Throughout this book, I have been examining the ways in which history was used and historical figures thought about in Mongolia during the late twentieth century. Images of people like Chinggis Khaan were used in an attempt to construct different conceptions of what it meant to be a Mongol. Ladislav Holy has observed that “nationalism is a discursive agreement that history matters without necessarily agreeing on what it is and what it means” (1996: 13). From the earliest days of il tod and öörchlön baiguulalt in the late 1980s, this has been clear. This was thrown into even sharper relief during the democratic revolution itself as the protesters and MAHN attempted to gain the symbolic upper hand through the use or rejection of symbols freighted with historical and national significance.