Memorabilija efemernog spektakla iz 1867. godine: „Pozdrav Njegovoj Svetlosti Mihailu M. Obrenoviću III knjazu srpskom” iz Jevrejskog istorijskog muzeja u Beogradu

Abstract

U Jevrejskom istorijskom muzeju čuva se retka dinastička memorabilija koja dokumentuje odnos jevrejske zajednice, čiji najuticajniji predstavnici žive u Beogradu, i kneza Mihaila Obrenovića u vreme njegove druge vladavine. Panegirik knezu Mihailu sastavljen je dvojezično na hebrejskom jeziku u srpskoj transkripciji uz uporedni prevod štampan zlatotiskom na beloj svili prilikom kneževog odlaska u Carigrad 1867. godine. Jevrejska zajednica pridružila se njegovom ispraćaju, svojim za tu priliku osmišljenim efemernim spektaklom, konceptualno i performativno se nadovezujući na slične javne svečanosti obrenovićevske Srbije šezdesetih godina XIX veka. Nakon oficijelne svetkovine u čast polaska kneza Mihaila u posetu sultanu Abdul Azizu, na dunavskim marginama jevrejske Jalije organizovana je „dopuna svečanosti” koju kao zaseban performans priređuju beogradski Jevreji shodno svojoj religioznoj i kulturnoj tradiciji. Tom prilikom jevrejska zajednica javno se manifestovala kao jedinstveno podaničko telo odano knezu ali i svom jevrejskom identitetu.

Rare dynastic memorabilia is kept in the Jewish Historical Museum, documenting the relationship between the Jewish community, whose most influential representatives live in Belgrade, and Prince Mihailo Obrenović during his second reign. The panegyric to Prince Mihailo was composed bilingually in Hebrew in the Serbian transcription with a comparative translation printed in gold print on white silk during the prince's departure to Constantinople in 1867. The Jewish community joined his farewell, with its ephemeral spectacle designed for the occasion, conceptually and performatively building on similar public ceremonies of Obrenović's Serbia in the 1960s. After the official celebration in honour of the departure of Prince Mihailo to visit Sultan Abdul Aziz, an "addition to the ceremony" was organized on the Danube margins of Jewish Jalia, which is organized as a separate performance by Belgrade Jews according to their religious and cultural tradition. On that occasion, the Jewish community publicly manifested itself as the only subject body loyal to the prince, but also to its Jewish identity.