011: Vernacular Memories or more?

Zeinab Abdelhamed

Mahatma Gandhi once said:  “A nation’s culture resides in the hearts and in the soul of its people”. In recent years, much debate has been stirred over the redefinition of nations’ culture in the modern age, especially after uprisings and revolutions. As a person with history of art and architecture background I was amazed to see the graffiti with these pharaonic symbols during the revolution in Tahrir square.  I wanted to examine to what extent the Egyptians could redefine their cultural identity through vernacular memories in light of the 2011 Revolution.

Egypt has much written about its history and its culture identity. Throughout this consecutive timeline of enormous history, Egyptian cultural identity has changed considerably. Egypt has been through a wide range of historical eras and every phase of these periods affected Egyptian cultural identity and formed it. These transformations were embedded in the layers of Egyptian cultural identity, especially after the decline of the Ottoman Empire and during the Post-colonial Egypt. These moments all deal with the period when Egypt as a nation was born. Beneath the surface of the modern Egyptian community there were many attempts to impose a certain cultural identity that connects the people with a fabricated victory (6^th October war) and prestige and to conceal the roots and the connections with the ancient historical cultural identity. Thirty years after the war, with a fragmented identity Egyptian activists reconstructed cultural identity through their vernacular memories. In other words, the graffiti of the Egyptian 2011 Revolution can be read not only as mere registration of the events of the revolution but as a means to reconstruct cultural identity in a time of political unrest and change.

There is a distinction between the official memories and the vernacular memories. The Egyptian vernacular memory (graffiti) was done to recapture an acknowledged heritage in the representation of the Pharaonic icons. Basically, the graffiti on the walls of Tahrir square was pivotal in reading many signals about cultural identity in the layers of the minds of artists and activists. The graffiti displayed on urban buildings in Cairo are examples of how the Egyptians managed to find new channels of belonging, bringing back scenes from the ancient past to enable participation during the events of the present.

Through a comparative approach of two sets of visual materials I will analyse the scenes in more depth and read the signals from the photograph and its implications. The first comparative analysis concerns memory cultures that represent the same ancient image: The Nefertiti bust and Nefertiti in the gas mask (see Figure.1) the authentic sculpture of the queen currently displayed in the Neues Museum in Berlin (2019) is one of the most famous works of art in Egyptian art history. Nefertiti was the great royal wife of the Egyptian Pharaoh, Amenhotep IV, later known as the pharaoh Akhenaten and step mother of the boy king, Tutankhamun. 

Figure 1 The Nefertiti bust

 It has been the subject of an intense argument between Egypt and Germany over Egyptian demands for its repatriation, which began in 1924 once the bust was first displayed to the public. The original artifact represents the Egyptian queen Nefertiti who symbolizes feminine strength and grace. Although the artifact is an identity marker for many Egyptians, and at the same time it is considered as a significant part of the national cultural heritage, the statue of Nefertiti is also claimed as part of Germany’s museum culture. Yet, for Egyptians the icon of Nefertiti and its cultural memory continues to signify national cultural identity. Although the physical artifact (the Nefertiti bust) is no longer present in the material culture of the Egyptian heritage.

In light of Nora’s theory of Les lieux de mémoire 1989 “Where memory crystallizes itself has occurred at a particular historical moment, a turning point where consciousness of a break with the past is bound up with the sense that memory has been torn-- but torn in such a way as to pose the problem of the embodiment of memory in certain sites where a sense of historical continuity persists” (p.7) In other words, while the physical “place of memory” (the bust( is no longer part of Egyptian material culture and cultural heritage, the non-physical Nefertiti icon continues to reverberate as a cultural, vernacular memory and identity in contemporary Egypt.

Moving on to the Nefertiti stencil by the Egyptian artist and activist, El Zeft, (See Figure 2)the graffiti depicts the queen ready for battle wearing a gas mask. The vernacular memories of Nefertiti continue to be materialized in contemporary cultural formats (e.g. Graffiti). The icon of the feminine strength and grace or beauty was employed by revolutionaries during the Egypt revolution in 2011.

Figure 2 Nefertiti in a gas mask

Both physical and online walls on Egypt have been covered with graffiti and stencils that displayed Nefertiti with a gas mask. During the revolution this symbol inspired for many Egyptians who considered that they had to identify once more with their cultural heritage to overthrow tyranny by employing the tropes of vernacular memory and redefining the Egyptian cultural identity. The comparative analysis of the two cultural memories of Nefertiti demonstrate that artistic, vernacular memories of the ancient Egyptian Queen fostered a renewed Egyptian cultural identity that employed the historical symbols of beauty and strength to political ends. The icon of Nefertiti exceeds the boundaries of a mere art/historical artifact and played a leading role in leading Egyptians to identify themselves with their ancestors in a quest for freedom and strength.... To be continued. 

My Two Years in Little Kőszeg by Nasser Al-Hamdi

Before my traveling to Hungary, I was wondering to know more about the twon where I would be studying for two years. Kőszeg, “The jewelry of Hungary” “the ancient and Romantic town” “wonderful architecture”. Those results showed up on my laptop screen, I got excited to travel and to be there as soon as possible. When the travel date was set, I packed my bags immediately and I flew to Hungary.

I arrived in Budapest first, then I took the train to a town near Kőszeg which is called “Szombathely”, and another train was waiting for me to take me to my final destination. The Kőszegi train was an old man, and I could feel the trembling of the railway during our way to Kőszeg. “Wow”, I said to myself “it seems Kőszeg is welcoming me!” finally, I arrived at my destination, the train station in Kőszeg.

I passed the bridge that split the Gyöngyös brook which is located in the south of the town. I wanted to reach the town center of Kőszeg where my place is close to it, and I had to walk 1.2 km of the long and straight Rákóczi Ferenc Street. I barely reached to my residence to get some rest after long journey, when I went to sleep, I was thinking about how is the living in Kőszeg is, how big it is, architecture, attraction sites, and people.

First Impression 

The first impression that Kőszeg is a historic town surrounded by Alps hills and forests, it is also very close to the Austrian border, nearly 30 mins of walking to reach the first Austrian village “Rattersdorf”. The weather is unpredictable, and that is attributed to the Alps Mountains, especially during the spring and summer seasons. I enjoyed the western winds which transfer fresh, alpine air to the town which is located far from industrial pollution.

Small, people, and the English language barrier

Two years are too much to live in Kőszeg because it is a small town, the entertainment places cannot be found, except for some bars. I think that is how Kőszeg has been preserved as a heritage town and kept it far from modern influences. Often, I felt very bored not just from the lack of entertainments, but I could not know more people and make friendships with local people because the majority of them in Kőszeg do not speak the English language. Also, it can be noted that people in Kőszeg are old or very young, the youth people are very rare, and it is difficult to meet people like my age.

Architecture

I was admired with the sights of old architecture houses on both sides of Rákóczi Street. The dwellers in Kőszeg are distinguished by its three dominant colors: orange roofs, and white and yellow walls. The architectural character of the Inner town is the Renaissance and Baroque architecture, and as I walked inside the town, I went back in time to the 17th and 18th centuries.

Orange, white, and yellow

Events

I was amazed by the performance of participants in “Siege Days of Kőszeg” event, people in the town were participating as well, and the enthusiasm was dominating the participants in the virtual battle. It began with the sound of rifles and old pistols, and it can be heard in the whole town. For the first time, I thought something serious is happening in Kőszeg, but I discovered that was just a show performance. When the actors moved to the castle of Kőszeg, the “Ottomans Players” started to fire the castle with cannons. There were very strong sounds, I thought it was real, but actually, it was fireworks and they but it inside these cannons. The defenders succeeded to protect their castle form the invaders. But, in my opinion, in this event, they introduced the ottoman people as a barbaric and savage! In the end, it was just a play.

Siege Days of Kőszeg

Another event that I was impressed by was the “Mardi Gras”. People on that day dressed masquerade clothes, and we gathered at the main square, and then they took a walk around Kőszeg to show their masquerade clothes. After that, they danced with a piece of traditional music under the snowfall. Despite they were shivering because of the frost, people kept celebrating, drinking hot wine, eating a lot of food, and dancing all night. It was a really amazing day.

Attraction sites

Despite being a small town, Kőszeg has several wonderful attraction sites and museums that can be visited. But, some of them do not have information in the English language. Here, I will show some sites that I have been there.

In the middle of the main square, the Church of Jesus’s Heart stands among the buildings, it is an architectural a masterpiece in gray and beige color, and the simple of Aesthetic Ratio and architectural design is very magnificent. Inside the church, dim lights, silence and high roof dominate the person, feeling a sense of submission and apprehension.

Church of Jesus’s Heart

Suleiman Tour overlooks the town and the hills, with a panorama view to all sides and refreshing air. The most specular moment is this site when the moon starts to rise up from the horizon. There are two roads to get there, the short one that takes about 15 minutes, and there are many steps to reach the tour, the steps are made from wood, it needs maintenance because they are deteriorated.

Suleiman Tour 

Near from Suleiman tour, there is Calvary Church which is trying to hide among the forests, and it also overlooks Kőszeg, and with panorama view to the hills and the borders with Austria. It is a good place to get rest of hiking. It is arranged with stove and some benches, and it would be an appropriate place to make a barbecue, enjoying the wine sips besides the vines of grape fields.

Calvary Church

The more interesting and attractive place in Kőszeg is the Jurisics Castle Museum, it is an old moral symbol castle for Hungarian people because it was under the Turkish siege in 1532, and the Kőszeg’s people and some armies form neighbor countries led by Miklós Jurisics succeeded to expel the invaders. The castle has a beautiful entrance, with two exhibitions, one of them is permanent and the other is temporary. I admired the renovation inside the castle, it is a combination between the old and modern architecture style. The tangible monuments can be found inside the castle with modern display modes for visitors to understand the artifacts and contents. The intangible can be experienced such as the landlord's table, kitchen, armory, playground, and a 3D Monitor to show the history of Magyar.

Jurisics Castle

Also, there is an ecotourism attraction, with large spaces of forest stretch from Kőszeg to this hills region which called Nature Park. Nearly 15 km of hiking to reach the highest point from Kőszeg, and the Iron Curtin between Austria and Hungary is located at this highest point which is called ÍROTTKŐ. I went with a Hungarian tourist’s group to that region because it is the first time that Hungarian and Austrian people meet at that place for enjoying the spring season, and they organized the choir, tourist Information, souvenirs, and food. It is a really magnificent place to take panorama views for Austrian and Hungarian territories, and to meet new people from both countries.

ÍROTTKŐ

To see Kőszeg from a different perspective, I visited the Tower of Heroes, which is located in the middle of the town, I saw the whole Kőszeg form all the directions, I can say that it looks very different, it seems like I am in another town. But if I want to go up to the tower, I have to pass the General House, which has a small museum for all the history handicrafts industry in Kőszeg, and I was amazed by how they preserved the legacy of masters who had lived and worked in Kőszeg, and their objects which could be connected to people who had been living and working in Kőszeg.

Tower of Heroes

I have lived in Kőszeg for more than two years, I had lovely moments with my classmates and new few Hungarian friends, hanging out at Eleven Garden bar, drinking at Suleiman tower, and making barbecue at Calvary Church. I am going to miss the snow, autumn leaves, spring breeze, and summer heat times in Kőszeg.