Note:As you can see, I’m no longer on hiatus! But there will be some changes to my blogging moving forward…as much as I love writing, I need to put my PhD studies first. This means that blog posts will not be weekly, but will come out a bit more inconsistently – basically whenever I have a bit of free time to blog!
Hopefully you’ll still tune in for some weird, archaeological ramblings, even if they’re only every once in a while. Thanks to everyone who has stuck around this long!
Today’s comparative mini-post comes from a question I received from Trisha J. (thanks Trisha!), who asked for a bit of a comparison between rodent and bird bones. Now, while I have written about both rodents and birds before, I’ve never actually compared the two in one of these posts – which is a bit of a surprise, as I totally get the confusion between them! They can look pretty similar,
Before we start, let me first preface this by saying we’ll be looking specifically at small bird bones – obviously, as you can see in the photo below, birds come in a wide variety of shapes and sizes! So we will be working under the impression that it’s easier to confusion small bird bones with rodent bones…unless you’re working with Rodents of Unusual Size, I guess?
Unfortunately there isn’t an easy tip for differentiating between bird and rodent bones quickly – although bird bones are known for being particularly light in weight to allow for flight, rodent bones have a similar weight due to size. Thankfully, bone shapes are pretty distinct between the two. See some of the example photos below to see how each differ!
If you’re dealing with bone fragments that are similar in size to either a small bird or rodent, I would highly suggest using some form of reference (photo or physical) to base your identification off of. They can certainly be quite tricky! You can also use small variations, such as the presence of “nubs” on bird ulnae, to help differentiation. Also remember that birds have bones that are not present in rodents (tibio-tarsus, furncula, etc.), so memorising their general shape will be helpful.
With skulls, if you have complete specimens, it’ll be pretty easy – the bird will usually have a beak attached!
Of course, life isn’t fair and you will often have a skull fragment on your hands. In that case, remember that bird skulls, in particular the cranial vaults, have very rounded and bulbous skulls (see below).
And if you’re unlucky enough to have vertebrae and ribs on your hands…well, good luck! Well, maybe at least with the ribs…vertebrae can be very tricky, especially when they’re very small. However, bird vertebrae tend to have a “body” (the thickest part of the vertebra) that curves inward and are a bit more narrow in shape.
Have a question about zooarchaeology? Or an idea for a future blog post? Remember you can contact me through the blog by heading to my Contact page.
Cohen, A. and Serjeantson, D. (1996) A Manual for the Identification of Bird Bones from Archaeological Sites. Archetype Publications Ltd.
Note:Today’s blog post will be the last one for a bit – due to my workload piling up for my PhD, I’ve decided to take a month long hiatus from blogging. Hopefully, having the entirety of February to catch up on my lab-work (and also celebrate my birthday on my downtime because I’m a February baby! Please send all birthday coffees here thank you) will get me ahead of schedule and I can get back to weekly blog posts come March. Thanks again for all of your support and hopefully I’ll see some of you when I get back – until then, remember you can also follow me on Twitter where I’m sure I’ll occasionally pop in to complain about animal bones!
Okay…I know I said that I wouldn’t use that extremely bad, extremely old joke to introduce a blog post…but this one is basically a companion piece to the previous OM NOM NOM post on gnawing, so it doesn’t count…I think.
Well, I promise I won’t use it again after this, okay? Okay.
Anyway, let’s talk about butchery.
“Butchery” is basically what zooarchaeologists call any physical characteristics that may indicate that the bone has been modified by humans. There can be many reasons why bones will be modified, but most commonly its for consumption. Here’s a brief overview of three common butchery marks that can be found on faunal bone in the archaeological record:
Cut marks look like thin striations in the surface of the bone. They are mostly associated with activities like skinning/de-fleshing. Based on other characteristics, zooarchaeologists can determine whether a cut mark was made by a stone blade or a metal blade. Stone blades create shallow v-shaped marks with parallel striations (Potts and Shipman 1981), while metal blades will made deeper, slightly angled v-shaped marks (Greenfield 1999).
Slightly different from cut marks are chop marks – these are marks that were made by blades that hit the bone at a perpendicular angle, causing a V-shape that’s much broader than a cut mark (Potts and Shipman 1981).
One very specific form of butchery that’s pretty easy to identify is marrow cracking or marrow extraction. Marrow is a valuable product that can be extracted from various bones simply by breaking into the shaft. We can recognise bones that have been cracked or butchered for marrow by the fractures and splintered fragments left behind (Outram 2001). Depending on the tool used to break the bone, “percussion notches” can also be found along the fractures.
Obviously there’s much more when it comes to butchery marks, but these three are arguably some of the common forms of butchery that you run into as a zooarchaeologist. To be honest, there’s something really wonderful about finding bits of butchery when you’re excavating – running your fingers along the striations in the bone, it’s amazing to think that hundreds, thousands of years ago, someone created these marks…probably with a stomach as hungry as mine, too.
I’m gonna be honest, I get so hungry when I work with animal bones sometimes…is that weird? It’s weird, right. Hm.
Greenfield, H.J. (1999) The Origins of Metallurgy: Distinguishing Stone from Metal Cut-marks on Bones from Archaeological Sites. Journal of Archaeological Science. pp. 797-808.
Outram, A.K. (2001) A New Approach to Identifying Bone Marrow and Grease Exploitation: Why the “Indetereminate” Fragments Should Not Be Ignored. Journal of Archaeological Science. pp. 401-410.
Potts, R. and Shipman, P. (1981) Cutmarks Made by Stone Tools on Bones from Olduvai Gorge, Tanzania. Nature pp. 577-580.
Hi, welcome back to the early to mid 2000’s where we still use jokes like “om nom nom” unironically!
Just kidding, I won’t subject you to bad jokes like that for this entire post. Anyway, it’s come to my attention that for a blog called “Animal Archaeology”, I don’t really write that much about the archaeology of animals, huh? Well, today will change that! Here is a brief introduction to how we identify gnaw marks on certain bones – because humans aren’t the only species to eat other animals, don’t ya know?
Rodent gnawing is probably the easiest one to recognise. Due to those huge incisors of theirs, rodents leave behind a very distinct pattern of close striations on the bone. Be warned, however! It can be easy to mix this up with cut marks, or vice versa.
Cats do indeed gnaw on bones! And they have a pretty peculiar way of doing so – when they hold onto a bone, they’ll use their canine teeth, which will often leave a puncture mark! Given their smaller size, these marks will often be a bit small and usually won’t go entirely through the bone (although if you’re dealing with a bigger feline, like a lion, you may find yourself with bigger and deeper puncture marks!). Cats will also do a bit of a “nibble”, leaving behind a very pitted and rough looking texture.
This is possibly something you can check right now if you have dogs as pets – take another look the next time they chew up a bone. Canine species like dogs and wolves will produce gnaw marks similar to felines in that they will often cause a puncture hole in the bone with their teeth. However, canine species will usually produce much larger holes in comparison. Another key characteristic is that canine species will slobber – when they gnaw on bones, they often produce what can only be described as “an upsetting amount of saliva” – however, this is great for zooarchaeologists, as it can leave behind a very polished look to the bone, which is very distinct. So, next time see you a beautifully polished archaeological bone…it was probably covered in ancient dog spit.
Yes, occasionally we do find human gnaw marks, although now we’re a little bit out of my jurisdiction! So, our teeth look weird – well, at least compared to non-human teeth. So the kind of gnaw marks we leave are a bit…wonkier? Is that the right word? Just bite into an apple and see what you leave behind, it’ll depend on how your incisors look, as we often lead with them to bite down onto something. Personally, I have pretty large buckteeth, so I’d hate to be the zooarchaeologist looking at my left behind teeth marks trying to figure out what the heck happened!
Parkinson, J.A., Plummer, T., and Hartstone-Rose, A. (2015) Characterizing Felid Tooth Marking and Gross Bone Damage Patterns Using GIS Image Analysis: An Experimental Feeding Study with Large Felids. Journal of Human Evolution. 80. pp. 114-134.
Yeshurun, R., Kaufman, D., and Weinstein-Evron, M. (2016) Contextual Taphonomy of Worked Bones in the Natufian Sequence of the el-Wad Terrace (Israel). Quarternary International. 403. pp. 3-15.
Is there a “Perfect Pokemon”? Well, I guess technically there is the genetically engineered Mewtwo…but what about “naturally occurring” Pokemon? Can Trainers “breed” them for battle?
A form of “Pokemon breeding” has been a vital part of the competitive scene for years. Players took advantage of hidden stats known as “Individual Values”, or “IV’s”, which would influence a Pokemon’s proficiency in battle. These stats could be changed based on training and utilising certain items in-game. In order to have the most control over a Pokemon’s IV’s, it is best if a Player breeds a Pokemon from the start by hatching them from an Egg, allowing for modification of stats from the very start. This is in contrast to usiong caught Pokemon, which are often above Level 1, so some of their important stats have already been changed “naturally” (Tapsell 2017).
But what about real life animal breeding? More specifically, “selective breeding” – this refers to human-influenced or artificial breeding to maximise certain traits, such as better production of certain materials (for example, milk or wool) or better physicality for domestication (stronger builds for beasts of burden, etc.). This is in contrast to natural breeding or selection, in which the best traits towards survival and adaptation are passed through breeding, although these traits may not be best suited for human use of the animal. Selective breeding is most likely as old as domestication itself, but its only been recently (at least, in the past few centuries) that humans have more drastically modified animal genetics (Oldenbroek and van der Waaij 2015).
But can we see selective breeding archaeologically? For the most part, this sort of investigation requires a large amount of data – zooarchaeologists can see dramatic modifications to bred animals by examining large assemblages of animal remains over time. Arguably one of the best examples of this can be seen in looking at dog domestication and how breeding techniques have drastically changed aspects of canine anatomy (Morley 1994).
Zooarchaeological data can be supplemental by other sources of evidence, such as text and material remains. Perhaps the most powerful innovation in archaeological science, however, is DNA analysis – using techniques such as ancient DNA (aDNA), we can see specific genetic markers to further investigate exact points of change (MacKinnon 2001, 2010).
The most recent additions to the Pokemon video game franchise, Pokemon: Let’s Go Pikachu and Let’s Go Eevee have not only streamlined gameplay, but have also made the previously “invisible stats” more visible and trackable to the chagrin of some seasoned Pokemon players. However, for new players this is undoubtably a welcome change…now if only we could make it just as easy to see in real life zooarchaeology!
MacKinnon, M. (2001) High on the Hog: Linking Zooarchaeological, Literary, and Artistic Data for Pig Breeds in Roman Italy. American Journal of Archaeology. 105(4). pp. 649-673.
MacKinnon, M. (2010) Cattle ‘Breed’ Variation and Improvement in Roman Italy: Connecting the Zooarchaeological and Ancient Textual Evidence. World Archaeology. 42(1). pp. 55-73.
Morey, D.F. (1994) The Early Evolution of the Domestic Dog. American Scientist. 82(4). pp. 336-347.
Content Warning – Today’s blog post will talk at length about animal death and will have some photos of taxidermy animals. Please proceed with caution and feel free to skip the blog post entirely if this is too upsetting.
The “Death Positivity” movement has truly become part of the mainstream discourse recently, ranging from a general increase in appreciation for all things aesthetically macabre, to more organized events that educate others on death and the culture surrounding it. Arguably at the forefront of this movement in the United States is Caitlyn Doughty, a mortician who started the Order of the Good Death as a means of engaging with death and dying in a more positive manner and combatting the anxieties that surround death in modern society (Troop 2013). Doughty eventually began working with other organizers to create “death salons” – based on 18th century intellectual salons, these events gather academics, professionals, and creatives (such as musicians, artists, performers, and even chefs!) together to discuss aspects of death and the culture around death (Rosenbloom 2013).
But while our attitudes towards human death may be changing, what about our attitudes towards animal death? This may be a more complicated question than I originally thought – after all, given our utilisation of animals as subsistence, product manufacturers, and sometimes companions, humans will find themselves constantly confronting animal death. However, there are two specific examples of recent trends that I’ve noticed as someone who consistently works with animal remains in their everyday life…
Perhaps one example of changes towards animal death is the popularisation of “vulture culture” online – this term often refers to enthusiasts for collecting animal remains, either as skeletal elements or as taxidermies. Not everyone in the community processes their own remains, but everyone expresses a passion for collecting specimens via online sellers or by finding naturally defleshed remains in the wild. Some enthusiasts are also artists that incorporate animal remains into their artwork somehow. It is usually emphasised that “vulture culture” collections are derived from naturally deceased animals as part of their ethics (Miller 2017).
Another example of “animal death positivity” could also be seen in the rise of pet mortuary businesses that specialise in “alternative aftercare”. This can either be as a full taxidermy piece, as a partial piece (for example, preserved tails or paws), or in skeletal form. Precious Creature Taxidermy, an alternative aftercare and taxidermy business run by Lauren Lysak in California, offers various aftercare services in lieu of what we may consider “traditional human funerary services” that includes the previously mentioned processes as well as cremation (Lysak 2018). Although it may seem a bit macabre to taxidermy one’s pet, you could also consider this as a deeper acceptance of death and its constant presence around all of us…in taxidermy form.
So, are we entering a new phase of “death positivity” with regards to animals? Do we even have a right to feeling “death positive” towards non-human species – after all, of course, many animal deaths are directly caused by human activities. I think that, ultimately, this is a very complicated topic that has many layers to it regarding concepts of posthumanism, of ethics, of agency, and so on – perhaps this requires another, more lengthy blog post! However, at least with regards to how humans experience the death of animals, specifically pets, I think we are making strides to better understanding the processes of death and utilising some aspects of “death positivity” as we apply it to humans in our overall understanding of the concept as a whole.
It’s been a while since I’ve made a Comparative Anatomy post! But after running into an issue with a possible fox/badger bone fragment, I figured it might be time to make a new one. And if you have any particular comparative anatomy posts that you’d like me to make in the future, please feel free to contact me about it!
Badgers and foxes – two animals that I have literally never seen in the wild until I moved to England. Honestly, I don’t even think I ever really though about either of them until I moved here. And yet, both are relatively common around Britain, which has caused me to become quickly familiar with their bones on the off-chance that they get mixed into an assemblage I’m currently working on (one of the many problems you face as a zooarchaeologist who works in a regional area that is so different from the one you grew up in!). There’s way more detailed comparative guides out there (see “References” below), but here’s a quick little post showing off some of their anatomical similarities and differences:
At first glance, fox and badger skulls may look very much alike! However, there are some significant differences that will make telling the two apart a lot easier than you’d think. Possibly the biggest difference is in the general characteristics of each skull – badger skulls tend to be a bit “chunkier” and more robust, yet also shorter with a less elongated “snout” area, so to speak. Foxes, on the other hand, are more flat, with more elongated, perhaps even graceful arches and curves and are a bit thinner in comparison.
Another key difference can be seen if we look near the back of the skull where theses long ridges (called sagittal crests) can be found. Both foxes and badgers have relatively prominent sagittal crests, but badgers’ crests are a bit bigger for the most part.
Badger and fox teeth look relatively similar as well. They have a sort of curvy, “wave”-shape that you can also see in dogs (see my Teeth post for more information). However, there are slight differences. Badger teeth, as you can see above, are arguably flatter, especially in the back molars.
Fox teeth, on the other hand, are much more sharper and tend to be in greater number than badgers.
There are better and more detailed guides out there that get into all of the long bones of both badgers and foxes (see “References” again), but for the sake of brevity we’ll just be looking at two: the humerus and the femur. Again, you could argue that a general rule of thumb is that fox bones, unlike badger bones, are a bit thinner and longer. Badger bones are more robust, but shorter.
The humerus in a badger is very characteristic of this, as it is very short, yet robust. The hole at the bottom of the humerus is very oval shaped. In foxes, on the other hand, the humerus is much more elongated and thin. They also have a hole at the bottom of the bone, but this one is arguably more circular than ovular.
As for the femur, possibly the best indicator for what species you’re working with can be found at the “neck” at the top that leads to the little round bump known as the “femoral head”. Foxes don’t really have much of a “neck”, so the femoral head basically sits on top after a bit of a dip. As for badgers, their “neck” is much longer and more visible – the top of the bone clearly thins out into this “neck” as it leads to the femoral head.
Honestly, if you’re tasked with differentiating between the phalanges of a fox and badger…yeah, uh…good luck! Again, you could roughly estimate based on general size, as foxes generally tend to be larger – but at the phalanges level? Hmm…
You know what, let’s just put down “small to mid-sized terrestrial mammal” and call it a day, yeah?
Content Warning: This post will be talking a lot about death and the emotional resonance of dead bodies, both human and non-human. No images of human remains will be shown, but there will be images of non-skeletal (mummified) dead animals, so if this may be upsetting, please skip this post.
I was on Twitter the other day when I came across a Tweet about the recent archaeological discovery of the well-preserved body of a dog that had recently been recovered from permafrost in Siberia (Siberian Times Reporter 2018). Looking at photos of the dog’s paws, which still have some fur, I thought, “Oh, how sad.” And yet, I work with animal remains all the time! So what is so different about these remains?
This dog is one of a couple of recent, well-preserved finds in Siberia – in August, a preserved body of a foal (young horse) was recovered (Associated Press 2018), and just weeks after the dog recovery, the well-preserved remains of a 50,000 year old lion cub was also found (Gertcyk 2018). Note the language and imagery used in these articles – Gertcyk refers to the lion cub as “cute” with significant emphasis of how young the lion was at death, the Siberian Times article on the dog makes certain to stress how some of the fur is still present, and an additional article on the foal by Michelle Starr (2018) utilises up-close photos of the hooves, face, and nose of the foal which were especially well-preserved.
Focusing on the young age of the animals – and how this increases the “cuteness” factor, so to speak – is arguably a tactic to incite sympathy and emotion, as well as relatability. This is also seen in human advertisements, especially regarding charity and other social activism for the sake of the living – this phenomenon has been widely studied, with many philosophical and psychological explanations given for why this is both so widespread and effective (Seu 2015). With regards to the dead, emphasis of youth also invokes an emotional reaction akin to something like grief – a life not fully lived, innocence struck down too early.
What is more interesting, and perhaps more effective in evoking an emotional reaction is the constant emphasis of preservation. The ability for viewers to see the recognisable, the things we associate with the living, is what helps in empathising with the body. A very evocative example is the bog body (which you can read more about here, CW: for a photo of actual human remains). The high level of preservation caused by bogs results in such a recognisable appearance that it creates a sensation that Wright (2017) refers to as the “sublime” – an interplay between empathy for the recognised humanity and also a sort of horror at the personification of death. It can be argued that it is this unique ability of bog bodies to invoke such an emotional reactional that led to the numerous art and prose inspired by them – take, for instance, Seamus Heaney’s work.
The power of such reactions may also be evident from the response to a lack of recognisable features. Mummies, for instance, are technically well-preserved bodies. Yet the concealed nature of most mummies creates a need for additional elements to invoke more empathy and relatability; this is further explored by Day (2013), who questions the necessity of facial reconstructions of Egyptian mummified bodies in order for Western audiences to “relate” better to them.
Of course, this is not to say that just “fleshy bits” – skin, hair, fur, etc. – necessarily equate to instant empathy. There is an element of “intactness” that also must be present. The preserved animals that have been previously discussed in this blog post have all been more or less completely intact, again a testament to their preservation. Separating an element, like a limb, from the body would most likely invoke a reaction closer to horror, as we often associate such separation with mutilation and other acts of violence, even if the separation is caused naturally by more taphonomic means.
So, if we accept the argument that having these “preserved” elements causes empathy and emotional reactions, then perhaps we must also accept that there may be some truth to the reverse of this – that skeletal remains, both animal and human, are more difficult to empathise with. To an extent, this is certainly true for animal remains – skeletal animals are often see without issue at museums, in decoration and jewellery, and in the past sometimes utilised for tools and materials. The caveat to this, of course, is the last few decades during which animal rights activism has become more prevalent and acceptable in the public eye.
As for human remains, there is a long and lengthy history regarding the ethicality of display that is also intertwined with colonialist and racist scientific practices. It has only been recently that the repatriation of human remains – specifically those of Indigenous peoples – have become generally accepted as the “right thing to do” by the general public, although of course there remains some within anthropology, archaeology, and museums who fight against the act of repatriation in the name of “scientific process”, despite the horrific racial and colonial implications of said process. Even more recently, this debate has turned towards exhibitions that utilise real human remains to educate others about the body – touring exhibitions such as BodyWorlds have been as extremely controversial as they have also been extremely popular (Redman 2016).
Perhaps another blog post is necessary to further explore the ethicality regarding human remains, both in display and in analytical practice.As technology and preservation practices continue to advance, what new obstacles will we face with regards to our ability to preserve and display the dead? Redman (2016) perhaps offers the best glimpse at what troubles might be ahead, mentioning that BodyWorlds often runs into the issue of displaying the human body like an art piece, rather than an actual person. May there be a time when our conception of the body becomes so far removed that we no longer empathise with the dead, even as well preserved as they are? What does this mean for the future of ethics?
If you’ve been reading this blog for a while, you probably have a good idea of what zooarchaeology is (and if you’re new, feel free to read that post here). But it’s not just about looking at animal bones and identifying them…well, okay, it’s a lot of that. But there’s lots more to it than just that.
Let’s get scientific, shall we?
Back in the United States, I was introduced to archaeology as part of the humanities – my BA degree was in classical archaeology and anthropology, so I didn’t really get much training in the practical aspects of the discipline, let alone any of the scientific approaches to archaeological analysis.
Cut to a few years later and I’m desperately trying to relearn what an electron is! That’s not really an exaggeration, either – by the time I was in my MSc program for Archaeological Sciences, it had been probably five years since I had my last science class. It was definitely a struggle at times, but completely doable with an extra bit of studying and work towards understanding and grasping concepts that seemed so far out of my reach when I first began.
Even though I knew exactly what I was getting into, it was still a bit of a surprise to me that by the end of my MSc year, I was in the lab doing independent work for my dissertation research. I was investigating fishing activity in the Orkney Islands, using scanning electron microscopy (or SEM) to examine small fish vertebrae for evidence of consumption (digestion, burning, butchery), and stable isotope analysis of carbon and nitrogen to see whether or not these fish were locally caught and contributed majorly to the inhabitants’ diet. I spent most of my summer watching fish bones dissolve in the isotopes lab, extracting collagen, and using the biggest microscope I’ve ever used in my life – it was certainly a change of pace for someone who, just two years ago, was writing ethnographic pieces as part of my anthropology degree!
So, if you’re looking into archaeology as a career and feel as though you’re lacking in your science training, fear not! For starters, archaeology is a vast discipline that draws from both the humanities and the sciences, so it isn’t necessary, although it is probably helpful to have a more rounded idea of the field as a whole. But if you’re really interested in the science side and feel woefully ignorant, I’d like to believe that I’m an example of someone who was completely science illiterate who can now comfortably refer to themselves as an archaeological scientist. It’s totally possible!
To wrap-up, here are a couple of examples of utilising archaeological science for the purposes of zooarchaeology – of course, this isn’t an exhaustive list at all, but these are arguably the most popular scientific approaches to zooarchaeological research:
Stable Isotope Analysis
Stable isotope analysis isn’t a new method – its origins can be traced back to the 1970’s – but its still a popular and useful tool for utilising faunal remains and furthering the amount of information that they can provide. Isotopes of carbon, nitrogen, strontium, and oxygen can be measured through this method and used to investigate past diets, subsistence strategies, and migration of both humans and animals from the archaeological record. To analyse stable isotope levels, collagen from the bone must be extracted and placed within a mass spectrometer to isolate the isotope ratios for measurement. This method is one of the best ways for zooarchaeologists to connect their faunal bones to the “bigger picture” of the archaeological context of their site, in particular, stable isotope analysis can reveal the finer details regarding the relationship between humans and animals in the past.
Zooarchaeology By Mass Spectrometry (ZooMS)
ZooMS is arguably one of the most useful advancements in archaeological science, specifically for zooarchaeologists. This method allows for better identifications of faunal bone, especially smaller, more fragmented pieces of bone that may be utterly unidentifiable by the human eye. The way ZooMS works is based on the concept that species have certain protein sequences that correlate specifically to themselves. ZooMS allows for these sequences to be isolated and measured – this provides us with a sort of “code” that correlates to a species, allowing for identification. Although not perfect – this method is not always reliable with regards to identifying between two very close species (for example, differentiating between a wild and domesticated version of the same animal – see: wild boar vs domesticated pig) – it’s still a huge improvement in confident identifications for faunal bone analysis.
Ancient DNA (aDNA)
Ancient DNA is one of the more recent developments within archaeological science – by utilising the DNA recovered from archaeological remains, archaeologists can examine how processes such as domestication affected the genetics of animals in the past. aDNA, often paired with other morphological analysis, can provide archaeologists with clear patterns regarding genetic modification over time and track morphological variation that could provide more detail into how animals adapt to their ever changing environments. Given how new this method is, I’d argue we’ve only really scratched the surface with what zooarchaeologists can do with aDNA – be on the lookout for new breakthroughs and amazing research coming out of this field in the near future!
It’s just about excavation season for most of us in archaeology! I will be excavating for a few weeks so this blog will go on a bit of a hiatus until I return – until then, here’s a few tips for anyone about to set off on their first excavation this summer.
The weather is getting warmer, which means for many of us archaeologists, its excavation season! Some of you might be about to set off on your first excavation as well, and I can understand if you’re getting a bit nervous…about a month before I was off to my first excavation (also my first trip abroad!), I nearly got cold feet and cancelled. But thankfully I went ahead and basically changed the direction of my career after that – I don’t know if I’d be a zooarchaeologist in the UK right now otherwise. So for those of you who may be freaking out a bit about your first excavation, here’s a few tips that might make things go a bit more smoothly!
Check, Double Check, and then Triple Check Transportation
Some archaeologists have an easy commute to their sites, but most of us have a fair bit of travelling to do to get to where the excavation is happening. So be sure you have your travel plans locked up! Especially if you’ll be doing international travel – it probably sounds dorky, but I literally travel with a folder full of my paperwork (flight tickets, hotel bookings, visa information, etc.) these days. My first excavation included a series of missed flights that ended up costing me an extra $250, so I am also very strict on being at the airport early. But hey, better safe than sorry, right?
Also be sure to figure out how you’ll be getting to your accommodations for the duration of your excavation, or if you’re supposed to be meeting your team somewhere. There’s nothing worse than getting stranded at an airport…
…yes, I do know what that feels like, thanks for forgetting to pick me up, Mom.
Pack for the weather…
Depending on where and how long you’re going, you’ll want to be sure to pack for any sort of weather you might run into! Especially if you’re travelling far enough that there is an extreme difference in weather between your places of departure and arrival. In general, though, you’ll probably want some waterproof items of clothing (you can also buy waterproofing spray/liquid as well – in my experience they have been handy in a pinch). Even if it’s a warm summer, you might want to also bring some outerwear just in case – better safe than sorry!
…but also pack for the work.
Between your rain coat and parka, however, make sure you pack your work clothes too! Let’s be real: archaeology is dirty work. Even if you have access to the best laundry services on site (I wish!), you probably don’t want to wear your favourite clothes to site. I personally rock some cargo trousers and a tank top when I excavate – oh, and with a jumper too. Layering is your friend, so be sure to bring tops that can easily be layered for any situation. Be sure to check what sort of footwear you’ll need as well – most excavations will require that you have steel toe work boots.
Remember to cover up your trowel!
This is a pretty simple tip, but it’s also easy to forget! If your trowel doesn’t have a case or cover, it might be a good idea to wrap it up in a bag. Otherwise you may find your trowel has done some damage to your favourite clothes while in your luggage. Or, if you’re me, find yourself sitting on your trowel and getting stabbed in the butt. Ouch…
Pack. Unpack. Pack.
This is a basic travel tip that I follow for anytime I need to pack for something. I’m notorious for bringing way too much, so to minimise the extra stuff, I’ve taken to packing up my suitcase, unpacking, and then packing again with some items removed. It may be a lot of work, but you’ll be thankful when you don’t have to lug around a 100 lb suitcase across an island to find your accommodations.
Relax and enjoy yourself.
Fieldwork is a lot of strenuous work, but don’t freak out! It’s a learning experience, so don’t feel pressured into being a perfect shovel bum. Ask for help when you need to, take breaks when you can, keep yourself safe and relax! You’re contributing to some great archaeological work, it’ll be an amazing experience.
Oh, and definitely take advantage of days off. Explore the area, do new things, just enjoy while you can!
I’m off for excavation for a few weeks, so see you when I’m back! If you’re interested in my excavation, feel free to follow us on Facebook, Twitter, and WordPress. We’ll be blogging about our work and posting lots of photos!
“Another series, Alex? Don’t you have enough to write about?” Yeah, well, I’ve also been playing a lot of Dragon Age: Inquisition so excuse me if I have a lot to say about archaeology in the video game series. “Theorising Thedas” will be a look at how archaeology plays a major role in the conflicts of Thedas, the world in which the Dragon Age series takes place. We’ll also be looking at examples of real world archaeology within the series – like today’s topic, the Bog Unicorn! Content Warning: Some images of preserved human remains are below.
In the 2014 video game Dragon Age: Inquisition, you play as the Inquisitor who heads the latest Inquisition against an army of demons and heretics. As the leader of such a massive organisation, your character is able to get supplies and aid from all corners of the world of Thedas, including some incredibly fantastic and exotic mounts. One of these mounts is known as the “Bog Unicorn” – a horse that had been preserved in a bog environment that has been brought back to life by the sheer power of the spirit. Although the game does not go into much more detail regarding the backstory of the Bog Unicorn, the design of the mount somehow manages to hit a lot of really interesting points about the phenomenon of “bog bodies” in real world archaeology. So let’s break it down…
To start, what is a “bog body”? In short, it is a body that has been preserved within a bog due to the acidic and anaerobic conditions of the surrounding environment. Bog bodies have been recovered since the 17th century. Prior to focusing on the conservation of archaeological finds, most bog bodies were either discarded or, in some cases, ground up into a medicinal powder called “mumia” (Aldhouse-Green 2015).
There has been an observed phenomenon of recovered bog bodies across parts of continental Europe, with additional cases found in Ireland and Britain. Most of these bodies have been dated to around the Iron Age, and many have been observed to have characteristics that may reflect a violent death (sometimes referred to as “overkill”). This has led to one interpretation of bog bodies representing those who were killed as part of a ritualistic sacrifice or as a punishment (Giles 2009).
The design of the Bog Unicorn manages to convey a lot of detail about bog bodies without actual textual explanation. For example, let’s take a look at the physical appearance of the mount. The Bog Unicorn is not skeletal, but has what appears to be a dark, leathery hide covering its body. Its hair is also a strange, rust red colour.
As you can see from the photo above of an actual bog body, this is the typical appearance of organic material that has been preserved within a bog. Sphagnum, released once bog moss dies, is the agent that causes the “tanning” effect on any soft tissue – this is what causes the colouration in both skin and hair found on bog bodies (Aldhouse-Green 2015).
Another noteworthy detail in the Bog Unicorn’s design is the sword thrust through the horse’s head, creating the “unicorn” effect – this is perhaps a nod to another phenomenon in the archaeology of bogs and other watery environments. Water has often been considered a liminal space (in other words, a sort of boundary or in-between place), as well as a source of life. It is possible that the deposition of remains in watery environments reflects a belief in water as a pathway to the spirit world, or perhaps more indicative of cyclic beliefs in regeneration and fertility (Bradley 2017). Weapons and other artefacts have also been noted to be recovered as deposits from water – possibly used as proxies for the human body in a ritual? It should also be noted that many weapons that are deposited in this way are often fragmented or ritualistically broken, perhaps to mark a sort of “death” of the object (Bruck 2006).
To wrap this discussion up, let’s move on from the physical appearance to talk more about intent. The Bog Unicorn, in the lore of the game, is explained to be a restless force that has moved beyond death to serve again. In other words, the Bog Unicorn is between life and death, floating somewhere in the middle as a sort of undead creature. To represent such a force as a preserved corpse from a bog is actually quite fitting, especially when one considers how a bog body is basically suspended between life and death (or at least, decay). As mentioned above, watery environments appear to have been identified as a liminal space – bogs even more so, as they were sort of in between land and water. If we take into consideration that bog bodies were part of a “punishment” involving their ritualistic killing, it might be that this liminal space proved to be the final, posthumous punishment – unable to decay and “pass on”, these bodies were left preserved, floating in some natural purgatory. But even if that’s all conjecture, there is still something so perfect about having a Bog Unicorn, who is between life and death, this world and the next, be your spectral-yet-physical steed for a battle that takes place between our world and the spirit world.
Aldhouse-Green, M. (2015) Bog Bodies Uncovered: Solving Europe’s Ancient Mystery. Thames & Hudson.