Love Archaeology Magazine, Issue 1, Winter 2011 by Love Archaeology

Arctic Adventures

years of Archaeology at

Morgana McCabe General Editor

Adrian Maldonado Deputy Editor

Jennifer Novotny Design and Prodution

(or General Dictator as she is

Adrian recently finished a PhD in

Jen Specialises in the Archaeology

sometimes known) Morgana’s PhD

Early Christianity at Glasgow, and

of Conflict and Violence, which

is on witchcraft but she does not

is now busy lingering like a bad

often leaves her feeling conflicted

practice it.

smell in the Postgrad Room.

and violent.

David Watson Design and production

Rebecca Younger Copy Editor

Ryan McNutt Design and Production

Dave is an Architect specialising

Becca is a caffine-addicted,

Ryan’s PhD research focuses on

in building conservation and

henge-obsessed, PhD student at

Conflict Archaeology, and is mas-

restoration. He once dreamt that

Glasgow University

ter of Archaeology Berserkergang,

he was a building.

specialising in Bear-Fu.

Amanda Charland Design and Production

Paul Edward Montgomery Copy Editor

Terence Christian Design and Production

Amanda’s PhD is in Crusader

Paul is interested in Vikings and Pub-

Terence’s PhD specialism is WWII

Castles. She enjoys long walks

lic Archaeology. Oh, and bears.

air wrecks. Simultaneously, he

on the beach (i.e.her sites) and

has found the boggiest and most

rubbing elbows with A-listers in

remote places in Scotland.

posh Jerusalem hotels.

Amy Gooda Design and Production Editor Amy doesn’t have a PhD and knows nothing about Archaeology. On the upside, she has a background in design and publishing and loves magazines.

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Love Archaeology

t Love Archaeology we believe that archaeology is about more than the past: we want to help people see the archaeology in everything. We wanted a fun, smart magazine dedicated to all things archaeological, but that was not a slave to them: somewhere you could showcase new research, apply archaeological ways of thinking to contemporary film and TV, and share all those hilarious jokes that only archaeologists really find funny. We couldn’t find one, so we just made something up. You’re welcome.

intended) department it continues to be today. As a counterpoint, we also go around the world examining extinction in its many guises, from the demise of the Great Auk to the crumbling of modern buildings.

We would love for this magazine to be an open forum. Sure, it’s run by Glasgow postgrads, but think of us as a clearinghouse for your awesome stories and new ideas. We plan to publish online twice a year, and would welcome contributions from...well, anyone who has something interesting to say, whether To celebrate the birth of our shiny new undergraduate, postgraduate, museum staff, magazine – and the fiftieth birthday of our academic, archaeologist or (especially) nonhome department! – we decided our first issue archaeologist! should be about birthdays. Birthdays...and extinctions, because what do birthdays make The Love Archaeology pixies are already busily you think more of than your inevitable demise? planning Issue 2 (and not only because it helps Yes, for our very first issue, we decided to tackle us procrastinate from writing our theses...!). the very essence of the human experience: We will return in Spring/Summer 2012 with an birth and death. We are aiming high as we fully issue on the theme of ‘The Four Humours’ (and expect all forthcoming issues to be a crushing other bodily, eh... “functions”). If YOU have disappointment. See? Archaeology is also about any tales of archaeological blood-and-guts (and bile and phlegm and poo etc) to share, the future. You’re learning already. Love Archaeology would be delighted to hear Our aim is to challenge you to think of things, from you. No, really, we would. Although that and, occasionally, stuff from an archaeological probably says more about us than it does about perspective. With 2011 marking the 50th you...Meanwhile, we hope you enjoy this first Birthday of Ken (sorry Barbie, for giving away issue of Love Archaeology your age) we bring you Barbie and Indiana Jones (a sprightly 30 this year), as you’ve Truly, never seen them before. We take a look at the life of our 50-years-young department so far, The Love Archaeology team charting its development from a few courses cobbled together from other disciplines into Email us at lovearchaeologymagazine@gmail.com the vibrant, ground-breaking (pun very much or visit our website at lovearchmag.tumblr.com

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Love Archaeology

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The Annual Folk Life Conference, 2011 :

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below: delegates embark on a tour of Newcastle

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Love Archaeology

A department is born During discussion on the future of the Faculty of Arts in 1958-9, Professor Ronald Miller (Geography) suggested that formal teaching of archaeology had been neglected for far too long in the University, though there was a long tradition of scholarship and the collection of the Hunterian Museum were available. A committee was formed to investigate possibilities, and eventually I was seconded from Geography to coordinate the contributions which were possible from Geography and other departments, and from the staff of the Hunterian Museum. Dr. John Corcoran was appointed as a Lecturer in Archaeology from the extra-mural studies department of London University. Formal teaching began in October 1961 in a very general course in Archaeology as recommended by the committee set up by the Faculty of Arts; there were seven enrolments, students being restricted to those of at least one year’s standing. The Ordinary class was at first referred to as ‘Prehistory’; the Higher Ordinary was ‘Historical Geography’. Those students proceeded to take the honours classes and graduate in 1964, one of whom Mr. Alexander Morrison, was awarded first class honours in Geography with Archaeology. The late Professor Terence Powell was the first external examiner. Mr. Morrison then spent a year art the University of Freiburg, as an exchange post-graduate research student. During the early days, excavations directed by Dr. Corcoran were carried out from the Department in the chambered tombs at MidGleniron in Wigtownshire and at Loch Calder in Sutherland. I was superintending work at the

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deserted township of Lix in Perthshire, Rosal in Strath Naver, at the medieval settlement at Loch Glasham [sic] in Argyll, and at hut-circles in Sutherland. It was not until 1964-5 that the Department was formally separated from Geography, and I became lecturer-in-charge. In 1966 we moved from old premises in the Divinity corridor (near Geography) to 9 Lilybank Gardens when, for the first time, we were allowed a fulltime secretary and a part-time cartographer. Mr. Morrison joined the staff, and then Miss Helen Parker was appointed as medieval archaeologist. One of her major commitments was to keep watch on developments which were planned by the City of Glasgow in the area of the old High Street, and to organise excavations when possible. Miss Parker resigned on her marriage and she was replaced in October 1968 by Mr. Eric Talbot from the University College, Cardiff, via Kings Lynn, where he had earlier succeeded Miss Parker. Meanwhile, a new Higher class had been organised with a strong emphasis on Medieval Archaeology. New honours degrees with History and Scottish History had come into being. Numbers were approaching a hundred in the Department as a whole, including two to four honours students each year, and the occasional post-graduates from other universities began to arrive. Work, too, commenced during 1966 on the broch and settlement site at Crosskirk in Caithness. One of our helpers was Mr. Andrew Gibb who subsequently obtained a first in Geography with Archaeology, and was appointed to the staff of the Geography

Euan MacKie, author of the first PhD thesis accepted by the department, former curator of the Hunterian Museum and Research Fellow of the department, digging at Mayan Xunan in Belize, 1959.

department. Dr. Corcoran was excavating the chambered tomb at Lairg during the period. Another post-graduate student, Miss Jean Burns, was awarded the degree of B.Litt. for a thesis on torcs and was later appointed ExtraMural lecturer at the University of Newcastle upon Tyne. The next major stage in development began in 1970-1 when Professor George (Geology) suggested in the Senate that classes in Archaeology in the Faculty of Science should be investigated. After much discussion, especially with Professor George and Professor Burnett (Botany), a course was drawn up for an Ordinary class, with a strong emphasis on environmental archaeology, and we regarded the syllabus as a very interesting experiment. Help was made available from Geology (Dr. Jardine), Botany (Dr. Dickson), Anatomy (Dr. Young) and Zoology (Dr. Norton). Laboratory work, with access to the Hunterian collections, was organised on a scale never before possible. At this stage, the first Ph.D thesis was accepted

from Mr. Euan Mackie; he surveyed the broch and the wheelhouse building cultures of the Northern Iron Age. The expansion in the scope of the Department, with several new honours combinations with Arts, as well as the Science class, opened up new possibilities but made more urgent a general reorganisation. By now, I personally was looking forward to retirement and leisure to write a detailed report on the Crosskirk excavations just completed, and it would have been unwise to make far-reaching decisions for the Department at this late stage. When I retired in 1973, Leslie Alcock, Professor of Archaeology at University College, Cardiff, became the first Professor of Archaeology in the University of Glasgow

Reprint of [Horace Fairhurst], â&#x20AC;&#x153;The Department of Archaeology in the University of Glasgow,â&#x20AC;? Barrow: Glasgow University Archaeological Society Magazine 2, 1975/6, 7-9.

Love Archaeology

ÂŠ Bill Hanson

Selected titles from departmental staff 9

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Elginhaugh

The most completely excavated timber Roman fort in the Empire. Discovered in 1979 using aerial photography. Excavation took place in 1986-7, led by Prof Bill Hanson.

Love Archaeology

Pam Graves, now Durham University, and Nick Aitchison in the 1980s postgraduate room.

ÂŠ Brian Kerr

Leslie Alcock (1925-2006), Professor at the department from 1973-1990.

Junior Honours students resting in a hollow way near Butser, 1978 (dog not an honours student).

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Students use sticks. And yes, that is Prof Bill Hanson on the left. Butser ancient farm, 1979.

Prof Bill Hanson cleans the ditch of Mollins Roman fort with the help of Niall Sharples (Cardiff University).

Students carry sticks at Butser, 1979.

Niall Sharples crosses the trench at Mollins.

Love Archaeology

Forteviot

ÂŠ SERF

Archaeology at the University of Glasgow today. Under the watchful su

Kenny Brophy (Glasgow University, right), the capstone is lifted from off t as part of the ongoing SERF project. 13

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upervision of lecturers Dr Gordon Noble (Aberdeen University, left) and Dr

the Bronze Age dagger burial cist at Forteviot fieldschool, Perthshire 2009, Love Archaeology

All images this page © Centre for Battlefield Archaeology

The Mont Saint Quentin team, 2011. From left, Ryan McNutt, Iraia Arabaolaza, Iain Banks, Fiona Jackson, Jen Novotny and Tony Pollard.

Excavations at Stalag Luft III, Zagan, Poland 2011

Ryan McNutt at Mnt Saint Quentin Day 4

WWI Pvt Harry Willis’s medal (right), found at Fromelles, 2008

The Centre for Battlefield Archaeology 15

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The Birthday Event © Joss Durnan

Training up the next gen archaeologist © Joss Durnan

Dr. Kenny Brophy puts his best face forward

The wicked birthday cartoon

The lesser known Foam Henge

Roman Empire biscuits, stratigraphy trifle and more, including the prize wining Time Team Cake Love Archaeology

Fast forward fifty years and the picture is a very different one: Archaeology students number in the dozens at Honours level and even by the hundreds in first year; there are now over a dozen permanent staff as well as several temporary research fellows. Most of all, there is a thriving community of several dozen postgraduate students taking taught Masters courses or engaged in doctoral research â&#x20AC;&#x201C; and the present magazine is very much a testament to their enthusiasm and commitment. Beyond numbers, it is not just contrasts that stand out but interesting similarities and possible continuities may be glimpsed. The Gregory Building embodies this nicely: on the one hand, the scenery of the floors occupied by Archaeology staff and students today could hardly be more different from that of the offices in the main building (the so-called Divinity corridor), where the first members of staff were based; but at the same time, the Gregory Building is the second location on Lilybank Gardens that has been home to the Archaeology Department. In the intervening years of the 1980s and 1990s, archaeologists held office in the rather more grand premises of 10, The Square. Intriguingly, the material and locational vagaries of Archaeology on the Gillmorehill campus find a match in its institutional vicissitudes: as Horace Fairhurst wrote, Archaeology began academic life as a section within Geography and only became an independent department in 1964, which in turn was amalgamated in 2010 to become a subject within the present School of Humanities.

its basis in Scotland but never confined its outlook and indeed activities to the north of the British Isles: one of its very first graduates, Alex Morrison, would go on to become one of the first newly appointed lecturers, and spend a postgraduate year working in Germany. Leslie Alcock of course also worked extensively in southern Britain, while Chris Morris and Colleen Batey followed the Viking road to Sweden and Iceland. In the course of the 1990s, however, southern Europe became a major scene of operations as four new lecturers were appointed who carried out large fieldwork projects in the Mediterranean, with Bernard Knapp leading the way to Cyprus. In their wake, new students interested in and in many cases coming from the Mediterranean countries joined the department and it is perhaps only fitting that a Mediterranean archaeologist has now taken over the helm, even if within a new institutional setting. Meanwhile, Bill Hanson and Steve Driscoll have headed up equally largescale fieldwork projects in Scotland and as a result Archaeology has become the broad and thriving community of archaeologists today, November 2011 â&#x20AC;&#x201C; fifty years after Archaeology began to be taught formally at the University of Glasgow. The first edition of the Love Archaeology Magazine is thus doubly significant, as it not only marks these fifty years of Archaeology but also represents the high spirits and the broad outlook of the community today

Perhaps more interesting and pertinent is Professor Peter van Dommelen, that Archaeology in Glasgow has always had Head of Archaeology at Glasgow University

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Obituary © Patricia T. Driscoll

Born 12 May 1932 Died 7 September 2011

Dr Alex Morrison was a key figure in the development of Archaeology at the University of Glasgow and central to establishing the value of rural settlement studies in Scottish archaeology. Born and raised in Stevenston, Ayrshire, Alex left school at age 14 despite being an uncommonly intelligent young man. While working with the Scottish Co-operative Wholesale Company his potential was recognised when he was offered a scholarship to Loughborough College. He was one of the first students to study the new subject of Archaeology at Glasgow, and when he graduated in 1964 with the class prize he was encouraged to follow an academic career. Alex’s first love was rural settlement studies, perhaps not least because he met his future wife Sigrid while working in Strathnaver in 1962, an unlikely place to meet a German girl. This meeting perhaps influenced his decision to pursue his studies at Freiburg, where he and Sigrid were married in 1966. Upon returning from a year at Freiburg University, he was invited by his mentor, Dr Horace Fairhurst, to join the fledging Department of Archaeology as a lecturer in 1965. His postgraduate research was a classic blend of historical geography and archaeology directed at rural settlement in the Scottish Highlands. Alex introduced generations of Glasgow students to the earliest inhabitants of Scotland, as well as to Scotland’s last peasants whose post-Clearance remains are such a conspicuous feature of the Highland landscape. These diverse interests were encapsulated by his groundbreaking survey work in Dunbeath, Caithness, which recorded a wide range of new archaeological sites from Neolithic cairns to post-medieval settlement remains.

Alex receives his doctorate, July 1987 Alex’s most successful publication was Early Man in Britain and Ireland, which became the standard textbook. His most significant scholarly efforts, however, were in the establishment of Highland crofting culture as a suitable subject of scholarship. At the start of his career this tended to be dismissed as mere ‘folk studies’ by academics, but are now recognised as a central feature of the Scottish national narrative. He was a prominent figure on the Glasgow archaeology scene for his entire career, serving as president of the Glasgow Archaeological Society (1997-2000) and editing the Glasgow Archaeological Journal (1984-97). He retired in 1997, but unselfishly continued to teach for five more years in order to keep the rural studies torch burning until his post was replaced. Alex was unfailingly friendly to everyone and has left a positive mark on all who had the pleasure of knowing him. He is survived by wife Sigrid, sons Michael and Christopher and grandchildren Zodie and Johann

Stephen Driscoll [printed in full in The Herald 13 October 2011, p 16]

Love Archaeology

ÂŠ Colleen Batey 2011

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Love Archaeology

ÂŠ Colleen Batey 2011

Almost ten years ago, I

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was asked if I wanted to give some lectures on the Vikings on a small vessel, which was due to sail north along the Norwegian coast from Bergen to way beyond the Arctic Circle. Well, how hard could that be? Beautiful scenery, homeland of the Vikings, only 100 guests on

a comfortable ship: the only drawback was seasickness, which I knew from experience was a problem for me. It was worth the risk for this most beautiful of itineraries. That is how it all began; with an email enquiry and a responding leap of faith on my part... and it was quite simply my best decision ever! We work in expedition teams, numbering about ten. Amongst this group are specialists in many

aspects of the cultural and natural environment; geologists, climatologists, botanists, historians, archaeologists, and specialists in birds and whales, and sea life in general. On some trips we have professional photographers as part of the team, often with backgrounds in BBC wildlife productions. Our job is to provide lectures on our specialist areas and – in my case as the sole archaeologist on the team – to show guests Love Archaeology

around sites or museums we may visit. Our multidisciplinary team functions much as any team on an archaeological site would do – learning skills from each other, trading knowledge and learning a lot about our own comfort zones and how to work outside them! In this way however, we forge lasting and globe-spanning friendships. Although most commonly the guests are from the US, our teams are drawn from all over the world – Australia and New Zealand, South Africa, US and the UK most frequently. Our team co-ordinator, the Expedition Leader, is responsible for the schedule and most particularly for ensuring safe practice as we go ashore in the inflatable rubber boats called Zodiacs. Small and highly versatile, these enable access in shallow bays where the large ships cannot discharge their passengers. They make our voyages expeditionary, allowing small group access to remote corners of the world.

Landing expedition in Iceland

In Arctic seas, where the winds and temperatures can be highly unpredictable, we all rely on the skills of the drivers and the hardest part is often getting into the Zodiac either at the ship or on the beach. One memorable landing required some of the team to be manhandling boats and guests in and out in seriously turbulent seas at Jan Mayen – in the Arctic between Svalbard and Iceland – for several hours at a time, in cold waters up to chest height. As an archaeologist, I am asked to lecture on several different itineraries: touring around the UK may sound a little mundane, but getting the chance in a single trip to land in Tresco (Isles of Scilly), Skellig Michael (SW Ireland), St Kilda as well as Orkney, Shetland and Fair Isle is a wonderful reminder of riches near at hand. More commonly, I work in Scandinavia and the Baltic Sea, with this latter itinerary taking in as many as 10 countries in a two-week period. My favourite trip, however, is the route taken by the Viking explorers. Sailing usually from Tromsö in Arctic Norway, we head northwards, sometimes stopping at Nord Kapp, the most northerly point in Europe, before striking due north towards Svalbard (or Spitzbergen as it is often called). These are the lands of the Midnight Sun – the Russians call them White Nights – where our landings can

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Welcoming natives

Love Archaeology

Sexy_polar_ bear_rawrr322 wants to be your friend

ÂŠ Nick Price 2011

take place by sunlight day or night in the high summer. Here high cliffs filled with nesting birds, white tailed sea eagles soaring overhead as we leave the mainland of Norway, are complemented by sightings of whales. The king of the Arctic of course is the Polar Bear; with no natural predators, these wonderful beasts roam the snowy expanses and calving glaciers in search of food. Changes in the climate meant that in 2010 the ice had broken up early and the bears were pushed back onto the land from the ice floes and the seals, which form a major food source for them. Extreme hunger was forcing them to eat grass and seaweed instead of red meat. The implications are clear; without sufficient summer sustenance, the females with their cubs, which are born in snow dens at the beginning of winter, are weakened. The mothers do not feed for months and meantime are suckling the young ones, but when they emerge from the snows, they must eat. Without the chance to feed sufficiently before the winter, their chances of survival and the successful rearing of their cubs is compromised. The recent reports from Svalbard of the fatal attacks on the Student Expedition from the UK are a terrible reminder that we visit the Arctic at our peril. On our Expedition Ships, there are very strict regulations, laid down by the Sysselman of Svalbard (Administrative Head), and we have to work within these. The most basic one is simply 25

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that if a bear is sighted in the immediate vicinity of where we plan to land, we do not land. This need not be disappointing: in some cases we can board the Zodiacs to shadow the bear at a discreet distance if it is near the shoreline. The aim is not to disturb the bear, but the joy of this safe viewing is unmatched. In 2010, we were privileged to watch a group of seven bears and a cub in Northern Svalbard. They had gathered together, unusual

for these solitary hunters, to dive down to the carcass of a whale, washed into a fjord. Countless times, they came to the surface, with a paw full of rotten meat held aloft, and clambered onto the rocks to eat. The mother and her cub remained to one side: doubtless she was hungry but she

fitting name of Cape Farewell. Modern vessels make landfall in the Eastern Fjords, virtually unpopulated even today, but a haven for whales and bears alike. Only the fragmentary remains of temporary Inuit hunting camps indicate human presence. Our ships usually head southwards and into the Western Fjord area to see the Norse ruins of Brattahlid, Eirik the Red’s farm from the 10th century as well as Gardar the Bishop’s Cathedral and Farm from the days of Norse presence in the area. Then it’s onward to Hvalsøy, where the last reference is known for the Europeans in Greenland. All these sites are wonderfully located and survive to a good extent, substantial stone walls and turf banks clearly delimit the farmsteads and at Brattahlid even the small turf church of Thjödhild, wife of Eirik. If time permits, the National Museum at Nuuk on the West Coast allows us an insight into the best preserved Inuit clothing from Qilakitsoq to the North, where skins of caribou and bear are combined with feather and down to create warm and weather proof clothes. Greenland also allows other unforgettable experiences in Arctic waters. On one occasion years ago, our ship the Clipper Adventurer

did not share the feast while we were present, although her little cub suckled intermittently. Such experiences really do take your breath away. They remind us that we are not alone: human actions are far reaching, both temporally and geographically, and there are enduring consequences that affect the earth and the creatures we share it with [see “The Right Whale”, page 28]. We do land of course when it is safe to do so, and accompanied by gun handlers we are able to roam within defined limits; to see the wild flowers, ground nesting birds and the remains of hunting camps or the buildings surviving from earlier scientific explorations. Svalbard also has walrus haul-outs and again special, intimate moments have been shared in their company. Massive and foul smelling, these lumbering creatures eat only clams, and they trawl the sea floor for their bounty. In multi-generational groups, they gather to rest and snooze above the sea edge; massive tusks some feet in length mark out the older males, but shorter ones indicate the females and juveniles of the group. Amongst the groups are small pups. Approaching quietly and from downwind, we can get within a safe distance to view them, but must always retain a distance of several metres – they can move surprisingly fast for their size if disturbed, and the pups can easily be crushed in the mêlée. To be able to sit More fun than walking! watching these massive creatures resting on the beach on a sunny day is indeed a highlight in our activities. Sailing to Greenland from Iceland takes a lot longer than you would think – virtually 36 hours or so in a modern vessel. With the potential of large seas and drifting icebergs as one nears the East Greenland coast, respect for the Viking seaman of the 10th century is certainly enhanced! In these waters lie the icy graves of several ships, and the southern tip of Greenland has the

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was surrounded for many hours by a pod of humpback whales. They breached and dived, flashing their distinctive flukes (tails) and came so close we could smell their fishy breathe and see the barnacles attached to their dark skin. They played with us, demonstrating their skills, leaving an impression that would last forever. Greenland has provided for me unforgettable memories, many of Northern Light displays. In 2010, we were anchored off a small town in southern Greenland, and for the third night in a row, we were exhorted at 2am to get out of bed and see the illuminated skies. Towards the

Gardar, Greenland. Remains of Bishops Farm

end of a long trip, with early starts and hectic days, the struggle to leave the warmth of the bedclothes is mammoth... but every time it is truly worthwhile. Dancing reds, yellows and greens crackle in the skies. It is freezing cold because by now, the end of the season is approaching and the white nights are long gone. But these are the experiences which make life worthwhile, and it is archaeology which has given me this opportunity to engage with a world which is both small and enormous at the same time. Oh, and did I forget to mention that YES I can give a lecture in a Force 9 gale, and have proved it a number of times. My battle with seasickness is almost won, and I have travelled by ship to Antarctica across the Drake Passage (twice) AND from South America to South Africa in monstrous seas and survived pretty well overall. The Vikings did long journeys by sea after all... and now it seems, so too can I

The 13th century church at Hvalsøy, Greenland

Clipper Adventurer in Iceland © Colleen Batey 2011

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ÂŠ Colleen Batey 2011

Remains of onshore whaling activity, Svalbard

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ÂŠ Morgana McCabe

Funeral for the Great Auk A modern-day ritual in remembrance of extinction

By Morgana McCabe and Jennifer Novotny As the last gleam of winter sun fades and becomes evening, only the scent of the oranges and the organic birdfeeders bobbing in the tree boughs still cling to the riverside. A new archaeological site has been created, at least for a few brief days: soon nothing but memories will remain here of the temporary shrine and the ritual with which it was associated â&#x20AC;&#x201C; The Funeral of the Great Auk. The Funeral of the Great Auk, an event extending from within Glasgowâ&#x20AC;&#x2122;s Kelvingrove Museum out into the surrounding park and riverside, was just one of many events organised for the Remembrance of Lost Species project. This collaborative effort pioneered by Feral Theatre aims to explore cultural responses to the extinction and endangerment of species by providing a creative medium for bridging scientific perspectives and political activism, along with interrogating the increasing sense of loss experienced culturally and ecologically. Participation in this pilot event is simple: host or attend a remembrance activity for a lost species, from an elaborate wake to simple act like lighting a candle; draw on science, performance, art, music and ritual as feels

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appropriate. On 12th November 2011, at least 14 ‘funerals’ were held from Britain to India. Feral Theatre hope that such events will become annual, with an increasingly international profile, making this event the perfect opportunity to explore what may be the birth of a new ritual practice. Love Archaeology were there to bring you an archaeologist’s perspective on modern-day ritual and how we understand loss in the past.

in the dimming light as the Great Auk and his litter were carefully placed at the centre of the gathering. Some illustrations were drawn onto a piece of cardboard from an old box, extending the boundaries of the shrine. People had been invited to bring their own drawings and objects to add to the shrine, but no one spontaneously added to the small assemblage.

The Ceremony The Procession (left) The Funeral for the Great Auk began as a quiet affair: a small group of people collected by the glass-encased stuffed great auk held in the Kelvingrove’s ‘Creatures from the Past’ exhibit. Some had dressed in black and white to mimic the bird’s plumage. Others painted their faces to like the auk’s markings. When it was clear that the gathering had reached its full complement, a full-size papier-mâché replica swathed in muted organza was raised on a make-shift litter and carried solemnly through the museum and out onto the grass. Stopping by a sculpture of a ship, we were told that this was the beginning of the ritual – the ship symbolizing the watery environment of the birds in life. It seemed, however, far more strikingly evocative of the means by which the Great Auks met their demise. Each participant was given a candle to carry, and with the silence and solemnity of a funeral procession, the small entourage progressed in single file, a short distance into the nearby park. Onlookers stared but they were conscientiously ignored, creating an awkward silence that could perhaps have been alleviated by fliers, signs or other sources of information.

The Temporary Shrine It did not take long to arrive at the temporary shrine, a rather arbitrary spot the organizer had picked out alongside one of the park’s buildings. Pictures taped onto tiles were set up for our arrival, showing extinct species on the front and bearing data about their extinction on the reverse. As we arrived, the candles were added to this, bringing the shrine to life

The ceremony wove together musical recitals and song with poetry relating to extinct species. Scientific and historical data accompanied strange interludes, such as a minute of ‘echolocating’ (tongue clicking) in remembrance of extinct species of bats. The tragic stories of the last recorded auk sightings in 1840 and 1844 were recounted in detail. One of these last auks was stoned and beaten to death on St Kilda under suspicion of being a witch. Participants were then given a moment to explore the shrine – picking up tiles to examine the illustrations of lost species and uncover brief accounts of their sad stories for themselves. Finally, just as the last light was bleeding out of the day, the Great Auk’s ‘last rites’ were read. Blending legal proceedings with funeral imagery, historical accounts and political commentary, the model auk was sentenced to extinction and told to rest in peace. Each participant sprinkled water on it, evoking and subverting the familiar ritual of ‘ashes to ashes, dust to dust’: perhaps water to water is more appropriate for a seabird. The act, however, was also reminiscent of baptism, highlighting the fact that the very underpinning of the event was hope: hope that we can stop the damage from continuing, and perhaps even begin to reverse it. We can learn, perhaps, from the mistakes of the past. In a final ceremonial act, birdfeeders were passed around for everyone to hang in the park or take home. These organic birdfeeders, made from oranges, would last only days, extending the lifetime of the shrine only briefly. The single child participant of the event was given his first, ‘as it is his generation which will soon inherit these problems.

Love Archaeology Love Archaeo Arc haeology haeo logy

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ÂŠ Otto, 2009

Remote St Kilda, one of aukâ&#x20AC;&#x2122;s last habitats.

The Archaeological Analysis Considering this event from an archaeological perspective, there are a number of valuable threads which can be explored. For example, the event created very interesting spaces, in which the movements of participants and non-participants were very restricted. Whilst walking through the park was very public, the ceremony was in a secluded, hidden space blocked from general view by a building and trees. As a result, onlookers became aware of it only upon their final approach. Many elected to retrace their steps and take another route, rather than interrupt the group. The more determined dismounted their bikes and walked through slowly and quietly, with an apology. Only a very few walked through the space acting as though there was nothing happening, nothing to see. The temporary shrine also created a space which echoed the original starting point: the museum. This was primarily through the use of pictures and information about different examples of extinct animals. The incorporation of poetry is also in keeping with trends in modern museums in providing cultural context, balanced by the silence which is so often a feature of museum spaces. Beginning the event at the Kelvingrove, a well-known and respected public institution, clearly gave the event more gravitas. Something of the museumâ&#x20AC;&#x2122;s imposing physical presence â&#x20AC;&#x201C; and the authoritative right to curate the past which accompanies that presence â&#x20AC;&#x201C; was successfully co-opted by the group and taken

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outside. The fact that this was done without the museumâ&#x20AC;&#x2122;s permission lends a subversive element, and given that similar events are happening at many other museum locations raises many questions. Were other museums willing or unwilling hosts? Was the Kelvingrove unwilling or simply uninformed? Were they unprepared to surrender the power of the past to unknown individuals? Or was this justified concern over whether or not the event might reflect badly upon them? One of the more interesting but unspoken issues highlighted by the event was, in fact, the complicity of museum culture in the extinction of species. We have to acknowledge that while museums may be nobly preserving examples of lost creatures for future generations, they were also guilty of hastening the demise of endangered species in the past, through their desire to â&#x20AC;&#x2DC;collectâ&#x20AC;&#x2122; them. If we consider the event in these terms, in a sense it becomes a kind of community archaeology. The participants researched the elements and represented them materially, interpreting the past in doing so. At the same time they both claimed and created museum spaces and the right to curation, subverting the dominant historical narrative and claiming both ownership of the past and political agency in the process.

â&#x20AC;&#x153;My lasting impression is of a liminal event totally outwith the bounds of my â&#x20AC;&#x2DC;normalâ&#x20AC;&#x2122; life. Such events may well have to power to impact people more deeply than other methods of raising awarenessâ&#x20AC;? 5

ÂŠ Morgana McCabe

Reflections From a research perspective, the event hints also at the fascinating cultural resource of images and rites from which the format was drawn. Centred upon the archaeologistâ&#x20AC;&#x2122;s staple themes, death and burial, in the birth of a ritual we see creative processes at work. If we were to analyze all of the events held around the country, how would they differ? Which elements would they have in common and why? The format of the funeral was a very uncomfortable one for some â&#x20AC;&#x201C; aukward perhaps? â&#x20AC;&#x201C; but it does tell us something fascinating about the culturally specific qualities that make a ritual seem appropriate to a specific context. In this case, the power of these new rituals is based upon the audienceâ&#x20AC;&#x2122;s recognition of the bodily actions, speech patterns and emotional responses associated with particularly Western ceremonial gatherings such as museum spaces or court cases, and Christian rituals such as baptisms and funerals. It also highlights that in our age of excess, we are in many ways ritually impoverished: we do not have rituals to express many of our most personal or social experiences. Perhaps that is why this event was contrived in the first place

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Recreating the auk is not a new pastime - these illustrations (above and previous), by Dutch bird illustrator JG Keulemans (1842-1912), were produced after the Great Auk had died out.

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The Great Auk designing a modern-day ritual Love Archaeology catch up with Funeral for the Great Auk organiser Svenja Meyerricks a

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“With every species that’s driven to extinction, a whole way of perceiving the world is lost forever”

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Every issue we will recommend a title which complements one of our topics. This issue we recommend On Extinction, by Melanie Challenger. Published by Granta Books,RRP ÂŁ20. Released 6th October 2011. ISBN 9781847081872

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<<<FLOATING IN A MAN MADE CAVE IN THE SWISS ALPS >>>

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Shetland Museum and Archives â&#x20AC;&#x153;Shetlandâ&#x20AC;&#x2122;s greatest attraction is its heritageâ&#x20AC;?

hetland might be at the far northern reaches of the British Isles, but for people like us (those who love archaeology way too much, far more than anyone around us), itâ&#x20AC;&#x2122;s a fantastic destination with a fantastic museum to match. Grab your rain gear (waterproofs from the fishermenâ&#x20AC;&#x2122;s co-op in Lerwick work the best), book yourself onto the ferry and brace yourself for a bit of a breeze. With places like Jarlshof, the nearly complete Broch of Mousa, St Ninianâ&#x20AC;&#x2122;s Isle and standing stones erected throughout the isles, Shetlandâ&#x20AC;&#x2122;s greatest attraction is its heritage. In this respect the Shetland Museum certainly delivers. Unlike the scattered, â&#x20AC;&#x2DC;thematicâ&#x20AC;&#x2122; arrangement of the National Museum of Scotland in Edinburgh, which groups artefacts by use or material rather than by time period, the Shetland Museum is laid out along a chronological path that guides visitors from the geological origins of the islands to the archaeology of the early people to the ethnographic collections of knitting, music and folklore of more recent times, giving visitors a sense of how modern Shetland came to be. Among the highlights that archaeology nerds should be on the lookout for are a lifelike bear incised onto a stone from the Pictish levels of Old Scatness broch, delicious Viking finds from across the islands, an original sixoared boat of a type once common to Shetland and the recreation of a prehistoric Shetlander. The front of the museum building sports large windows overlooking the harbour, once the heart of Lerwickâ&#x20AC;&#x2122;s livelihood, and the maritime heritage of Shetland also gets play within the museum. The building also features a boat shed where traditional boats are built and repaired, an area for art exhibitions, a restaurant overlooking the water, a small gift shop with a number of books and

Issue 1

greeting cards that feature photos from the museumâ&#x20AC;&#x2122;s archive and a large lecture theatre which hosts lectures about Shetland history, nature and external links. Shetlandâ&#x20AC;&#x2122;s sense of history and identity is strong, and the Shetland Museum certainly does its part to preserve that tradition. Thanks to the museumâ&#x20AC;&#x2122;s policy of only accepting items made and/or used in the Shetland Islands, the museumâ&#x20AC;&#x2122;s collection is a focused one that is in no danger of becoming the islandsâ&#x20AC;&#x2122; cabinet of curiosities, as is sometimes found in far-flung areas. Admission is free, and it is accessible on foot from anywhere in Lerwick, including the bus station and ferry terminal. Rather than being the fall-back option for a rainy day, head to the museum to help put the things you see on your trip into context. Many larger cities would be happy with a museum like Shetlandâ&#x20AC;&#x2122;s, but this institution does not forget why it is here. See the Shetland Museum to understand the Shetland Islands

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The Cabinet of Curiosities Love Archaeology asks museum curators from around the country to give us their pick of the most interesting objcts in their collections. Katinka Stentoft Dalglish, Curator of Archaeology, Glasgow Museums introduces us to the Millport Lintel.

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he Hunterian, Scotlandâ&#x20AC;&#x2122;s oldest public museum, reopened its doors to the public on Friday 16th September 2011 after being closed for almost two years while essential structural repairs were carried out on the roof. Taking centre stage is the new must-see exhibition â&#x20AC;&#x2DC;The Antonine Wall: Romeâ&#x20AC;&#x2122;s Final Frontierâ&#x20AC;&#x2122;, a stunning celebration of an exquisite collection of Roman material culture acquisitioned by the Hunterian over the years. The display celebrates more than 300 years of collecting and research conducted by academics at the University of Glasgow. It has been more than 18 months in the making, with curatorial and education staff collaborating closely with Archaeology researchers from the University of Glasgow, including the writer, to select the most appropriate objects through which to investigate Romeâ&#x20AC;&#x2122;s campaigns in the region known to them as Caledonia almost 2,000 years ago.

The Hunterianâ&#x20AC;&#x2122;s new display recent granting of World was introduced by Professor Heritage Site status to the David Gaimster, Director of Antonine Wall the museum, and officially opened at an evening reception on Thursday 15th September The thematic displays guide by Mike Russell MSP, Cabinet visitors through several central Secretary for Education and themes which explore the Lifelong Learning. The event Roman presence in Scotland: was well attended by the â&#x20AC;˘ The construction of the countryâ&#x20AC;&#x2122;s leading specialists in Antonine Wall Roman archaeology, including â&#x20AC;˘ The daily and religious life of Roman soldiers staBill Hanson, Professor of tioned on the frontier Roman Archaeology at the University of Glasgow and â&#x20AC;˘ The cultural interaction between the Romans and Professor David Breeze, who the indigenous population recently retired as Head of Special Heritage Projects at Historic Scotland and was instrumental in securing the The newly revamped Hunterian is well worth a visit. Opening hours have been extended so that visitors can now experience the new displays as well as traditional favourites throughout the weekend. A series of open public talks covering various aspects of the museumâ&#x20AC;&#x2122;s collections also takes place on Tuesdays at 1.00pm. Opening times:

Tues â&#x20AC;&#x201C; Sat 10.00am to 5.00pm Sun 11.00am to 4.00pm

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A distance slab marking the completion of 3240 feet of the Antonine Wall by the Sixth Legion

Love Archaeology

ÂŠ Morgana McCabc

Barbie

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arbie has long been an American cultural icon, reaching every corner of the world in some form or another and providing evidence of the strength and influence of consumerism. Whether through imitation dolls, cartoons, or more recently, her own website, Barbie has been representing the ideals of western society for over 50 years. The appeal of Barbie and the extent of her globalisation would seem to stem mainly from Barbie’s ever changing image, which has evolved over time through both technological advances and social and cultural perceptions.

For example, Mexican Barbies are commonly incorporated into the traditional quince años festival, a right-of-passage celebration for 15 year old girls on their birthday. Since the introduction of Barbie to the Yucatan these dolls have become an integral part of the quince años, and often the birthday girl and doll wear matching dresses. This is a Yucatan appropriation of Barbie, being used in contexts that were not pre-conceived by

Map provided by Anthony Russell

Mattel, the company that manufactures and distributes Barbie. Furthermore, when young girls were observed playing with their dolls by the McGill researcher, she noted that often they performed the more traditional, local roles of family member and maternal figure. This is in contrast to Barbie in America who was never given any parents and evolved into a liberated career woman. The traditional role of housewife however is not dissimilar to the initial incarnation of Barbie in the 1960’s when she represented the stay at home wife and mother of that era. These traditional roles and strong values are still prevalent within However, a researcher from McGill University, the Yucatan culture and are rarely questioned, Montreal, conducted an anthropological overshadowing any ideals associated with study of the consumption of Barbie dolls in Barbie in the modern Western world. the Mexican city of Merida, in the Yucatan Peninsula which paints a more complex picture (Macdougall 2003). By looking at the globalisation of Barbie from a consumption (i.e. ‘end-user’) perspective, rather than the more common viewpoint of assuming cultural homogenisation (i.e. the ‘Americanisation’ or ‘Coca-colonisation’ of the world), this researcher noted that the way Barbie was incorporated into young Mexican girls’ lives seemed more in keeping with traditional value systems in the Yucatan. In other words, playing with Barbie (or, more commonly, with a cheaper Mexican version such as ‘Birbie’) was not an act of becoming more American for these girls, rather the dolls were used to recreate scenarios more familiar to local customs. Merida and the Yucatan Peninsula, Mexico. So, while there may be a shared practice of playing with plastic dolls, the actual articulation of this experience is quite different between the Yucatan and America. Far from being acculturated Americanised teens, the girls from Merida have adapted Barbie to fit in with their cultural expectations. In other words, the object has been assimilated, not the society that consumes it. This would seem to be contrary to the way Barbie is marketed worldwide, as an

Love Archaeology

independent (and now divorced – sorry, Ken) career-oriented young woman, sold under the slogan: ‘We girls can do anything, right Barbie!’ On the face of it, there would seem to be little to connect a plastic American doll from the 20th century AD to the distribution and consumption of exotica in the late 2nd millennium BC. However, when we look a bit closer to certain specific behaviours of people who come in contact with either Barbie, or with eastern Mediterranean imports and influences in the central Mediterranean, some interesting points of comparison can be made. As all archaeological researchers know, nothing beats a good analogy, and some of the features of that culture contact situation seemed to resemble certain consumption-related behaviours I noted in Sicily. During the latter half of the 2nd millennium BC the spread of Mycenaean pottery throughout the Mediterranean could be described as the globalisation of a popular commodity, albeit with a more circumscribed ‘global’ distribution. Just like the Barbie in Mexico,

however, the spread of this type of pottery lead to regional copies being made, thereby making this ware more accessible – and presumably more affordable – to the local consumer. The way in which this style of pottery was imitated, however, took several different forms, even within the central Mediterranean, much like the cheaper reproductions of Barbie widely available in the Yucatan.

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“Sorry Ken, it’s not working out.” Fifty year old Ken finds himself back on the market.

In eastern Sicily there was no attempt at close imitation of Mycenaean pottery, although certain formal elements like narrow shoulder spouts, and more general shape similarities do seem to be influenced by contact with Aegean pottery if not with Aegean potters themselves (D’ Agata 2000) [Illus. 5: Sicilian pottery vs Mycenaean pottery]. Like in Sardinia, the technology used to incorporate such formal elements and overall shapes seems to fall within the traditional handmade customs of Middle Bronze Age Sicily, and in finished appearance these pots look ‘local’. This scenario in Sicily (page 49) appears to show the same creative consumption that Barbie undergoes in Mexico. Far from being acculturated to Mycenaean practices, Sicilian potters appear to have rejected certain features of Mycenaean pottery deliberately, such as its painted finish (arguably the feature that most distinguishes it from unpainted Sicilian pottery), and have consciously decided to ensure that these ‘Aegean derivative’ pots (D’Agata 2000) appear to their consumers as proper Sicilian objects. As most of these derivative pots were recovered from tombs, it may be that certain Sicilian consumers

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Sicilian copies (left) of Aegean originals (right)

Love Archaeology

Map provided by Anthony Russell

felt that traditional funerary practices were best served by traditional-looking wares. What results is a hybrid object: not precisely Sicilian or Aegean, much in the same way that Mexican Barbie clones are designed to look like Mexican girls, not American. The fact that Mexican Barbies are available undressed highlights the cultural importance of creating traditional, local clothing for the dolls. It may also be that these derivative wares were engaged in hybrid social practices, perhaps augmenting traditional funerary rites, just as Barbie has been incorporated into the quince años celebration. When disparate peoples connect it is often assumed that changes to their material culture, social organisations, or world views are natural and inevitable outcomes. Culture contact studies focuses on

manipulated, and incorporated certain imports into their daily lives, it appears that the local response to contact was anything but passive, natural or inevitable - or uniform. There was significant creative potential for these islander consumers to re-contextualise certain foreign material practice into their own routines, and what was rejected is every bit as telling as what was adopted. In reality, it would appear that the imported materials and practices themselves were ‘acculturated,’ not necessarily the peoples who used or performed them. Acculturation and hybridisation are not polar opposites: complete rejection would more properly stand in contrast to acculturation and cultural homogenisation. Instead, acculturation and hybridisation are more a sliding scale, and it is certainly possible that in other ways, no longer clear to us today, Sicilian communities were more deeply influenced by material contacts with the Aegean. Looking at the consumption of foreign objects and influences however, may be more informative than the more traditional, diffusion focus on production and distribution. Understanding the logic by which goods are accepted, appropriated, adapted, and re-contextualised to fit into the consuming society’s way of life is crucial to investigating the actual level of cultural assimilation that results from contact. This is especially true for the Bronze Age, which lacks the modern world’s mass communications and rapid transport links.

So while we girls can do anything – right, Barbie? – it is also true that pottery (or anything else such changes, and archaeology has contributed for that matter), like Barbie, can do whatever to the debate regarding the potential for contact we girls need it to do to influence the parties involved. Exchange, one form that such cultural encounters can D’Agata, A. L. 2000 take, has long been considered an important Interactions between Aegean groups and vehicle for culture change, whether such local communities in Sicily in the Bronze exchanges take the form of commercial Age: the evidence from the pottery. Studi transactions (usually termed ‘trade’), gift Micenei ed Egeo-Anatolici 42: 61-83. giving, or some other reciprocal arrangement. Macdougall, J. P. 2003 However, when we engage with objects on this Traditional commodoties as local cultural level, assessing how Sicilians and Sardinians in icons: Barbie dolls in Mexico. Journal of the Middle and Late Bronze Age actually used, Popular Culture 37: 257-75.

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image source: www.sxc.hu

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