The ship as symbol in the prehistory of Scandinavia and south-east Asia

The ship is the dominant element in the visual culture of the South Scandinavian Bronze Age, appearing in several different media, including rock carvings, decorated metalwork and above-ground monuments. Discussion has divided between those scholars who interpret this imagery in terms of long-distance exchange networks and those who emphasize its more local significance, including its deployment in mortuary ritual. A strikingly similar system is identified in Southeast Asia and part of Melanesia and can be interpreted through archaeological and ethnographic sources, but in this case there is no need to distinguish between 'practical' and 'symbolic' interpretations of the depictions of ships. This paper summarizes the evidence from this region and suggests that it can offer a fruitful source of comparison for archaeologists working in northern Europe.

A life less ordinary: The ritualization of the domestic sphere in later prehistoric Europe

This article, which is based on the fourteenth McDonald Lecture, considers two tensions in contemporary archaeology. one is between interpretations of specific structures, monuments and deposits as the result of either 'ritual' 'practical' activities in the past, and the other is between an archaeology that focuses on subsistence and adaptation and one that emphasizes cognition, meaning, and agency. It suggests that these tensions arise from an inadequate conception of ritual itself. Drawing on recent studies of ritualization, it suggests that it might be more helpful to consider how aspects of domestic life took on special qualities in later prehistoric Europe. The discussion is based mainly on Neolithic enclosures and other monuments, Bronze Age and Iron Age settlement sites and the Viereckschanzen of central Europe. it may have implications for field archaeology as well as social archaeology, and also for those who study the formation of the archaeological record.

The social life of ruins: sites of memory and the politics of a Zimbabwean periphery

This article explores conflicts over a series of ruins located within Zimbabwe's flagship National Park. The relics have long been regarded as sacred places by local African communities evicted from their vicinity, and have come to be seen as their ethnic heritage. Local intellectuals' promotion of this heritage was an important aspect of a defensive mobilization of cultural difference on the part of a marginalized minority group. I explore both indigenous and colonial ideas about the ruins, the different social movements with which they have been associated and the changing social life they have given the stone relics. Although African and European ideas sometimes came into violent confrontation - as in the context of colonial era evictions - there were also mutual influences in emergent ideas about tribe, heritage and history. The article engages with Pierre Nora's notion of 'sites of memory', which has usefully drawn attention to the way in which ideas of the past are rooted and reproduced in representations of particular places. But it criticizes Nora's tendency to romanticize pre-modern 'memory', suppress narrative and depoliticize traditional connections with the past. Thus, the article highlights the historicity of traditional means of relating to the past, highlighting the often bitter and divisive politics of traditional ritual, myth, kinship, descent and 'being first'. It also emphasizes the entanglement of modern and traditional ideas, inadequately captured by Nora's implied opposition between history and memory. (c) 2005 Elsevier Ltd. All rights reserved.

Another Proof of the Preceding Theory

Another Proof of the Preceding Theory was produced as part of a residency run by Artists in Archeology in conjunction with the Stonehenge Riverside project. The film explores the relationship between science, work and ritual, imagining archaeology as a future cult. As two robed disciples stray off from the dig, they are drawn to the drone of the stones and proceed to play the henge like a gigantic Theremin. Just as a Theremin is played with the hand interfering in an electric circuit and producing sound without contact, so the stones respond to the choreographed bodily proximity. Finally, one of the two continues alone to the avenue at Avebury, where the magnetic pull of the stones reaches its climax. Shot on VHS, the film features a score by Zuzushi Monkey, with percussion and theremin sounds mirroring the action. The performers are mostly artists and archeologists from the art and archaeology teams. The archeologists were encouraged to perform their normal work in the robes, in an attempt to explore the meeting points of science and ritual and interrogate our relationship to an ultimately unknowable prehistoric past where activities we do not understand are relegated to the realm of religion. Stonehenge has unique acoustic properties, it’s large sarsen stones are finely worked on the inside, left rough on the outside, intensifying sound waves within the inner horseshoe, but since their real use, having been built over centuries, remains ambiguous, the film proposes that our attempts to decode them may themselves become encoded in their cumulative meaning for future researchers.

Temps, memoire et monstres: le monde arthurien de Culhwch et Olwen

The Arthurian world of Culhwch and Olwen initially appears as a resolutely masculine, warrior-based society with little or no place for women. As a rule, the names of the mothers of the many characters remain unmentioned, and even the young hero clearly had no idea of his family ties on his mother’s side. It comes as news to him that Arthur is his cousin. The Arthurian world is equally afflicted with a form of wilful amnesia of the existence of relatives on the distaff side, allowing the giant Ysbaddaden to victimise Custennin and his family with impunity. The hair-cutting ritual represents an intrusion of female memory and a reminder of the biological imperative of reproduction, which means that in order to survive, Arthur’s clan has to be prepared to face destruction.

xero, kline & coma

xero, kline & coma is an artist run project space at 258 Hackney Road, London. It’s program, curated by Pil and Galia Kollectiv, focuses primarily on solo exhibitions by internationally established as well as emerging artists. Work by recent graduates King Conny Wobble and David Steans is being shown alongside projects like the Museum of American Art – Berlin, previously included in the Venice and Istanbul Biennales, Jeffrey Vallance, whose recent solo exhibition was at the Warhol Museum, and Plastique Fantastique, whose work has been shown at Tate Britain and the Pratt Manhatten Gallery, New York, with the aim of raising the profile of lesser known artists and allowing others to experiment with work that more institutional contexts don’t always permit. Some of the themes this program has explored have included fictional identities, a-chronological art histories and the mediation of ritual in time-based media. A commitment to critically engaged art is also central to the ethos of the space, and future shows include an exploration of unionism in art by Sophie Carapetian. As well as displaying new work, the gallery hosts events, talks and screenings. Most recently these have included meetings of the Political Currency of Art research group, a discussion and film screening dealing with the theme of ‘hostile objects’ led by Evan Calder Williams and Marina Vishmidt, a book launch for New Lines of Alliance, New Spaces of Liberty by Antonio Negri and Felix Guattari and an event dedicated to the theatre work of Slovenian art collective NSK, featuring a screening of unreleased documentation and a discussion about the future of total performance.

Geoarchaeology and taphonomy of plant remains in early urban environments in the Ancient Near East

A number of recent articles emphasize the fundamental importance of taphonomy and formation processes to interpretation of plant remains assemblages, as well as the value of interdisciplinary approaches to studies of environmental change and ecological and social practices. This paper examines ways in which micromorphology can contribute to integrating geoarchaeology and archaeobotany in analysis of the taphonomy and context of plant remains and ecological and social practices. Micromorphology enables simultaneous in situ study of diverse plant materials and thereby traces of a range of depositional pathways and histories. In addition to charred plant remains, also often preserved in semi-arid environments are plant impressions, phytoliths and calcitic ashes. These diverse plant remains are often routinely separated and extracted from their depositional context or lost using other analytical techniques, thereby losing crucial evidence on taphonomy, formation processes and contextual associations, which are fundamental to all subsequent interpretations. Although micromorphological samples are small in comparison to bulk flotation samples of charred plant remains, their size is similar to phytolith and pollen samples. In this paper, key taphonomic issues are examined in the study of: fuel; animal dung, animal management and penning; building materials; and specific activities, including food storage and preparation and ritual, using selected case-studies from early urban settlements in the Ancient Near East. Microarchaeological residues and experimental archaeology are also briefly examined.

Architecture, sedentism, and social complexity at Pre-Pottery Neolithic A WF16, Southern Jordan

Recent excavations at Pre-Pottery Neolithic A (PPNA) WF16 in southern Jordan have revealed remarkable evidence of architectural developments in the early Neolithic. This sheds light on both special purpose structures and “domestic” settlement, allowing fresh insights into the development of increasingly sedentary communities and the social systems they supported. The development of sedentary communities is a central part of the Neolithic process in Southwest Asia. Architecture and ideas of homes and households have been important to the debate, although there has also been considerable discussion on the role of communal buildings and the organization of early sedentarizing communities since the discovery of the tower at Jericho. Recently, the focus has been on either northern Levantine PPNA sites, such as Jerf el Ahmar, or the emergence of ritual buildings in the Pre-Pottery Neolithic B of the southern Levant. Much of the debate revolves around a division between what is interpreted as domestic space, contrasted with “special purpose” buildings. Our recent evidence allows a fresh examination of the nature of early Neolithic communities.

Croig Cave: a late Bronze Age ornament deposition and 3,500 years of coastal foraging in NW Mull, Scotland

Activity within caves provides an important element of the later prehistoric and historic settlement pattern of western Scotland. This contribution reports on a small-scale excavation within Croig Cave, on the coast of north-west Mull, that exposed a 1.95m sequence of midden deposits and cave floors that dated bewteen c 1700 BC and AD 1400. Midden analysis indicated the processing of a .... 950 BC, a penannular copper bracelet a discrete ritual episode within the cycle of otherwise potentially mundane activities. Lead isotope analysis indicates an Irish origin for the copper ore. A piece of iron slag within later midden deposits, dated to c 400 BC, along with high frequencies of wood charcoal, suggest that smithing or smelting may have occurred within the cave. High zinc levels in the historic levels of the midden c AD 1200 might indicate intensive processing of seaweed.

A later Bronze Age well complex at Swalecliffe, Kent

This paper examines the significance of seventeen later Bronze Age wells found during construction at Swalecliffe, in north-east Kent. The unusual depth of the features made for exceptional preservation of wooden structural elements, including steps and revetments, demonstrating rare evidence for woodworking and woodmanship. Extensive biological remains facilitated environmental reconstruction, and a lengthy dendrochronological sequence corroborates the internationally important Flag Fen chronology. Dendrochronological and radiocarbon dates demonstrate around 500 years of seemingly continuous use and replacement of wells. Votive deposits and apparatus used for water collection provide glimpses of small-scale ritual and domestic activities. The highly unusual concentration of wells is compared to contemporary sites regionally and elsewhere.

Odd deposits and average practice. A critical history of the concept of structured deposition.

This paper presents a critical history of the concept of ‘structured deposition’. It examines the long-term development of this idea in archaeology, from its origins in the early 1980s through to the present day, looking at how it has been moulded and transformed. On the basis of this historical account, a number of problems are identified with the way that ‘structured deposition’ has generally been conceptualized and applied. It is suggested that the range of deposits described under a single banner as being ‘structured’ is unhelpfully broad, and that archaeologists have been too willing to view material culture patterning as intentionally produced – the result of symbolic or ritual action. It is also argued that the material signatures of ‘everyday’ practice have been undertheorized and all too often ignored. Ultimately, it is suggested that if we are ever to understand fully the archaeological signatures of past practice, it is vital to consider the ‘everyday’ as well as the ‘ritual’ processes which lie behind the patterns we uncover in the ground.

The king's champion: re-enacting Arthurian romance at the English coronation banquet

Recent scholarship has emphasised the extent to which historical events are reflected in medieval romance. This paper seeks to draw attention to an instance where that relationship appears to have been inverted and a romance motif was carefully recreated at a particularly important event in the historical world. From the fourteenth century onwards, a mounted knight ceremonially rode into the English coronation banquet and issued a challenge to all assembled. The visual detail of the ritual strikingly echoes that of the romance motif of the “intruder at the feast”. This motif crops up in numerous romances, and is particularly associated with Arthurian narratives where it usually serves as a catalyst for adventure, providing the court and the king with an opportunity to justify their authority and reputation. This paper analyses the precise nature of the historical ritual and explores how the romance resonances of the ceremony at the coronation feast could be used to underpin political authority and courtly identity. In doing so, it seeks to underscore the centrality of Arthurian romance to English monarchical self-imagining and the symbolic power which could be ascribed to the genre's themes and conventions.