Building Barricades and Breaking Sh*t: The Archaeology of Protest and Dissent

After a year of many protests, it will be interesting to examine what the archaeological record says about 2020. Protests have always interested me as a form of archaeology given how varied the characteristics of a protest can be – is it an impromptu, one-off event? A pre-planned occupation that lasted several days? Did it fizzle out, leaving behind barely a trace in the archaeological record? Or did it grow into something much bigger, resulting in further dissent that can be seen through its remains? There’s also a really interesting interplay between creation and destruction that is inherent in prolonged protests – although protests are often associated with breaking windows and destroying property, there is also an urgent creation of space. This includes the occupation of buildings, the construction of barricades, and even the development of autonomous zones. Unsurprisingly, it is these longer lasting protests that will be reflected more prominently in the archaeological record.

Protestors holding a “REVOLT” sign during the Occupy Wall Street protests of 2011 in New York City.

Take, for example, the archaeology of the Lees Cross and Endcliffe Protest Camp in Derbyshire, England (Badcock and Johnston 2009). This camp was occupied by protestors fighting against the re-opening of sandstone quarries at Lees Cross and Endcliffe, with inhabitants living there for about a decade (1999 – 2009). Archaeological survey of the camp started in 2008 as it was still occupied, with further work occurring once the camp was dismantled. Arguably the main focus of the archaeological work was the architecture of domestic space, which consisted of both ground dwellings and tree houses, as well as communal spaces. It is interesting to note how, archaeologically, we can see where dwellings became more permanent due to the addition of supported infrastructure and weather-proof materials, and how other additions were made to serve the purposes of maintaining the protest camp against possible eviction.

Another example of protest archaeology is seen at the Nevada Peace Camp in the United States (Beck et al. 2007), located near the Nevada Test Site that has been used to test nuclear weapons between 1951-1992. The Peace Camp was a meeting place for over 200 groups of people, including activists of various causes as well as the Western Shoshone tribe. Similar to the Lees Cross and Endcliffe Protest Camp, the archaeology of the Peace Camp is focused on the architectural features. However, it is interesting to see how these humanmade features are ultimately a reflection of the surrounding environment, with most made from local rocks and little representation of wood artefacts given the lack of trees (although it should be noted that there were wood artefacts – these were made with imported wood, however). The creation of features such as cairns, hearths and memorial art also reflect a spiritual aspect to the Peace Camp and speaks to the communal values that were shared by the various groups of people who inhabited this space.

So, what can we learn from archaeological study of protest sites? Well, as the old saying goes, “winners write the history books” – protest sites can often inform us of other sides to the story, providing an additional dimension to dissenting voices. In these impromptu camps, we see the ingenuity of humankind, how quickly we adapt to pressing issues and take care of one another. And as archaeologists, it helps to remember that we can use our expertise to push for change and protest in our own way (although obviously the ideal would be for us to put down our trowels and get on the streets, of course). Alongside the growing “punk archaeology” and “anarchist archaeology” movements (Black Trowel Collective 2016, Richardson 2017), archaeologists can provide vital context against the alleged “historical significance” of racist statues and monuments (Colomer 2020) as well as provide support and solidarity for the Indigenous communities that many work with during protests against further violence from settler governments (Beisaw and Olin 2020).

If anything, archaeology can at least show us how to properly tear down racist memorials and statues.

References

Badcock, A. and Johnston, R. (2009) Placemaking through Protest: an Archaeology of the Lees Cross and Endcliffe Protest Camp, Derbyshire, England. Archaeologies: Journal of the World Archaeological Congress. pp. 306-322.

Beck, C.M., Drollinger, H., and Schofield, J. (2007) Archaeology of Dissent: Landscape and Symbolism at the Nevada Peace Camp. In J. Schofield and W. Cocroft (eds) A Fearsome Heritage: Diverse Legacies of the Cold War. Taylor & Francis Group. pp. 297-320.

Beisaw, A.M. and Olin, G.E. (2020) From Alcatraz to Standing Rock: Archaeology and Contemporary Native American Protests (1969–Today). Historical Archaeology 54. pp. 537-555.

Black Trowel Collective (2016) Foundations of an Anarchist Archaeology: A Community Manifesto. Savage Minds. Retrieved from https://savageminds.org/2016/10/31/foundations-of-an-anarchist-archaeology-a-community-manifesto/

Colomer, L. (2020) Black Lives Matter and the Archaeology of Heritage Commemorating Bigoted White Men. Science Norway. Retrieved from https://sciencenorway.no/archaeology-opinion-racism/black-lives-matter-and-the-archaeology-of-heritage-commemorating-bigoted-white-men/1709994

Richardson, L. (2017) I’ll Give You ‘Punk Archaeology’, Sunshine. World Archaeology 49(3). pp. 306-317.


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Archaeology as Violence: Confronting the Dynamics of a Violent Practice and Theory

Note: This is part of a book chapter I wrote a few years ago for a now-defunct project. After a few attempts to submit it to several journals, I gave up on it. I recently brought it out to aid in the writing of a new paper and figured it might be worth posting it on the blog. Nearly four years later, I don’t think its a particularly great piece (and, rereading it now, I understand what Reviewer #2 meant when they called me a ‘obviously angry early career researcher’ lol), but I felt like it could do with seeing the light of day in some form. I also think it’s a nice look into a particular struggle I was having internally at the start of my PhD. So bear in mind that this isn‘t necessarily up-to-date, but I think the general theme of it still remains relevant.

This Paper is a Confrontation

Archaeology is, and always has been, a violent discipline.

This statement may be considered “combative” and “confrontational” in tone, but this is intentional. This paper is a crucial confrontation for our discipline that is long past due. Although there is certainly more self-critique and reflexivity in archaeological literature today (Nicholas and Hollowell 2007; Fiskesjö 2010; Fontein 2010), to say that archaeology as a whole has sufficiently dealt with its considerable baggage would be inaccurate; on the contrary, issues brought up by the relatively recent movement towards academic equity and the decolonization of the academy seem to have simply caused more arguments amongst our peers. One pertinent example is the question of repatriation of stolen artefacts from colonised lands, which is still a topic of debate (Burke and Smith 2007; Jenkins 2016; Thomas 2016).

The impetus of this paper is slightly drawn from my own personal confrontations. As an undergraduate student who had registered for my first archaeology course, I was understandably quite excited. So excited, in fact, that I immediately posted about it on social media, claiming that I was on my way to become “the next Indiana Jones”. My excitement was slightly cut down by a comment left by a stranger on the Internet: “why would you celebrate becoming part of an imperialist field?” Over the past decade, I have thought about that comment and attempted to reconceptualise my role as an archaeologist alongside my newfound consciousness of social justice and activism.

What is needed (and what is necessary) for archaeology to progress and grow into the future is the acceptance of a hard truth: that in both theory and in practice, our discipline as it is carried out today necessitates violence. That, regardless of intention, archaeologists will continue to cause harm in the name of science, under the assumption that physical and socio-cultural damage is outweighed by the academic gains and insight from archaeological research. This paper is a wake-up call for archaeologists to truly understand the costs of our actions – and perhaps think about ways in which we can radically change direction moving forward as a discipline.

Archaeology is a Violent Act

Physically, archaeological excavation and analysis necessitates violence on some level – whether it’s the first penetrative blow against land to create a trench, or the destruction of material remains within a lab for the sake of “science”, archaeologists can be seen as purveyors of constant destruction in the search of our collective past. I refer to this form of archaeological violence as a “violent act” to emphasise the physicality and tangibility of these actions.

Perhaps the best place to start with this critical analysis is with possibly the most definitive aspect of archaeology: the “dig”. Excavation, by its very nature, requires a varying amount of destruction of the surrounding environment: trowels, shovels, and mattocks are used to break beneath the ground, modern landscapes are dramatically levelled and altered to force the past out from its undisturbed slumber, and remains (both material and otherwise) are often ripped from their final resting places for further analysis and curation. Earlier approaches to excavation could often take the concept of “destruction” to another level, like Heinrich Schliemann’s infamously careless use of explosives during his excavation at Hisarlik (Allen 1999: 146).

In recent years, archaeologists have become more conscious of the violent tendencies of their handiwork, although it should be noted that this is cited mostly as an environmental or conservational concern (Matero 2006; Caple 2008; Holtorf and Kristensen 2015). Non-invasive fieldwork is not necessarily new, but recent advances in technology have allowed these non-destructive methods of surveying sites to be utilised more consistently and with better accuracy (Corsi 2013). These methods include geophysical survey (Gaffney 2008), remote sensing (Challis and Howard 2006), and, more recently, digitisation and 3D visualisation (Caggianni et al. 2012; Torrej ón et al. 2016). Despite these advances, it should be noted that some invasive methodology, like traditional excavation, remains a “necessary evil” for most archaeologists.

Of course, destruction in the name of archaeology is not limited to just excavation; the post-excavation stage of archaeological fieldwork can be just as destructive, albeit on a physically smaller scale. Many analytical methods of archaeological science require the partial or total destruction of samples as part of the process; this includes methods such as stable isotope analysis and various dating methods, such as radiocarbon dating (Mays et al. 2013).

Again, archaeologists today are becoming more concerned with non-invasive methodologies for scientific analysis, especially as many samples are exceptionally fragile and already at the mercy of contamination and degradation from relocation to the lab environment (Bollogino et al. 2008; Crowther et al. 2014). Alternatives to destructive sampling include x-ray techniques and spectrometry, both which can be applied to a wide variety of materials (Adriaens 2005; Uda et al. 2005).

As archaeology continues to progress and grow alongside advances in technology and science, it is likely that we will soon find ways to substantially limit the amount of physical destruction. However, I’d argue that the impetus behind much of the non-destructive methodology movement is more based on conserving the material culture, rather than respecting the cultural heritage behind the physical artefacts. That archaeologists may not consider the cultural significance behind sites and artefacts when deciding whether or not invasive methodology is necessary for analysis leads us to the less tangible form of violence that has been inherent in archaeology from the beginning.

Archaeology is an Act of Violence

Archaeology is violent on a socio-cultural level. As a discipline rooted in colonialism and white supremacy, archaeology is complicit in perpetuating acts of violence against BIPOC communities: from the theft of countless artefacts from colonised lands that are still held hostage by their colonisers in prominent institutions, to the dehumanisation of bodies of colour that are propped up for display in museums, treated as educational objects rather than people, archaeology continues to allow itself to be weaponised for the sake of maintaining the current status quo through the oppression of others. This form of violence is specifically referred to as “acts of violence” to further emphasise that these are conscious acts that are imposed on others, more often than not as a form of marginalisation.

Let’s first start at the beginning of our discipline; it would not be an exaggeration to say that early archaeological pursuits were colonialist in nature. Egypt is arguably the region most associated with early, pith-helmeted excavations, resulting in a sizable amount of cultural theft through early (European-led) archaeology. One of the largest organised expeditions through Egypt was born through Napoleon’s military occupation during the late 18th and early 19th centuries, a formidable display of how imperialism is so often intertwined with fieldwork and research. The French expedition led to the discovery of Rosetta Stone and the publication of Description de l’Egypte, ultimately giving birth to the modern field of Egyptology (Reid 2002: 31-33). The defeat and withdrawal of French forces at the hands of the British let to the latter’s seizure of all artefacts collected by the former, including the Rosetta Stone (Wallis Budge 1989); this can be seen as the start of British theft and looting of Egyptian cultural heritage, which continues with the financial control of later archaeological excavations and museums in Egypt that allowed for various “relocations” of artefacts (Riggs 2013).    

This pattern of recontexualising colonial expeditions as “research adventures”, erasing the violence made against Indigenous populations and replacing it with the excitement and thrill of Western settlers’ adventuring across so-called “undiscovered” lands (Tuhiwai Smith 2012), may be best summed up as “colonial curiosity”. I believe this term accurately displays the dichotomy at play: that we have the propagandised, revisionist version of these expeditions as curious adventurers and knowledge-seekers “saving” artefacts and information from foreign land, and the actuality of colonialism in practice.   

Colonial curiosity is, of course, not just restrained to the African continent. In North America, many settlers and their descendants today have stories of finding arrowheads in their backyard; my own father, a settler occupying Massapequas territory (Long Island, New York), often spoke of his childhood collection of arrowheads whenever we spoke about my archaeological research. It speaks volumes that what amounts to heritage theft is so normalised as part of the North American settler upbringing. Most famously, Thomas Jefferson practised his own form of amateur archaeology when he dug up Native American graves just for his own personal satisfaction and curiosity (Riding In 1992: 15-16).

Even today, the idea of the archaeologist as the “dignified looter” has become so entangled with the general public’s conception of the profession that most, if not all, representations of archaeology in pop culture are no more than just thieves with academic certification and institutional funding – and while many of our colleagues may bristle at the constant comparisons between our work and that of the imperialist looter and adventurer Indiana Jones, can we truly say that archaeology is so far off from this description?

The repatriation debate highlights perhaps the most unfortunate and consistent recipients of archaeological violence today: the dead. Repatriation is a process by which human remains (and occasionally material culture) are returned to the communities from which they originate in order to be reburied. In most cases, these remains have been housed in museums and institutions to be employed in research and analysis (Hubert and Fforde 2002: 1); in essence, repatriation is a demand that human remains are no longer dehumanised and removed from their cultural and spiritual contexts. Calls for repatriation have been led by Indigenous peoples in North America (Thornton 2002; 2016) and Australia (Turnbull 2002; Byrne 2003), although there are numerous repatriation demands from communities around the world (Schanche 2002; Hole 2007; Shigwedha 2016). Over the past few decades, repatriation has become a legal issue as well, as laws such as the Native American Graves Protection and Repatriation Act (NAGPRA) in the United States provide more stable ground for repatriation claims. It should be noted, however, that laws such as NAGPRA are not the “end-all” solution to finally solve the repatriation question – there are still many opponents of the act that continue to push back against it, while proponents have also acknowledged that it is still an “awkward compromise” that places a huge emotional and financial burden on Indigenous peoples (Nash and Colwell-Chanthapohn 2010).

Opponents of repatriation may see themselves as guardians of knowledge or forerunners of archaeological progress, but who are they from the perspective of those calling for repatriation? At worst, they are thieves who are holding ancestral bodies hostage in their archives and laboratories. And at best? They are guilty of dehumanising these ancestors, seeing them more as objects for analysis rather than people who once lived and breathed. It’s this perspective that I think some archaeologists and curators may neglect to consider and empathise with, which may explain why there is still a debate regarding this issue.

The most well-meaning archaeologist may still be inadvertently continuing the discipline’s tradition of colonialization through smaller actions, particularly within the academy. In the United Kingdom, for example, despite a significant increase of women in academic and commercial archaeology, the field is still comprised of 99% white professionals (Hamilton 2014). The domination of archaeological literature by white and European academics has created an example of a phenomenon sometimes referred to as Chackrabarty’s Dilemma within the field, where non-European, marginalised academics researching their own cultures and archaeologies must inevitably turn to European literature which poses a risk of replicating Westernised biases and assumptions, creating a cycle of continued marginalisation (Chakrabarty 1992; Langer 2017: 191).

Colonisation by citation is unfortunately a common phenomenon. By continuing to uphold white voices over BIPOC (Black, Indigenous, and People of Colour), the narrative will remain under the control of Western/European theory and practice. However, there has recently been more pushback against the overt whiteness of citations; initiatives such as the Cite Black Women movement have rallied to decolonise academic citations across all disciplines (Jackson 2018). These BIPOC-led movements are absolutely vital and necessary, but they are just the beginning of the sort of radical change necessary for a just and equitable academy.

Intertwining, Destructive Acts

We have now examined archaeology as both a violent act and an act of violence, but note that these two concepts should not be considered as in opposition with each other; archaeological violence is often more complex, where violent acts and acts of violence are intertwined. To anticipate one critique of this paper, let me elaborate on why we must consider the seemingly impartial violence of physical acts of archaeology alongside the more overtly and intentionally malicious violence of colonialism. This conversation of “intent versus impact” is prevalent in discussions of hate speech, where the bottom line is: when the impact of your actions causes harm and aids in the further marginalisation and oppression of others, then your intent does not matter (Utt 2013).

These forms of violence can be analysed as separate entities, but in reality, they cannot be separated from each other so easily – as long as archaeology retains its violent nature, there will always be this assumption that heritage (both tangible and otherwise) will need to be destroyed in some way for “progress”. Arguments about the “greater good” in archaeology bring up unfortunate comparisons with similar excuses made in the name of controversial sciences like eugenics – which is fitting, given that archaeology also has a history of being utilised in theorising eugenics (Challis 2013).

There are numerous – perhaps too many – examples of intertwining acts of archaeological violence. The excavation (and inevitable destruction) of sacred sites, like the controversial destruction of Tikal Temple 33 (Berlin 1967) is a physical reminder that Indigenous religion is one of the many targets of colonial violence (Carey 2011: 79-83). Ultimately, we cannot have one without the other – violence begets more violence.

A Non-Violent Archaeology, A Transformative Archaeology

With the violence of our discipline acknowledged, we are left with an imperative question: how can we, as archaeologists complicit in institutional destruction and oppression, do better? First, another truth that we must consider: we cannot simply “undo” the damage that archaeology has caused. Actions and initiatives such as repatriation and increased disciplinary diversity are not “cure all’s” that will absolve archaeology of its sins, although they are certainly necessary steps in the right direction. We can return remains of the ancestral deceased and acknowledge our complicity through texts and actions, but we cannot claim that these deeds mend the wounds that centuries of violence have created.

So if we cannot undo the damage, then what is the alternative for archaeologists? I believe archaeologists have the capacity to radically change our discipline into what I would refer to as “transformative archaeology”. This form of archaeological practice and theory would draw heavily from ideas of transformative justice theory, which is a method used to address longstanding legacies of violence through  (Gready and Robins 2014: 339). Transformative justice theory itself has its roots in transitional justice, which also addresses violations of human rights, but within the confines of the current legal and political systems (Nagy 2008: 276). In contrast, however, transformative justice pushes past the limitations of transitional justice, emphasising the need to completely transform the systems we are working within in order to meet the needs of the oppressed at the forefront and provide them the agency they have long been denied within the current systems (Gready and Robins 2014: 350-355). Although transformative justice is usually associated with activism and human rights discourse, there is precedence for academic applications. Transformative paradigms allow researchers to work with greater reflexivity rather than complicity, as they not only acknowledge the realities that construct the context within they work in, but also has tools built into these paradigms for researchers to be more ethical in making decisions and conclusions (Mertens 2007).

Theories aside, what would this mean for how we engage with archaeology? If we are to move beyond colonialist archaeologies, we must also move beyond just theorising and put these critical conversations into action (McDavid and McGhee 2010: 481). To start, I would argue that a transformative archaeology would need to be non-violent by nature; archaeological violence is just too entwined with colonialism and racism to continue to support it as the crux of our discipline. Instead of centring excavation as a standard within archaeology, a transformative version would encourage more communal approaches that place the needs of descendent and affected communities over the goals of general archaeological fieldwork. We would need to establish a sense of collaboration that cannot necessarily coexist with the power dynamics inherent in modern archaeological practice; for this, adopting non-hierarchical approaches to organisation from anarchist theory may be the most suitable approach (Fitzpatrick 2018). Perhaps the easiest way to accomplish this is through dialogue with the communities most affected by our archaeological research, where we allow said communities to assert their agency – and their authority. When working as a postcolonial practice, archaeologists must give up the notion that our interpretations are the only interpretations; we must concede authority to descendent communities (Battle-Baptiste 2010: 388).  It should also be noted that a transformative archaeology would not completely remove destructive methodologies from our oeuvre; instead, we embrace this act communally with others, allowing for decisions to be made collectively and with the understanding of the community as a whole. It is a violent act, and perhaps one of the few remnants of the overtly violent archaeology of the past, but by giving communities agency and sharing the responsibility through conversation and organisation, we can lessen the more socio-cultural harm it creates. Overall, archaeologists need to embrace the subversion of normalised power structures as part of a transformative archaeology. Through this, we may begin to restructure archaeology at its core, creating a new, more equitable framework that is not supported by colonialist ideologies.

With that in mind, I also believe a transformative archaeology can learn from current discussions being held on postcolonial archaeologies, specifically when it comes to creating a transformative archaeological practice. For example, a more widespread adoption of ethnographic archaeology may provide practitioners with the tools necessary for a greater reflexivity in our archaeological research, allowing for discussion on the relations between archaeologists and community members and the ethical considerations coincide more with current social issues (Meskell 2010: 445, 453). However, even a transformative archaeology would have its pitfalls – as McDavid and McGhee (2010) warn in their commentary on postcolonial public archaeology and advocacy, we cannot fetishize our goals and make the overall aim become “practicing good archaeology” or “being a good person in archaeology” (490); ultimately, we must be doing this transformative work because it is necessary.

This Paper is an Optimistic Confrontation

Archaeology is violence. In the past and present, archaeology perpetuates both physical and socio-cultural violence in the application of its theory and practice. But there is potential for archaeology to become non-violent, to move beyond its assumed norms of “scientific destruction” and transform into a very different discipline.

Yes, this paper is confrontational, but it should not be seen as a pessimistic rant against the archaeological establishment that maintains these violent norms. On the contrary, it is through this confrontation that I hope aspiration can be born: the aspiration to become more than a discipline of and for violence, to fulfil the idea that archaeology allows us to touch the past and understand it. Much has been discussed by BIPOC academics about the concept of white imagination and how its severe limitations to see beyond whiteness help exacerbate the continued oppression and marginalisation of others (Coleman 2014; Rankine 2015; Todd 2019); I believe a similar lack of imagination is what has obstructed substantial change in archaeology. The Western (white) canon has thoroughly ingrained itself into archaeology courses for decades, developing a longstanding place in syllabi that can be easily misunderstood as “vital” or “necessary” reading, rather than just a reflection of bias and the internalised priority of whiteness. To imagine an archaeology without this foundation is nigh impossible for many, resulting in a definite pushback against those calling for radical change to the way archaeology is taught and practiced. 

As an “optimistic confrontation”, I hope that this paper helps spark the imagination necessary to weaken the resistance to such change. Like I have mentioned in the introduction, this paper is meant to reflect a similar journey I’ve gone through as an archaeologist who has been confronted with the truth of my research; just as that one Internet comment shook me out of my archaeological delusions of grandeur, I hope this paper is the jolt that some require to finally recognise how much work needs to be done. We can transform our discipline into something that acknowledges our colonial baggage, but is not beholden to it. When describing decolonization, Frantz Fanon (1963) called such a massive change in the world as “a program of complete disorder” (36); similarly, the process of transformation for archaeologists will also be rife with complications and conflicts. We are looking towards necessary change and development will be hard, and dirty, and downright ugly at times…but hasn’t that always described archaeology?

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Burke, H. and Smith, C. E. (2007) The Great Debate: Archaeology, Repatriation, and Nationalism. In Burke, H. and Smith, C. E. (editors) Archaeology to Delight and Instruct: Active Learning in the University Classroom.   New York: Routledge. 55-66.

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Nagy, R. (2008) Transitional Justice as Global Project: Critical Reflections. Third World Quarterly 29 (2), 275-289.

Nash, S. E. and Colwell-Chanthapohn, C. (2010) NAGPRA After Two Decades. Museum Anthropology 33 (2), 99-104.

Nicholas, G. and Hollowell, J. (2007) Ethical Challenges to a Postcolonial Archaeology: the Legacy of Scientific Colonialism. In Hamilakis, Y. and Duke, P. (editors) Archaeology and Capitalism: From Ethics to Politics.   Walnut Creek, CA: Left Coast Press, Inc. 59-82.

Rankine, C. (2015) Citizen: An American Lyric. Minneapolis: Graywolf Press.

Reid, D. M. (2002) Whose Pharaohs? Archaeology, Museums, and Egyptian National Identity from Napoleon to World War I. Berkley: University of California Press.

Riding In, J. (1992) Without Ethics and Morality: A Historical Overview of Imperial Archaeology and American Idians. Arizona State Law Journal 11, 11-34.

Riggs, C. (2013) Colonial Visions: Egyptian Antiquities and Contested Histories in the Cairo Museum. Museum Worlds: Advances in Research 1, 65-84.

Schanche, A. (2002) Saami Skulls, Anthropological Race Research, and the Repatriation Question in Norway. In Fforde, C., Hubert, J., and Turnbull, P. (editors) The Dead and Their Possessions: Repatriation in Principle, Policy, and Practice.   New York: Routledge. 47-58.

Shigwedha, V. A. (2016) The Return of Herero and Nama Bones from Germany: the Victims’ Struggle for Recognition and Recurring Genocide Memories in Namibia. In Dreyfus, J. and Ansett, E. (editors) Human Remains in Society: Curation and Exhibition in the Aftermath of Genocide and Mass-Violence.   Manchester: Manchester University Press. 197-219.

Thomas, N. (2016) We Need Ethnographic Museums Today – Whatever You Think of Their History.

Thornton, R. (2002) Repatriation as Healing the Wounds of the Trauma: Cases of Native Americans in the United States of America. In Fforde, C., Hubert, J., and Turnbull, P. (editors) The Dead and Their Possessions: Repatriation in Principle, Policy, and Practice.   New York: Routledge. 17-24.

Thornton, R. (2016) Who Owns the Past? The Repatriation of Native American Remains and Cultural Objects. In Lobo, S., Talbout, S., and Morris, T. L. (editors) Native American Voices: A Reader.  3rd edition. New York: Routledge. 311-320.

Todd, Z. (2019) Your Failure of Imagination is Not My Problem. https://anthrodendum.org/2019/01/10/your-failure-of-imagination-is-not-my-problem/.

Torrej ón, J., Wallner, M., Trinks, I., Kucera, M., Luznik, N., Locker, K. and Neubauer, W. (2016) Big Data in Landscape Archaeological Prospection. Arqueol ó gica 2.0, 238-246.

Tuhiwai Smith, L. (2012) Decolonizing Methodologies: Research and Indigenous Peoples. 2nd edition. London: Zed Books Ltd.

Turnbull, P. (2002) Indigenous Australians, Their Defence of the Dead and Native Title. In Fforde, C., Hubert, J., and Turnbull, P. (editors) The Dead and Their Possessions: Repatriation in Principle, Policy, and Practice.   New York: Routledge. 63-86.

Uda, M., Demortier, G. and Nakai, I. (2005) X-Rays for Archaeology. The Nederlands: Springer.

Utt, J. (2013) Intent vs. Impact: Why Your Intentions Don’t Really Matter. https://everydayfeminism.com/2013/07/intentions-dont-really-matter/www.onlyblackgirl.com/blog/intent-vs-impact.

Wallis Budge, E. A. (1989) The Rosetta Stone. Reprint edition. Mineola, NY: Dover Publications.


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When does “Cultural Preservation” become “Cultural Taxidermy”?

I’ve been thinking a lot about modern engagement with heritage sites lately, specifically beyond the “museum model” that most are presented through. These are the heritage sites that allow for much more engagement, if not actual interaction, between the heritage site and the visitor – most of these are in the form of free-standing spaces, such as the numerous heritage sites that can be found throughout the Orkney Islands of Scotland.

The Standing Stones of Stenness, in Orkney, Scotland

I love these sorts of sites – I love being able to briefly feel how the space may have felt for past peoples, to look up in awe at impossible-looking architecture made of time-defying earth and stone.

But there’s similar sites that are much more restrictive, that keep their heritage treasures under lock and key, sometimes even literally. This restrictiveness can vary in severity – sometimes it’s a simple rope that keeps visitors from wearing down the ancient material, other times entire monuments have been transported (kidnapped, in some cases?) to a new place, to be exhibited in sterile environments that can be controlled and, more importantly, contained.

And I understand the impulse to do so – heritage can be a fragile thing, and many of us who work with the past find ourselves becoming rather protective of it. Who wouldn’t want to spare these sites the cruelty of time and nature, to allow our great great great grandchildren to experience them as we do today?

What do we decide can be exchanged for preservation? Because there must be an exchange, something must be given up for the price of preserving something else – a site, an artefact, a body…these must all be given strict conditions in order to preserve it, which will necessitate restrictions on the ways in which others engage with it. So these pieces of heritage become roped off, or sealed away behind glass, or only recreated through virtual or otherwise augmented realities. And yes, perhaps we still maintain its existence on within the material realm and allow others to experience some aspect of it, but what are we also removing from the experience?

It becomes something that I think of sometimes as “cultural taxidermy” – in which something that once was alive within the cultural of a community is preserved in death, frozen for aesthetics but lacking in anything more tangible, more engaging. And perhaps this is a harsh way to phrase it, but this is something I think about a lot when I wander through the “cultural” parts of museums, where bits and pieces of other peoples’ cultures are kept frozen in time, placed in some sort of tableau that implies a living essence that has long been taken from it.

And this leads to another question that I have: How do we ultimately cut off these spaces from the people who gave it life and meaning? This is obviously a vital question that needs to be considered as museums and other heritage institutions become more scrutinised as spaces of continuous colonialism in an allegedly post-colonialist world. It’s a question that doesn’t get consider when repatriation becomes part of the discussion, that’s for sure – it seems that most folks who are staunchly against repatriation of artefacts and other material culture often see this as an unfair exchange, that they (the institution, the museum, the Western culture) are losing something valuable that will in effect be “squandered” or “wasted” because it is no longer in their hands.

When these items and spaces are removed from their cultural contexts and placed behind glass, how are these lines of living culture interrupted? Why do we think that these things need to be preserved over all other uses? Again, to return to the taxidermy metaphor, it’s hard not to see some aspects of cultural heritage as intriguing and exotic animals to many heritage workers, who decide that to taxidermy it and preserve it forever is the only way for it to continue “living”, rather than allowing it to remain alive and flourishing in its original context and space.

So, what’s the point to all of this rambling? Is there a way to “fix” this, if it even is an issue at all? How do we shift the focus from “preserving history” to “preserving and restoring history”? As always, I have no idea! But I like asking these questions, because asking them means that they’re being scrutinised and considered – and so, if you’re someone who works in heritage (particularly Western institutions), I hope you begin to consider them too.

Curse-Breakers and Thieves: Looted Artefacts, the Antiquities Market, and…Harry Potter, too?

Note: Given that this blog post is based on a book series by a noted transphobe, perhaps consider donating to organisations that support and fight for the rights of the trans community. Ideally find a local organisation if you can, but here are some bigger organisations that I have donated to in the past: The Okra Project, G.L.I.T.S., and the Marsha P. Johnson Institute. Thank you.

“Are you seeking a challenging career involving travel, adventure, and substantial, danger-related treasure bonuses? Then consider a position with Gringotts Wizarding Bank, who are currently recruiting Curse-Breakers for thrilling opportunities abroad.”

Harry Potter and the Order of the Phoenix, p. 606

In the Harry Potter franchise, Bill Weasley is a Curse-Breaker for Gringotts Wizarding Bank. He is based in Egypt, where his job consists of breaking curses placed upon ancient tombs and treasures, ultimately sending anything he successfully retrieves to Gringotts.

So…um…does this mean that part of the Wizarding World’s economy is based on looting?

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Harry, Ron, and Hermione break into a Gringotts vault in Harry Potter and the Deathly Hallows

Unfortunately, we don’t learn much about the job itself beyond the fact that it’s an Indiana Jones-type treasure hunting profession that uses magic to circumvent any nasty curses or magical traps. We don’t even know what Gringotts does with the treasures obtained by Curse-Breakers, leading to many to believe that they are somehow incorporated into the bank’s circulation of gold into the economy, or that Gringotts simply enjoys collecting and guarding treasures of any kind.

There’s a theory that perhaps Curse-Breakers retrieve goblin-made treasures from ancient tombs and vaults – as explained by Bill Weasley in Harry Potter and the Deathly Hallows (2007), goblins view the creators of an object as the true owner of said object, not the purchaser, and that many goblins would prefer that goblin-made artefacts be returned to goblins once the wizard owner has died (p.517). So, with that perspective, Curse-Breakers aren’t looting, but repatriating items back to goblins. However, this is just speculation – goblins in the Harry Potter universe keep their secrets closely guarded, given the tense relations between goblin and human communities; in the same passage referenced above, for instance, Ron angrily mentions that goblins refuse to teach humans how they create their objects in response to Griphook’s anger at human wizards hoarding wand ownership and magic from goblins.

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Harry enters his Gringotts vault for the first time in Harry Potter and the Philosopher’s Stone…that’s a LOT of gold!

It wouldn’t surprise me if looted objects was secretly a huge component of the Wizarding World’s economy, though…after all, in the real world, the illegal antiquities market is huge. Recently, Hobby Lobby was revealed to have spent over $200 million for looted artefacts from Iraq to display in the company’s president’s Museum of the Bible (Arraf 2018). Even online marketplaces like Amazon and eBay have found themselves advertising the sale of stolen artefacts (Medrano 2017). These items sell for enormous amounts of money, given the cultural and social prestige surrounding “authentic” ancient artefacts.

There’s some good news, however. Archaeologists are becoming more militant against not only the illicit antiquities market, but the selling of any and all antiquities on the open market. Why? Well, it’s become what some Blythe A. Bowman refers to as a “grey” market – even the “reputable” markets can find themselves selling looted artefacts that (Bowman 2008, Stevenson 2017). A very timely example can be seen with auction house Christie’s, which is currently being sued by Egypt after they had sold a bust of King Tutankhamen for $5 million – Egyptian officials believe that the bust was actually looted during the 1970’s and has had its origins falsified to pretend its a legal purchase (Cascone 2019).

Personally, I can’t put any trust in the idea of selling artefacts, regardless of the market being “reputable” or not. If we’re going to be serious about repatriation in archaeology, I’d argue that we can no longer continue the high profile sale of artefacts. It diminishes the cultural and heritage value of artefacts to a monetary one, which often inflates to the point that only Western countries made rich through imperialism and colonialism (amongst other acts of violence) can afford these items for their collections and museums. This continues the cycle of museum-sanctioned looting of items from their cultural origins, where artefacts are not only physically, but also financially inaccessible to their places of origin. It’s a continuation of colonialism, plain and simple.

References

Arraf, J. (2018) Hobby Lobby’s Illegal Antiquities Shed Light on a Lost, Looted Ancient City in Iraq. NPR. Retrieved from https://www.npr.org/2018/06/28/623537440/hobby-lobbys-illegal-antiquities-shed-light-on-a-lost-looted-ancient-city-in-ira?t=1565874644457.

Bowman, B.A. (2008) Transnational Crimes Against Culture: Looting at Archaeoloical Sites and the “Grey Market” in Antiquities. Journal of Contemporary Criminal Justice 24 (3). pp. 225-242.

Cascone, S. (2019) Egypt will Sue Christie’s over the $6 Million Sale of a King Tut Sculpture Officials Claim was Looted from a Temple. ArtNet News. Retrieved from https://news.artnet.com/art-world/egypt-christies-lawsuit-king-tut-sculpture-1595746.

Medrano, K. (2017) Are Amazon and eBay the New Black Market? Archaeologists Warn Against Ancient Artifacts Sold Online. Newsweek. Retrieved from https://www.newsweek.com/amazon-ebay-archaeology-black-market-looting-artifacts-704385.

Rowling, J.K. (2003) Harry Potter and the Order of the Phoenix. London: Bloomsbury Publishing.

Rowling, J.K. (2007) Harry Potter and the Deathly Hallows. London: Bloomsbury Publishing.

Stevenson, A. (2017) Why Archaeological Antiquities Should Not Be Sold on the Open Market, Full Stop. The Conversation. Retrieved from http://theconversation.com/why-archaeological-antiquities-should-not-be-sold-on-the-open-market-full-stop-54928.


If you’re financially stable enough, why not donate to help out marginalised archaeologists in need via the Black Trowel Collective Microgrants? You can subscribe to their Patreon to become a monthly donor, or do a one-time donation via PayPal.

My work and independent research is supported almost entirely by the generosity of readers – if you’re interested in contributing a tiny bit, you can find my PayPal here, as well as my Amazon Wishlist for research material.

Second-hand Stories: An Archaeology of Thrift Shops

One of my biggest guilty pleasures is watching YouTube videos  – especially when I should be doing something else, like writing up my PhD dissertation (oops). Perhaps one of my favourite category of YouTube vlogs is the the “low-key thrift store video”, where the host of the channel takes the viewers to their local Goodwills and Salvation Army-type stores and see what kind of treasures can be found inside. And it makes sense why these videos resonate with me so much – like many other Millennials who find themselves perpetually in-debt and strapped for cash, I have probably bought a good 45% of my belongings second-hand through thrift stores (or charity shops, as they say in the UK). But the other reason is that thrift stores spark so much archaeological intrigue in me! Thrift stores are basically museums of artefacts from across various periods of time, a place in which “the old” can be retrofitted into “the new”.

Screenshot_2019-05-22 LGR - Thrifts [Ep 39] The Junk Shop - YouTube
Like many archaeological sites, thrift stores also have a plethora of old ceramic artefacts! (Screenshot taken from “LGR Thrifts Episode 39: The Junk Shop” Credit: Clint Basinger 2018)
Oddly enough, however, I did not find a huge amount of literature on the archaeology of thrift stores when doing my research for this post. There’s plenty of academic papers available analysing the economies of thrift stores and the shifts in demographics of thrift store customers, of course…but very few anthropological/archaeological perspectives. And, to be fair, I hadn’t though about it either until I watched the most recent episode of the Lazy Game Review‘s YouTube series, LGR Thrifts. On Episode 42, LGR host Clint Basinger makes a comment about the influx of goods being donated to thrift stores in January 2019, speculating that this was part of the “Marie Kondo” affect, where folks were getting rid of most of their material goods after watching the Netflix series (I’ve also written about a Marie Kondo-approach to archaeology here!). It made me think about the life stories of thrift store goods – where did they originate from? How were they utilised in past lives, and how are they seen/utilised today? Why were they given to a thrift store in the first place? Will they ever get reused again? With so many questions, I’m quite surprised this isn’t a larger field of interest for archaeologists.

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A collection of thrift store electronics from a variety of different time periods (Screenshot taken from “LGR Thrifts Episode 27: Das Trash” Credit: Clint Basinger 2016)
So, what would the “archaeology of thrift stores” entail? What is it about this concept that intrigues me? Most of the literature that I could find about thrift stores from an archaeological perspective focused on the idea of the “hipster material culture”; perhaps the word “hipster” is a bit outdated now, but the association is related to the release of Macklemore’s 2012 hit, Thrift Shop, which seemed to help popularise the notion that much of the hipster’s material culture is gathered through thrift stores. As Dawid Kobialka writes shortly after the debut of the music video:

“By the same token, thrift shops are, as it were, cultural heritage sites in which are staged and saved artefacts from the past, usually from the ’80s and ’90s. They will soon certainly become of interest for archaeologists too. They are places in which the past meets the present. They are about inclusive heritage where most of us can afford to buy something from the past.”

Dawid Kobialka (2013)

Kobialka’s further emphasises the two contrasting aspects of thrift stores as archaeological sites: on one hand, they represent an accumulation or large-scale deposit of artefacts. On the other hand, they also represent a new type of material culture based on reusing older artefacts. And it is this dichotomy of sorts that I’m most interested in! I’ve written before about my fascination with archaeological recycling and reusing culture – where materials from the past are ultimately reused by later peoples, creating a more complex life story of the objects in question. Thrift stores are a sort of crossroads where artefacts await their own recycling or reusing – in many ways, the thrift store can also be seen as a liminal space where objects exist in a state between “artefact” and “still-in-use”.

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You never know what you may find in a thrift store…(Screenshot taken from “LGR Thrifts Episode 31: Wintry Wins!” Credit: Clint Basinger 2017)
Of course, there’s certainly a lot of issues that one would face if attempting to “excavate” a thrift store – for example, how would we tackle this “site” systematically? But I also believe that there is a wealth of questions one could ask about these “assemblages” that are accumulated at these sites, some of which perhaps may have larger outcomes on the ways in which we view archaeological assemblages and artefacts in general.

Besides, I love a good excuse to find some more second-hand books and vinyl records…maybe look forward to another post in the future detailing my own excavation of a thrift store!

References

Basinger, C. (2019) LGR Thrifts: Episode 42. YouTube Video, retrieved through Patreon: https://www.patreon.com/LazyGameReviews/posts.

Kobialka, D. (2013) Popping Tags: Thrift Shopping with Macklemore. PopAnth. Retrieved from https://popanth.com/article/thrift-shopping-with-macklemore.


If you’re financially stable enough, why not donate to help out marginalised archaeologists in need via the Black Trowel Collective Microgrants? You can subscribe to their Patreon to become a monthly donor, or do a one-time donation via PayPal.

My work and independent research is supported almost entirely by the generosity of readers – if you’re interested in contributing a tiny bit, you can find my PayPal here, as well as my Amazon Wishlist for research material.

“Start at the Beginning, and When You Get to the End, Stop” – The Archaeology of Time

At the time of writing this blog post, we are only three days into 2019. I’ll be honest – I’ve experienced 25 years on this planet and I still make New Year’s resolutions. The usual ones, of course: exercise more, consume less sugar, etc. And, of course, these resolutions usually make it until mid-February before I completely ditch them and continue to eat chocolate bars every day without touching my running shoes. I know New Year’s resolutions are silly gimmicks, marketed by gyms and health apps to make lots of money come January 1st. But I have always liked to utilise the New Year as a time for restarting my daily routines, renewing goals – I mean, I have an entire year ahead of me with so many possibilities, right?

So in honour of the New Year, let’s look at how we measure time in archaeology.

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An diagram of “typical” archaeological stratigraphy (Image Credit: Crossrail Ltd.)

There are many ways that archaeologists create chronologies, and we often combine several methods to get a better idea of what a site’s timeline was like. Possibly the easiest way to “see” time across a site’s archaeological record is to look at the cross-section of a trench during excavation. The stratigraphy of an archaeological site can usually be seen as a series of “layers”, almost like a cake…if the cake was made out of various soils, organic material, and artefacts. These layers provide us with a general ideal of the order in which materials were deposited – this includes both natural and anthropogenic materials. It may be easier to think of archaeological stratigraphy as a sort of “visual starting point” for further developing a chronology for the site (Harris 1989). In an ideal world, we could simply look at the layer on the bottom to determine the “beginning” of the site’s history…but of course, things are never that simple.

During post-excavation, there are numerous methods available to an archaeologist for further dating. Having a typology (read more on typologies here) of a certain artefact, such as pottery, can help an archaeologist get a general idea of what time period they are currently dealing with. Within archaeological science, there are a variety of lab-based methods for dating: radiocarbon, potassium-argon, uranium, etc.

Of course, these methodologies aren’t perfect, nor are they definite. In fact, archaeologists differentiate between absolute and relative chronologies. Absolute chronologies provide us with approximate dates, often from lab-based methods such as radiocarbon dating. On the other hand, relative chronologies (for example, using a typology to determine an approximate period of creation and use) can be used to determine general time periods using the relationship between a previously occupied site (and its material remains) and an overall culture (Fagan and Durrani 2016).

Additionally, there are many external factors that can affect the recovered context of a site, thereby complicating the timeline – for example, burrowing creatures may cause some artefacts to fall into the contexts of others. There have also been many cases of re-using older artefacts and spaces, which can complicate the timeline further (you can read more on recycling and re-using the past here).

Overall, however, archaeology has been a useful tool for conceptualising the beginnings of things – while we cannot establish with certainty the absolute start of agriculture or domestication, for example, we have been able to develop an approximation of how early humans were practising such concepts.

And let’s be real – time itself is a fascinating concept. While we have this sort of “standardised” method of calculating and measuring time today, we cannot truly account for past perspectives on time. Of course, we can find material evidence that may illustrate the physical act of “keeping time” in the past, but how did people in the past really experience time? Think about how quickly an hour can go by today, just by watching random videos on YouTube or Facebook on your smartphone. Remember how much longer an hour felt when we didn’t always have access to the Internet at all times, prior to smartphones and other such devices? What about someone in the past who has a completely different mindset to us – how did they experience an hour?

…honestly, I could probably prattle on for hours and hours about this (and how would you experience that??).

Anyway, hope you all had an easy transfer from 2018 to 2019 this past New Year. Here’s to another year of writing incoherent, rambling posts that you hopefully find entertaining at the very least. And thank you all for supporting and reading my work last year, too – hope to see you all back again at the end of 2019!

References

Fagan, B.M. and Durrani, N. (2016) In the Beginning: an Introduction to Archaeology. Routledge.

Harris, E.C. (1989) Principles of Archaeological Stratigraphy. Academic Press.


If you’re financially stable enough, why not donate to help out marginalised archaeologists in need via the Black Trowel Collective Microgrants? You can subscribe to their Patreon to become a monthly donor, or do a one-time donation via PayPal.

My work and independent research is supported almost entirely by the generosity of readers – if you’re interested in contributing a tiny bit, you can find my PayPal here, as well as my Amazon Wishlist for research material.

Monoliths Of Memory at Disney’s EPCOT Center

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The “Leave a Legacy” monoliths nicely framing the bottom of the Spaceship Earth attraction and icon of the park (Photo Credit: Werner Weiss 2007)

The dawning of the year 2000 was a big deal for everyone, but perhaps most especially for Walt Disney World. To mark the new millennium, the resort set up a series of new events and attractions as part of their “Millennium Celebration”; this included a new parade called the “Tapestry of Nations”, a new evening fireworks show called “IlluminiNations 2000: Reflections of Earth”, and a new interactive pavilion called “Millennium Village”. The overall theme of this celebration was “celebrating the future hand in hand”, emphasizing and celebrating global cooperation into the future (Soares 1999).

It’s no surprise that EPCOT, otherwise known as the “Experimental Protoype Community of Tomorrow”, was chosen as the home for these festivities. Originally conceived as an actual living community by Walt Disney in the late 1950’s, EPCOT would eventually become a theme park at the Walt Disney World Resort in Orlando, Florida after Disney’s death (Patches 2015). Although not exactly what Disney had originally pitched to investors in the early 1960’s, EPCOT would be a theme park focused on discovery, “edu-tainment”, and eventually, on celebrating international relations and cultures with the addition of a “World Showcase” that highlights 11 different countries. Perhaps it was explained best by  Al Weiss, then president of Walt Disney World, who said: “Walt Disney once referred to EPCOT as a ‘living blueprint of the future’ and it is in that spirit that we welcome to the world to celebrate the millennium at this, our discovery park” (Soares 1999).

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A closer look at the individual monoliths, covered in etchings of guests (Photo Credit: Allen Huffman 2006)

Another addition to the theme park for the new millennium was called “Leave a Legacy”. Although at heart a means of generating a profit from the empty space at the front of the “FutureWorld” park entrance, these slabs of granite also allowed diehard theme park fans to leave their mark – or, more specifically, their faces – at EPCOT forever. By paying between $35-38 per space, up to two people could have their faces etched into these monoliths during the “Millennium Celebration”. This installation is guaranteed to be standing for at least twenty years, although there has been no plans to remove the monoliths once this period is up. Fans ultimately appear to be divided about the “Leave a Legacy” installation – although many believe it to be an eyesore and not enough spaces were bought to fill up the entire allotted space in the installation, many still appreciate the ability to have their legacies memorialised, with over 550,000 people etched into the monoliths  (Weiss 2012).

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Megaliths located in Laman Megalit, or Megalithic Park, in Putrajaya, Malaysia (Photo Credit: Drew Parsons 2017)

Archaeologically, we can see that these monoliths must draw some inspiration from prehistoric megaliths. Megaliths are defined as usually prehistoric stone monuments, sometimes used as tombs, that range from simplistic to more elaborate set-ups (monoliths, on the other hand, are specifically a singular block of stone or material, but mostly refer to more historic and modern installations due to the use of cement or some other kind of binding ingredient). Megaliths can be found around the world, with some of the more famous ones located in Europe (for example, Stonehenge). Interpretations of megaliths are hot topics of debate among archaeologists, and often have become the breeding grounds for pseudoarchaeological theories (Renfrew 1983).

Some archaeologists have theorised that the key to understanding these megalithic structures is memory (Holtorf 1996, Cummings 2003).  Cummings (2003) in particular has argued that the focus on megaliths should be less on their construction and more of how the experience of running into similar structures across Britain may be tied into an idea of spatial memory and how these megaliths ties these spaces together.

So while the “Leave a Legacy” monoliths may have been, at heart, a money grabbing venture to top off the celebration of a new millennium (this is, after all, the place where you can’t leave an attraction without going through a gift shop!), they also are a testament to this sort of sentiment that is seemingly timeless – of leaving behind something that inspires memories that are tied to a specific place, of having some sort of established legacy to be found by others thousands of years later. Perhaps we can even say these monoliths are proof that, when it comes to monuments, our prehistoric ancestors had the right idea!

References

Cummings, V. (2003) Building from Memory: Remembering the Past at Neolithic Monuments in Western Britain. Archaeologies of Rememberance: Death and Memory in Past Societies. Kluwer Academic Publishers. pp. 25-29.

Holtorf, C.J. (1996) Towards a Chronology of Megaliths: Understanding Monumental Time and Cultural Memory. Journal of European Archaeology. pp. 119-152.

Patches, M. (2015) Inside Walt Disney’s Ambitious, Failed Plan to Build the City of Tomorrow. Esquire. https://www.esquire.com/entertainment/news/a35104/walt-disney-epcot-history-city-of-tomorrow/

Renfrew, C. (1983) The Social Archaeology of Megalithic Monuments. Scientific American. 249 (5). pp. 152-163.

Soares, S. (1999) The 15-Month Walt Disney World Millennium Celebration: A Celebration Just Too Big for One Night. WDW Entertainment. http://wdwent.com/EPCOT.htm

Weiss, W. (2012) Leave a Legacy. Yesterdayland. https://www.yesterland.com/legacy.html


If you’re financially stable enough, why not donate to help out marginalised archaeologists in need via the Black Trowel Collective Microgrants? You can subscribe to their Patreon to become a monthly donor, or do a one-time donation via PayPal.

My work and independent research is supported almost entirely by the generosity of readers – if you’re interested in contributing a tiny bit, you can find my PayPal here, as well as my Amazon Wishlist for research material.

Studies in Skyrim: Lessons in Typologies, from Dwarven Fortresses to Nord Ruins (Part II)

Today’s blog post is the second part of our discussion of archaeological typologies as seen in Skyrim. Last week we started off the conversation with an example of using typology to differentiate between ancient Nord and Dwemer ruins in Blackreach (you can read Part One here!). For today, we’ll be continuing this conversation by looking at functionality and typology, as well as the way Skyrim takes typologies to the extreme through the design of certain items and how this simplified version of typology may reflect criticisms of the practice by archaeologists.

We can see the item design in Skyrim as a way of talking about typology (or the method by which archaeologists categorise stylistic elements of material remains in order to associate them to a certain time period and/or culture) in relatively simplistic terms – after all, if we look at the physical characteristics of different pieces of weaponry and armour from different cultures, we can see how they completely different they are and how easy it is to identify where an item originated.

In the overall Elder Scrolls lore, ideas of culture are more or less simplified into being race-specific, with additional cultures based on in-game factions. There are 10 playable races that make up the majority of the material culture in the video game: the Altmer, (High Elves), Argonians, Khajiit, Nords, Imperials, Bosmer (Wood Elves), Redguards, Dunmer (Dark Elves), and Orsimer (Orcs). In addition, there are several non-playable races with their own specific material culture (the Falmer, the Dwemer, the Daedra), as well as faction-specific cultures as well (the various Guilds, the Blades, the Stormcloaks, etc.). Overall, Skyrim’s archaeological record is filled with a diverse selection of different cultures intermingling, with very obvious physical markers on their material goods that allow the player to differentiate between them when obtaining equipment throughout the course of the game. It should also be stressed that the in-game concept of race and culture as more or less interchangeable is incredibly simplified and not at all a reflection of real life, which is far more complex than that.

For example, let’s look at the four weapons in the above image, each of which originates from a different culture. On the top left is an Orc sword, on the top right is a Dwarven axe. On the bottom left is a Redguard sword (more specifically, a scimitar), and on the bottom right is an ancient Nordic axe. The stylistic differences are very obvious and would be easy to see that there is a certain typology involved in the creation of each weapon within each culture. But let’s take it further and discuss why these stylistic differences are necessary – after all, this is another aspect of typology which makes the process valuable to the interpretation.

To start, let’s look at the Orc sword. Based on the Orsimer culture from which it originates, its possible that the strange shape associated with Orc weaponry may simply be a reflection of their culture’s strong emphasis on warrior culture and blacksmith skills; in fact, the Orsimer culture is, within the lore of Skyrim, known for the high quality smithing that is taught from a young age and results in some of the best weaponry in the realm.

The Dwemer, or Dwarves, were known for their mechanical prowess and utilisation of metalwork in their complex and intricate machinery that can still be found in working condition centuries after their disappearance; their proficiency in metalwork can also be seen in their weaponry, which are often more decorated with small details than that from other cultures.

The stylistic traits associated with the material culture of the Redguards and the Nords, on the other hand, can be best explained from the perspective of the creation of the game’s lore. As players may notice, many of the in-game races are clearly based on real life cultures – this is clearly seen with the Nords, who are not only based on Norse material culture, but also named after it. In the case of the Redguards, the game designers were inspired by African and Middle Eastern cultures, explaining the substitution of the usual longsword found in the other Elder Scrolls cultures with a scimitar, which has its real life roots in the Middle East.

As another example in cultural typologies, let’s look at the above image comparing three pieces of armour. From left to right, we have an Imperial cuirass, a Blade cuirass, and an Elven helmet. Again, all of these pieces of armour have distinct stylistic characteristics – but let’s take a closer look at the Imperial and Blade armoury. Again, from an out-of-game perspective, we can clearly see where the real life inspirations lie – the Imperials are, as one can tell by the name, based off of Roman legionnaires, while the Blades take their inspiration from Japanese Samurai warriors. And yet, it can be argued that the two pieces of armour have similar characteristics in design as well. It could be that this reflects the entwined histories of the two cultures – according to the Elder Scrolls lore, the Blades were a group of Akaviri warriors (another extinct race that are represented in other games in the Elder Scrolls series using East Asian-inspired architecture and artefacts) that eventually became part of the Imperial life as bodyguards.

The Elven helmet (which is more often worn in-game by the Altmer or High Elves) doesn’t necessarily reflect a similarly elaborate history, but it is another example of functionality reflected in cultural style – the shape of the helmet appears to specifically suit the shape of an Altmer, who often have higher foreheads and elongated faces. It could also be argued that the ornate and feathery style of the helmet is an attempt to emulate the alleged ancestors of the Altmer – this refers to the Aedra, a race of god-like immortals that have disappeared from the realm prior to the story of Skyrim.

Although the extreme stylistic differences between Skyrim’s cultures make the process of typological analysis appear to be very simple and easy, it’s a bit more complicated in real life. There has been a lot of debate on the usefulness of typologies in general, and how they may ultimately just be a reflection of bias on the part of the archaeologist. Typologies could be argued to have been more modern inventions, based on the outside perspective of an archaeologist that does not reflect the realities of the past culture from which it originated. These invented types may eventually become “canonised” within archaeological literature and considered the “truth” – ultimately obstructing alternative interpretations (Boozer 2015). Additionally, it can be argued that typology presents the idea of culture as relatively static and unchanging, which may not be accurate (Hill and Evans 1972). In some ways, this is shown within Skyrim’s material culture – Nordic styles (as discussed in Part One of this post) change over time, the Blades maintain their Akaviri roots in their ornamentation while being subsumed into Imperial culture, etc.

Regardless, typology has certainly been an important analytical method in archaeology, albeit a controversial one in some cases. And while it may not be as useful as it was once thought, we can use the theoretical concepts utilised in typology to further our interpretations, but still be open minded and conscious of the hidden biases that may be disrupting our research.

References

Anonymous. (2011). Altmer. The Elder Scrolls Wikia. http://elderscrolls.wikia.com/wiki/Altmer

Anonymous. (2011). Blades. The Elder Scrolls Wikia. http://elderscrolls.wikia.com/wiki/Blades

Anonymous. (2011). Dwemer. The Elder Scrolls Wikia. http://elderscrolls.wikia.com/wiki/Dwemer

Anonymous. (2011). Orsimer. The Elder Scrolls Wikia. http://elderscrolls.wikia.com/wiki/Orsimer

Anonymous. (2011). Races (Skyrim). The Elder Scrolls Wikia. http://elderscrolls.wikia.com/wiki/Races_(Skyrim)

Anonymous. (2011). Redguard. The Elder Scrolls Wikia. http://elderscrolls.wikia.com/wiki/Redguard

Bethesda Game Studios. (2011) The Elder Scrolls V: Skyrim.

Boozer, A.L. (2015) The Tyranny of Typologies: Evidential Reasoning in Romano-Egyptian Domestic Archaeology. Material Evidence: Learning from Archaeological Practice. Routledge. p. 92-110.

Hill, J. and Evans, R. (1972) A Model for Classification and Typology”. Models in Archaeology. Methuen. p. 231-273.


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The 2018 Excavation Season Wrap-Up!

I’m baaaaaaaaaaack! Missed me? Probably not, if you were following along with my project’s social media (Facebook, Twitter, and website).  For those of you who missed out, however, here’s a bit of a recap of the past three weeks of excavation at the Covesea Caves in Scotland.

So, the good news about my recent field work trip is that I got to experience some amazing sights and got a lot of data collection done towards my PhD dissertation.

The bad news is that most of those three weeks were spent indoors. Why? Well…

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Luckily nothing was broken, just badly bruised. Not pictured is the injuries I then sustained from falling down the stairs two days later.

And that was just Day One!

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Climbing down “the lummie”, aka “holding onto a rope and a ladder for dear life”.
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These “rock stairs” are deceptively easy looking – getting up them required a lift up for me!

So, here’s the thing about the Covesea Caves (the series of caves in Moray, Scotland that my current PhD research is based on) – they are known for being difficult to access. However, I didn’t realise until I finally went to visit them in person just how difficult they are to access! An average walk to our excavation site included a fair bit of hiking down a steep coastal path (which, as someone who is afraid of heights, was way too close to the cliff’s edge for me!). For some caves, we would have to climb down “the lummie” – a bit of a crevice within the cliff that included a climb down using a ladder and a rope. Other caves had a sort of “natural” staircase made of rocks that were simple enough to climb down – getting up was an entirely different problem, especially if you’re short like me. After that, it’s a long walk across a beach of boulders – which may be dangerously slippery if you’re unlucky like me and manage to go on a rainy morning.  On the first day, it took approximately a dozen falls for me to injure my elbow enough to warrant a visit to A&E (the emergency room). Thankfully, nothing was broken, but I still ended up working from our base camp for the most of the remainder of the excavation period just to be on the safe side.

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My makeshift “zooarchaeology lab” in our accommodations – on the left, my supplies are all on top of a washing machine.

Despite how unfortunate this all sounds, it actually ended up working in my favour. As a zooarchaeologist whose PhD work is focused on analysis of the animal bones from the Covesea Caves, it was much more productive for me to be doing a bit of assessment on the bones as they were excavated. Especially when the final count for animal bones just from this season alone was nearly 5,000 bones! And so I ended up taking over our laundry room and converted it into a makeshift zooarchaeology lab – don’t worry, I thoroughly cleaned it up before I left.

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A collection of faunal bones from Covesea Cave 2.

Unfortunately I can’t get into too much detail about the recovered bones, but I can say that things are getting pretty interesting with regards to my developing thesis. Let’s just say I’m literally drowning in cats. Well, later prehistoric skeleton cats.

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Yep, this is how dark it usually is when you’re excavating caves.

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I did make it to site one more time before our excavation season was over. It was one of the smaller, more narrow caves in the Covesea Caves, so it was a bit of a challenge for someone like me who, along with a fear of heights, also has a fear of enclosed spaces! But I actually found it quite nice and cozy to be excavated in the back of a cave that can only be reached by extensive crawling…see if you can spot me enjoying myself in the photo above!

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It’s me! Get me outta here!
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The entrance to the Sculptor’s Cave.

Accidents aside, it was completely worth the trip up to visit the Covesea Caves. The site has such a distinctive environment that most likely would feed into how past peoples would experience and interact with the caves, it would be impossible to fully understand the archaeology without experiencing it first hand. I’ve visited and worked on a few archaeological sites in my lifetime and to be honest, it is hard to top the sort of emotional impact that standing at the mouth of the Sculptor’s Cave gave me.

Plus, it was a gorgeous place full of amazing sites so…definitely worth a few falls!

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The rock arch outside of Laird’s Stables.

If you’re financially stable enough, why not donate to help out marginalised archaeologists in need via the Black Trowel Collective Microgrants? You can subscribe to their Patreon to become a monthly donor, or do a one-time donation via PayPal.

My work and independent research is supported almost entirely by the generosity of readers – if you’re interested in contributing a tiny bit, you can find my PayPal here, as well as my Amazon Wishlist for research material.

American Stonehenge, or the Time that My Friends Took Me on Holiday to Watch My Head Explode

American Stonehenge, or the Time that My Friends Took Me on Holiday to Watch My Head Explode

I’ve lived in England for nearly three years now, and yet I have never been to Stonehenge. I feel like that’s a bit embarrassing as an archaeologist, but I just never made the time for it so far!

That said, I have been to American Stonehenge. Yeah, that’s a thing.

Behold…the 8th Wonder of the World, American Stonehenge!

According to the owners of the site, American Stonehenge is exactly like its English counterpart – built thousands of years ago by ancient seafarers who travelled from Europe…or maybe an unknown Native American culture…one of the two. The site is allegedly over 4,000 years old, based on “Phoenician” and “Ogham” writings found carved in stone.

In actuality, American Stonehenge is a site originally known as “Mystery Hill” that has been a roadside attraction for decades. The “mysterious” stone buildings and structures on the site were most likely originally made for farm storage, with additional ones created once it became a tourist site.

You know its a good “archaeological site” when there’s a sacrificial table!

So why would I be at such a pseudoarchaeological site?

Well, blame my friends. Apparently they thought it was funny to see how increasingly annoyed their archaeologist friend would get at a fake site – and they were right (there’s a great video somewhere of my face getting more and more angry-looking as we watched a presentation about the prehistoric Europeans that sailed to America to erect their Stonehenge).

But I have to admit, it was a bit fun to walk around and correct the signs posted around the site, as well as teach my friends a bit more about my own field. Although as archaeologists we should be combatting pseudoarchaeology when we can…I think sometimes we can also take a short trip to one of the biggest hoax sites there is and enjoy ourselves a little (and for a great crash course in pseudoarchaeology, check out my friend Stephanie Halmhofer’s new series at Bones, Stones, and Books!).

As you can see by my face, I really had a good time.

If you’re financially stable enough, why not donate to help out marginalised archaeologists in need via the Black Trowel Collective Microgrants? You can subscribe to their Patreon to become a monthly donor, or do a one-time donation via PayPal.

My work and independent research is supported almost entirely by the generosity of readers – if you’re interested in contributing a tiny bit, you can find my PayPal here, as well as my Amazon Wishlist for research material.