Veszprémic Archer Dance

Veszprémic Archer Dance (Hétumoger: Veszprémi Íjász Tánc, sometimes referred to as the Hétumoger Archer Dance or simply the Archer's Dance) is a popular folk dance that originated from the Veszprémic people during the Confederation of Hétumoger that was credited to the Veszprémic Nobility. Shared between the Hétumoger and Lushyods, the dance originates as a folk dance that is preformed in a meeting between soldiers and nobility after a victory. The name "Archer's Dance" originates from the Veszprémic Circle, as Veszprémic horse archers would circle dance with their hands held after a battle.

The Archer's Dance is typically preformed with a Líra playing by a person hoisted on a chair, typically the horse archer that had the most kills. Four horse archers would hoist the chair, and slowly walk in a circular motion. Several layers of circles consisting of horse archers would chain together, the way they would depended on which layer they were in. The horse archers turn opposite of the layer is turning in front of them, to the rhythm of the Líra at a relatively fast pace. The Archer's Dance was extremely complicated, which made itself unique as a circle dance that only Veszprémic horse archers and nobility preformed.

The Archer's Dance is preformed with battle clothing on. The Archer's Dance is considered part of Hétumogerian culture and as one of the most important dances within Hétumoger's culture. During the First Kingdom of Hétumoger and the split between the Hétumogerians and Lushyods, the Veszprémic people and nobility were split between the two, and as such is also considered apart of Lushyod culture.

History

The Veszprémic Archer Dance originated with the Veszprémic people before the Unification of Hétumoger as a distinct part of their culture. After the unification under János I, the Veszprémic Archer Dance was documented by the Mária Csák in detail. After the invasion and defeat of the rivaling Miklósian people in a battle, Mária described the celebrations of the Veszprémic horse archers in detail. This is the earliest account of the dance itself and how it was preformed in 352 B.C. The dance was preformed by both men and women, mostly by men since men made the overwhelming majority of horse archers.

The archer dance spread out through Hétumoger during the First Kingdom and the aforementioned split between the Hétumogerians and Lushyods. It retained its popularity and became more widespread than it had before, but remained unchanged from its origins. The archer dance started becoming part of a general celebratory dance, and is now one of the Hétumoger Noble Dances.

Preformance

The Veszprémic Archer Dance is a surprisingly complicated dance that is organized, as opposed to done on the fly. Typically planned alongside the rest of the celebration during the day, the dance itself consists of at least three circles, organized to be larger as it goes out. The inner circle includes the líra player and their hoisters. The use of a chair is a modernist evolution of the dance, as it used to be preformed without a chair in the first place. Originally, the hoisters would hoist the líra player by their legs either by holding them with their hands or resting their legs on the hoister's shoulder. They then start slowly walking in a circle, looking away from the líra player.

The first circle would circle opposite of the inner circle. They would stomp on one foot, typically the right, to start the dance. Afterwards, the second circle would begin got gallop opposite of the first circle. This was meant mimic the motions of a horse galloping. The dancers of the second circle always holds hands, while the first circle may or may not hold hands. Sometimes, the first circle will interlock elbows while stomping. The first circles always look up at the líra player, while the dancers of every other circle look straight. As the circles begin to gallop, the circles attempt to sync with the beat of the líra player.

Occasionally, the circle holding of the second circle is replaced with grabbing the shoulders or waist. This sets the standard for all other outlying circles. Another occasion is that the líra player would be accompanied with a singer, typically a male. The singer would sing along to the líra player and would be hoisted on their own inner circle. This only changed the size of the circles.

The líra player will typically songs at a slower pace, typically ones to match the graceful galloping of the second and onward circles.

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