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# Dotawo
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WEB SITE PREVIEW: https://pub.sandpoints.org/dotawo/_preview/journal/
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WEB SITE PREVIEW: https://pages.sandpoints.org/dotawo/_preview/journal/
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PUBLISHED WEB SITE: https://pub.sandpoints.org/dotawo/journal/
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PUBLISHED WEB SITE: https://pages.sandpoints.org/dotawo/journal/
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LOGS: https://pub.sandpoints.org/dotawo/last-commit-log.txt
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LOGS: https://pages.sandpoints.org/dotawo/last-commit-log.txt
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..
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@ -1,7 +1,7 @@
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---
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title: "The use and experience of painting materials in ancient and modern Nubia"
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authors: ["katefulcher.md"]
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abstract: Homes in Nubia are decorated by their inhabitants, using materials from the landscape around them. This has been the case for thousands of years. Taking the ancient town of Amara West (c. 1250 BC--800 BC) and the modern residents of its environs as a case study, the procurement and application of painting materials and their social implications are considered, using archaeological evidence and recently conducted interviews. The ancient evidence includes paint on walls, pigments, paint palettes, grindstones, and painted coffins, samples of which were scientifically analysed to determine the pigments and binders used. Twelve interviews were conducted via translator with modern residents living near to Amara West about their use of paint in their houses, including how they collected painting materials, when painting took place, and who was responsible. Several paints were re-created with tools and materials that were used by the ancient population in order to experience the process and consider it from a sensory perspective. Taking all of this evidence as inspiration, several fictional passages have been added to attempt to imagine ancient events relating to paint making and use.
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abstract: Homes in Nubia are decorated by their inhabitants, using materials from the landscape around them. This has been the case for thousands of years. Taking the ancient town of Amara West (c. 1250 BC--800 BC) and the modern residents of its environs as a case study, the procurementand application of painting materials and its social implications are considered, using archaeological evidence and recently conducted interviews. The ancient evidence includes paint on walls, pigments, paint palettes, grindstones, and painted coffins, samples of which were scientifically analysed to determine the pigments and binders used. Twelve interviews were conducted via translator with modern residents living near to Amara West about their use of paint in their houses, including how they collected painting materials, when painting took place, and who was responsible. Several paints were re-created using tools and materials that were used by the ancient population in order to experience the process and consider it from a sensory perspective. Taking all of this evidence as inspiration, several fictional passages have been added to attempt to imagine ancient events relating to paint making and use.
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keywords: ["Ancient Nubia", "paint", "colour", "ethnography", "Sudan"]
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---
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@ -11,7 +11,7 @@ Ancient people used colour in their homes for many of the same reasons
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as people do today -- to lighten walls, to highlight important areas, to
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signal types of use of spaces, to proclaim status within the community.
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The painting materials considered here are from the ancient town of
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Amara West, which is situated between the Second and Third cataracts of the
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Amara West is situated between the second and third cataracts of the
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Nile, and was inhabited from c. 1250 to 800 BC. It was founded by
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ancient Egyptians in the reign of Seti I as one of a series of temple
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towns in the region, in order to control local resources.[^1]
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@ -19,7 +19,7 @@ Excavations at Amara West were initiated by the Egypt Exploration
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Society in 1939, and were revisited by the British Museum from 2008 to
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2018. The EES seasons uncovered the temple and two town areas, including
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a residence bearing inscriptions relating to two holders of the office
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"Deputy of Kush," which indicates that the town was an administrative
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"Deputy of Kush", which indicates that the town was an administrative
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centre of Kush (Upper Nubia).[^2] The British Museum excavations
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focussed on the ancient town and discovered evidence for the preparation
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and use of paint in white, red, yellow, black, blue, and green colours.
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@ -129,7 +129,7 @@ common colours were white, yellow, and red. Floors and some outside
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walls were mud-plastered in a circular pattern (fig. 3).
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Houses could be painted with *bomastic* (modern acrylic paint) or *gir*
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(powdered rock). Before bomastic was available in the market, everyone
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(powdered rock). Before bombastic was available in the market, everyone
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used *gir*, which was collected from the desert. Now *gir* may also be
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purchased from the market. There was some consensus that yellow and
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white gir were the best to use, and that the use of colour was a fairly
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@ -176,8 +176,8 @@ Girls watch and learn from their older female relatives how to do the
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mud-plastering and gir. They start contributing to the mud-plastering at
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about the age of 15, but the painting is easy and they could begin
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younger. There was no upper age limit, the only limitation being
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physical ability to participate in the work. Using modern acrylic paints appeared to
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have very little importance or social cache, they were just useful
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physical ability to take part. Using modern acrylic paints appeared to
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have very little importance or social cache, they were just a useful
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material for painting. However, mudplastering and applying *gir* was
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described as more socially embedded and more gendered. This was a skill
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that was passed down the generations, and had social activities attached
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@ -189,9 +189,9 @@ piece of leather with the hair still attached to paint the *gir* onto
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the walls, or a sheep's tail. One family poured *gir* over the walls
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from a teapot.
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**~~Figure 3. House of one of the respondents. Interior (left) painted in red and yellow bomastic; exterior (right) mud plastered in a circular pattern and painted with yellow gir.~~**
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**~~Figure 3. House of one of the respondents. Interior (left) painted in red and yellow bombastic; exterior (right) mud plastered in a circular pattern and painted with yellow gir.~~**
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# Re-construction of ancient painting materials
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@ -248,7 +248,7 @@ obviate the need to carry a tool from the town and back.
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Alongside the raw materials, a set of tools is also required. A grinding
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stone of some sort is needed, and this either means sourcing a schist
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rock from the desert or finding one that has been previously used.
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rock from the desert or finding one that has been previously been used.
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Another tool required is a hammerstone. The Nile bank at the local town
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across the river (Abri) is a shingle beach from where it is a simple
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task to pick up various smooth hand-sized rocks. A large stash of such
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@ -257,8 +257,8 @@ West, possibly a cache of useful tools.
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The most numerous paint-related finds from Amara West are ceramic
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palettes that hold paint. These palettes are also known from other
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ancient Egyptian sites, thus it seems that this was common practice.
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[^20] Ceramic sherds would have been easy to obtain, and may even have
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ancient Egyptian sites, thus it seems that this was common practice
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[^20]. Ceramic sherds would have been easy to obtain, and may even have
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been created for the purpose by deliberate breakage. The palettes
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function better when damp because it prevents the water soaking straight
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into them when it is added to the pigment powder, so they may have been
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@ -350,15 +350,15 @@ directly and tangentially, and therefore social interactions. The
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performance of all these actions would have been culturally regulated,
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including gestures, songs, timings, and the status of the actors within
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the society. This has also been noted in the decoration of the ancient
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site of Çatalhöyük in Turkey,[^21] and the centrality of house-based
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activities for relationships has been studied in the Andes.[^22]
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site of Çatalhöyük in Turkey, and the centrality of house-based
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activities for relationships has been studied in the Andes.[^21]^,^[^22]
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Peripheral objects and tasks to the ones focussed on here probably
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included cooking food (requiring food, pots, fire, utensils), travelling
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by donkey or boat, making bags or baskets, producing items to trade,
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meeting and trading with other people, collecting water, minding animals
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and children, and cleaning. The task of painting was part of a much
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wider interconnected taskscape, the "spatiotemporal layout of activity
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at a site."[^23]
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at a site"[^23].
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# Narratives
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@ -567,10 +567,10 @@ Fulcher, Kate, Rebecca Stacey, and Neal Spencer. "Bitumen from the Dead Sea in E
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Nubia." *Nature Scientific Reports* 10, no. 8309 (2020).
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<https://doi.org/https://doi.org/10.1038/s41598-020-64209-8>.
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Ingold, Tim. "The Temporality of the Landscape," *World
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Ingold, Tim. \"The Temporality of the Landscape\", *World
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Archaeology* 25(2) (1993): pp. 152--74.
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Ingold, Tim. "Taking taskscape to task." In *Forms of Dwelling 20 Years
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Ingold, Tim. "Taking taskscape to task" In *Forms of Dwelling 20 Years
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of Taskscapes in Archaeology* edited by Ulla Rajala and
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Philip Mills, pp. 16--27. Oxford: Oxbow, 2017.
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@ -587,7 +587,7 @@ Exploration Society and Amarna Trust, 2010.
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Lacovara, Peter, and Alexandria Winkels.
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"Malqata---The Painted Palace." In *Tracing Technoscapes: The Production
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of Bronze Age Wall Paintings in the Eastern Mediterranean*, edited by
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Johannes Becker, Johannes Jungfleisch, and
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Johannes Becker, Johannes Jungfleisch and
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Constance von Rüden, pp. 149--72. Leiden: Sidestone, 2018.
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Leinaweaver, Jessaca B. "Raising the roof in the transnational Andes:
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@ -654,18 +654,25 @@ ____________________________
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<https://1drv.ms/u/s!AnQUQ06LWl5ygpFpxGL_Y3uMI9k7fQ?e=BtO2CH>
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[^1]: Spencer, "Building on New Ground."
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[^1]: Spencer, "Building on New Ground: The Foundation of a Colonial
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Town at Amara West."
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[^2]: Spencer, *Amara West I: The Architectural Report.
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EES Excavation Memoir 63*.
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[^3]: Binder, "The New Kingdom Tombs at Amara West."
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[^3]: Binder, "The New Kingdom Tombs at Amara West:
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Funerary Perspectives on Nubian -- Egyptian Interactions."
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[^4]: Spataro, Millet, and Spencer, "The New Kingdom Settlement of Amara West
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(Nubia, Sudan)."
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(Nubia, Sudan): Mineralogical and Chemical Investigation of the
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Ceramics."
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[^5]: Spencer, "Nubian Architecture in an Egyptian Town?."
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[^5]: Spencer, "Nubian Architecture in an Egyptian Town?
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Building E12.11 at Amara West."
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[^6]: Fulcher, *Painting Amara West*; Fulcher et al.,
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[^6]: Fulcher, *Painting Amara West: The Technology and
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Experience of Colour in New Kingdom Nubia. British Museum
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Publications on Egypt and Sudan 13*; Fulcher et al.,
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"Multi-Scale Characterization of Unusual Green and Blue Pigments
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from the Pharaonic Town of Amara West, Nubia";
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Fulcher, Stacey, and
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@ -676,7 +683,9 @@ ____________________________
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Unusual Green and Blue Pigments from the Pharaonic Town of Amara
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West, Nubia."
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[^8]: Fulcher, *Painting Amara West*, p. 43.
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[^8]: Fulcher, *Painting Amara West: The Technology and
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Experience of Colour in New Kingdom Nubia. British Museum
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Publications on Egypt and Sudan 13*, p. 43.
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[^9]: Fulcher, Stacey, and
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Spencer, "Bitumen from the Dead Sea in Early Iron Age
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@ -689,7 +698,8 @@ ____________________________
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[^11]: Fulcher and Budka, "Pigments,
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incense, and bitumen from Sai."
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[^12]: Siddell, "Appendix 6."
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[^12]: Siddell, "Appendix 6: Analysis of Pigments from the
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Gurob Ship-Cart Model**".**
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[^13]: Lacovara and Winkels, "Malqata: The
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painted palace".
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@ -706,7 +716,8 @@ ____________________________
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Micromorphological Analyses"; Wenzel, *House
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Decoration in Nubia*.
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[^17]: Binder, "The New Kingdom Tombs at Amara West," p. 604.
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[^17]: Binder, "The New Kingdom Tombs at Amara West:
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Funerary Perspectives on Nubian -- Egyptian Interactions," p. 604.
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[^18]: Stevens and Garnett, "Surveying the
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Pharaonic Desert Hinterland of Amara West."
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@ -714,22 +725,26 @@ ____________________________
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[^19]: Ibid.
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[^20]: Pagès-Camagna and Raue,
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"Coloured Materials Used in Elephantine"; Kemp and
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Stevens, *Busy Lives at Amarna*.
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"Coloured Materials Used in Elephantine: Evolution and Continuity
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from the Old Kingdom to the Roman Period"; Kemp and
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Stevens, *Busy Lives at Amarna: Excavations in the
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Main City (Grid 12 and the House of Ranefer, N49.18). Volume I*.
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[^21]: Çamurcuoğlu, *The Wall Paintings of Çatalhöyük
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(Turkey)*, pp. 240-246.
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[^22]: Leinaweaver, "Raising the roof in the transnational
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Andes."
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Andes: building houses, forging kinship."
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[^23]: Ingold, "Taking taskscape to task," pp. 26;
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Ingold, "The Temporality of the Landscape."
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[^23]: Ingold, "Taking taskscape to task" pp. 26;
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Ingold, \"The Temporality of the Landscape.\"
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[^24]: Joyce, "Introducing the First Voice";
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Majewski, "We Are All Storytellers";
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Majewski, "We Are All Storytellers: Comments on
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Storytelling, Science, and Historical Archaeology";
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Pluciennik, "Archaeological Narratives and Other Ways
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of Telling."
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[^25]: Mickel, "Archaeologists as Authors and the Stories
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of Sites"; Tringham, "Households with Faces."
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of Sites"; Tringham, "Households with Faces: The
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Challenge of Gender in Prehistoric Architectural Remains."
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@ -101,7 +101,7 @@ porridge, and *Kisra*, and drinks such as local wine, *Hulu-mur*,
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The El Mahas region lies along the Nile, in northern Sudan (Fig.1)
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beginning at the north end of the Dongola Reach and extending from the
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area of the villages of Hannek (west bank) and Tombos (east bank), at
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area of the villages of Hannik (west bank) and Tombos (east bank), at
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the top of the Third Cataract, downriver as far as the area of Jebel
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Dosha (west bank) and Wawa (east bank), in the north. Its northern
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boundary is most visibly marked by the cliff-face known as Jebel Dosha
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@ -109,11 +109,11 @@ which overlooks the west bank of the river some five kilometers
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downstream of Soleb, the end of a long ridge that runs approximately
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three kilometers into the desert to the west-north-west, forming a
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prominent natural feature, the region extends over a distance of
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approximately 141 kilometers (ca. 88 miles) from Hannek to Wawa.
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approximately 141 kilometers (ca. 88 miles) from Hannik to Wawa.
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Within this area, the landscape is highly varied, including some very
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fertile localities with abundant alluvial soils but also many
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extremely barren and inhospitable areas (Osman and Edwards 2012: 6-7).
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The Mahas Archaeological Project, directed by Ali Osman Mohamed Salih,
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The Mahas Archaeological Project, directed by Prof. Ali Osman,
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identified four Christian mudbrick sites located in the different
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three main areas (north, middle, and south) of the El Mahas region in
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April 2019. I chose these four sites to serve as case studies for the
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@ -187,9 +187,9 @@ survived appears to be 'Late' and 'Terminal Christian' ceramic types.
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Outside this structure are traces of less substantial structures
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surviving as a few courses of rough stone walling (Fig.2d).[^9]
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**~~Figure 2. The four sites discussed in the chapter: a) TMB016. b) MAS021. c) DFF008. d) DFF009 (photos by Engineer Omer).~~**
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**~~Figure 2. The four sites discussed in the chapter: a) TMB016. b) MAS021. c) DFF008. d) DFF009 (photos by Eng. Omer).~~**
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# Materials and Methods
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@ -198,14 +198,7 @@ The samples were collected from the mud-brick constructions from the
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four sites (TMB016, MAS021, DFF008, and DFF009). The total volume of the
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materials was approximately 4 kilograms (1 kilogram from each site). The
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organic residues of plants and animals could be easily observed in the
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samples before they floated in the water.
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**~~Figure 3. Organic residues on a mudbrick fragment prior to being floated in water. (photo by the author).~~**
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The material was soaked in
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samples before they floated in the water. The material was soaked in
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water for six hours to dissolve the hard mud and to allow the wet
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sieving to separate the plant\'s remains that were floated above the mud
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and sand. Two metal sieves with a mesh size of 0.5 and 1 millimetres
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@ -222,36 +215,29 @@ macro-remains.
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## Results of extracted plant remains from the Homescape
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Seven plant species were encountered as seeds. Fruits were extracted and
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Seven plant species were encountered as seeds, while fruits were extracted and
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identified from the mudbrick samples. The assemblage of seeds and fruits
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were preserved by desiccation. Table (1) shows the Latin names of the
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identified species and their distribution in the sites.
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Cereals appeared clearly and can be identified from the seeds of:
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- *Triticum aestivum* (Fig.3a), added to some parts of
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spikelets, chaffs, and glume fragments
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- *Hordeum vulgare* (Fig. 3b), added to some parts of
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spikelets, chaffs, and glume fragments
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- *Sorghum bicolor* (Fig. 3c), present in spikelet with grain inside
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- *Setaria italica* (Fig.3d), represented from its seeds.
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Furthermore, for the trees:
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- *Adansonia digitata* appeared from small fragments of the fruit pulp shell (Fig.3e).
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- *Acacia nilotica* was identified from the seed remains (Fig.3f).
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- *Cyperus rotundus* appeared in the materials from the complete purple nutsedge roots (Fig.3g).
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Some animal remains, animal dung (Fig. 3h), and insect remains (Fig.3i) appeared in the samples. More
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analyses for more detailed identifications will be done at a later date.
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determined species and their distribution in the sites. The cereal
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appeared clearly and can be identified from the seeds of the *Triticum
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aestivum* (Fig.3a)* and Hordeum vulgare* (Fig.3b). These two cereals were added to some parts of
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spikelets, chaffs, and glume fragments. *Sorghum
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bicolor* was presented from spikelet with grain inside (Fig.4c) and
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*Setaria italica* was also represented from their seeds (Fig.3d).
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*Adansonia digitate* appeared from small fragments of the fruit pulp
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shell (Fig.3e). *Acacia nilotica* was identified from the seed remains
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(Fig.3f) and the *Cyperus rotundus* appeared in the materials from the
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complete purple nutsedge roots (Fig.3g). Some animal remains, animal
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dung (Fig. 3h), and insect remains (Fig.3i) appeared in the samples. More
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analysis for further identifications will be done at a later date.
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**~~Table 1. Plant species that were identified from the Samples.~~**
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**~~Figure 4. The figure presents the plant and animal remains that were identified: a. Triticum aestivum; b. Hordeum vulgare; c. Sorghum bicolor, d. Setaria italica; e. Adansonia digitata, f. Acacia nilotica; g. Cyperus rotundus; h. Animal dung; i. Insect remains (Photos by the author).~~**
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**~~Figure 3. The figure presents the plant and animal remains that were identified; a. Triticum aestivum; b. Hordeum vulgare; c. Sorghum bicolor, d. Setaria italica; e. Adansonia digitata, f. Acacia nilotica; g. Cyperus rotundus; h. Animal dung; i. Insect remains (Photo: H.M. Hamdeen).~~**
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## Mudbrick as source of the plant remains
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@ -277,7 +263,7 @@ necessity of temper may vary depending on the quality of the sediment,
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clay, and organic material that was added to the mudbrick.
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Experts in Sudan rarely study the archaeobotanical remains from
|
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mudbrick. Sergeev et al. studied the considerable potential of
|
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mudbrick. Sergeev *et al* studied the considerable potential of
|
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mudbricks as a source of the history, cultural practices, and
|
||||
technologies of ancient societies that developed in a specific natural
|
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environment.[^12] Their analysis focused on comparing two collections of
|
||||
|
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@ -360,18 +346,18 @@ Girba.[^21]
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|||
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||||
The last species of cereal type, *Setaria italica, was* reported as
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seeds from two sites, MAS021 and DFF009. One of the pieces of evidence
|
||||
in the area for this *Setaria* species was recovered from settlement
|
||||
in the area for this *Setaria* sp. was recovered from settlement
|
||||
contexts at site Abu Darbien in central Sudan date back to 7860 cal.
|
||||
BP.[^22] In the eastern Sudan from sites K1 I 5, S14d, 3-S5 dated to
|
||||
Gash group 1500--1400 BCE. *Setaria* species was identified on the
|
||||
exterior surface of pottery and not far from that site. *Setaria* species
|
||||
Gash group 1500--1400 BCE. *Setaria* sp. was identified on the
|
||||
exterior surface of pottery and not far from that site. *Setaria* sp.
|
||||
also was recorded from site SEG 42 R 5 and dating to Hagiz Group 500
|
||||
BCE--500 CE.[^23] Some remains of *Setaria* species have been identified
|
||||
BCE--500 CE.[^23] Some remains of *Setaria* sp. have been identified
|
||||
also in the organic residues in pots from early Meroitic cemetery at
|
||||
Amir Abdallah.[^24] *Setaria italica* remains appeared together with a
|
||||
related wild weedy grass identified as *Setaria cf. sphaceleata* at
|
||||
the Christian site at Nauri on the opposite bank of the site
|
||||
DF009.[^25] This evidence suggests that *Setaria* species is common in
|
||||
DF009.[^25] This evidence suggests that *Setaria* sp. is common in
|
||||
this area of Sudan and that there may be some connection between these
|
||||
two sites during Christian period.
|
||||
|
||||
|
|
@ -464,14 +450,14 @@ local communities, as well as fodder, fibers for weaving and
|
|||
rope-making, gum, seed oil, natural medicine, materials for dishes,
|
||||
and water storage.[^37] It can also be used for shelter and as a
|
||||
gathering point for humans and their livestock.[^38] All across the
|
||||
African continent, the sight of *Adansonia digitata* has inspired tales,
|
||||
poetry, songs, and legends. *Adansonia digitata* have often commanded
|
||||
African continent, the sight of *A. digitata* has inspired tales,
|
||||
poetry, songs, and legends. *A. digitata* have often commanded
|
||||
compassion and even devotion.[^39]
|
||||
|
||||
The earliest archaeobotanical record from Sudan and northeast Africa
|
||||
for this species came from site K1 IX in Kassala and dates to the Late
|
||||
Gash Group context. This evidence was the charred seeds of *Adansonia
|
||||
digitata*. These findings suggest that this tree had already been
|
||||
digitata* L. These findings suggest that this tree had already been
|
||||
transferred from west to east across the savanna by the early second
|
||||
millennium BCE.[^40] The evidence from the Third Cataract is
|
||||
considered the second record for this species in the Sudan and
|
||||
|
|
@ -532,7 +518,7 @@ diets for consumption to human foods and fodder for animals.
|
|||
|
||||
Our plant remains provided some evidence of the external and internal
|
||||
homescape of the Third Cataract during the Christian period. *Acacia*
|
||||
species and *Adansonia* species could be used as building materials in both
|
||||
sp. and *Adansonia* sp. could be used as building materials in both
|
||||
the exterior and interior shelters and homes. Some of these materials
|
||||
are wood, timber, and straw, as well as hard trunks and tree branches
|
||||
probably used as roofs and walls in the houses. Furniture was commonly
|
||||
|
|
@ -558,14 +544,12 @@ Christian period.
|
|||
|
||||
# Acknowledgements
|
||||
|
||||
I want to thank the El-Mahas Archaeological Project team in the
|
||||
2019 season, the director Ali Osman Mohamed Salih, and the
|
||||
Special thanks go to the El-Mahas Archaeological Project team in the
|
||||
2019 season, and the director Prof Ali Osman Mohamed Salih, and the
|
||||
people of Mashakiela village for their hospitality and generosity. The
|
||||
following persons are also thanked: Engineer Omer for taking drone photos.
|
||||
Engineer Medhat Mohamed Osman, Mr. Basim Ali, Mr. Ahmed Ali Osman, and Mr.
|
||||
Musaab Khair for their assistance with the fieldwork.
|
||||
Special thanks go to Professor Anna Boozer for her valuable feedback, suggestions, and comments while reviewing the first draft of this paper.
|
||||
Finally, I express my gratitude to the Institute of International Education’s Scholar Rescue Fund (IIE-SRF) for their help and financial support in conducting my research after leaving my home country due to war.
|
||||
following persons are also thanked: Eng. Omer for taking drone photos.
|
||||
Eng. Medhat Mohamed Osman. Mr Basim Ali, Mr. Ahmed Ali Osman, and Mr.
|
||||
Musaab Khair for their assistance with the fieldwork.
|
||||
|
||||
# References
|
||||
|
||||
|
|
@ -671,6 +655,10 @@ die Zukunft?" *Humboldt-Spektrum* 2/3 (2002): pp. 96--100
|
|||
Geus, F. "Two Seasons in Sai Island (1996-1997)." *Kush* 18 (2003):
|
||||
pp. 61--73.
|
||||
|
||||
Hulse, Joseph H., Evangeline M. Laing, and Odette E. Pearson.
|
||||
*Sorghum and Millets: Their Composition and Nutritive Value*. London:
|
||||
Academic Press, 1980.
|
||||
|
||||
Gunasekera, T.G., and D.N.S. Fernando. "Agricultural Importance,
|
||||
Biology, Control and Utilization Cyperus rotundus." *Planter*
|
||||
70 (1994): pp. 537--44.
|
||||
|
|
@ -710,9 +698,6 @@ Middle Bronze Age Southern Levant." *Near Eastern Archaeology* 75/4 (2912): pp.
|
|||
Houben, H., and H. Guillard. *Earth Construction: A Comprehensive
|
||||
Guide*. London: Intermediate Technology Publications, 1994.
|
||||
|
||||
Hulse, Joseph H., Evangeline M. Laing, and Odette E. Pearson.
|
||||
*Sorghum and Millets: Their Composition and Nutritive Value*. London:
|
||||
Academic Press, 1980.
|
||||
Iwu, M.M. *Handbook of African Medicinal Plants*. Boca Raton: CRC Press, 2014.
|
||||
|
||||
Kabore, D., Sawadogo-Lingani H., Diawara B., Compaore, C.S., Dicko M.H., and M.
|
||||
|
|
@ -783,7 +768,7 @@ Parsons, W. T., and E.G. Cuthbertson. *Noxious Weeds of Australia*. Second Editi
|
|||
|
||||
Pock Tsy, J.-M.L., Lumaret R., Mayne D., Vall A.O.M., Abutaba Y.I.M., and M. Sangna. "Chloroplast DNA Phylogeography Suggests a West African Centre of
|
||||
Origin for the Baobab, *Adansonia digitata* L. (Bombacoideae,
|
||||
Malvaceae)." *Molecular Ecology* 18/8 (2009): pp. 1707--15.
|
||||
Malvaceae)". *Molecular Ecology* 18/8 (2009): pp. 1707--15.
|
||||
|
||||
Pokorna, A., and J. Beneš. "Plant Macroremains from the Old Kingdom
|
||||
Mudbrick Construction of the Werkaure Tomb. Results of Carpological and
|
||||
|
|
@ -811,7 +796,7 @@ Domestications and Evolution and Review of Archaeological Evidence."
|
|||
Ryan, P., Cartwright, C., and N. Spencer. "Archaeobotanical Research
|
||||
in a Pharaonic Town in Ancient Nubia." *Technical Research Bulletin* 6 (2012): pp. 97--107.
|
||||
|
||||
Ryan, Philippa. "Plant Exploitation from Household and Landscape Perspectives: The Phytolith Evidence." In *Humans and Landscapes of Çatalhöyük:
|
||||
Ryan, Philippa. "Plant Exploitation from Household and Landscape Perspectives: The Phytolith Evidence." In *Humans and Landscapes of Catalhoyuk:
|
||||
Reports from the 2000--2008 Seasons*, edited by I. Hodder, pp. 163--90.
|
||||
Los Angeles: Cotsen Institute of Archaeology, 2013.
|
||||
|
||||
|
|
@ -967,7 +952,7 @@ Millennium BC Eastern Sudan."
|
|||
[^31]: On the complex of burial sites, see Buckley et al., "Dental
|
||||
Calculus." On Kawa, see Fuller, "Early Kushite Agriculture," p. 71.
|
||||
|
||||
[^32]: Auld and Medd 1987; Parsons and Cuthbertson 2001.
|
||||
[^32]: Auld and Medd 1987. THIS REFERENCE IS NOT IN THE BIBLIOGRAPHY; Parsons and Cuthbertson 2001. THIS REFERENCE IS NOT IN THE BIBLIOGRAPHY.
|
||||
|
||||
[^33]: Bendixen and Nandihalli, "Worldwide Distribution of Purple
|
||||
and Yellow Nutsedge."
|
||||
|
|
|
|||
|
|
@ -1,7 +1,7 @@
|
|||
---
|
||||
title: "Houses of Egyptian Nubia: West Aswan - Then and Now"
|
||||
title: "Houses of Egyptian Nubia: West Aswan Then and Now"
|
||||
authors: ["annejennings.md"]
|
||||
abstract: Most of the Nubians in Sudan and Egypt were relocated when the Egyptian High Dam was constructed in 1964, but not all of them were. Several Nuban villages sitting north of the High Dam were in no danger of inundation, and were not evacuated. The houses which the Nubians built and continue to build in these villages, distinctive and beautiful, continue to be cherished by their owners. Here I present photographs of the houses in the village of West Aswan, where I lived for 3 ½ years, showing traditional as well as more modern styles, to demonstrate that the extraordinary Nubian culture, ancient as it is, has not disappeared despite great change.
|
||||
abstract: While most of the Nubians in Sudan and Egypt were relocated when the Egyptian High Dam was constructed in 1964, not all of them were. Several Nuban villages sitting north of the High Dam were in no danger of inundation, and were not evacuated. The houses which the Nubians built and continue to build in these villages, distinctive and beautiful, continue to be cherished by their owners. Here I present photographs of the houses in the village of West Aswan, where I lived for 3 ½ years, showing traditional as well as more modern styles, to demonstrate that the extraordinary Nubian culture, ancient as it is, has not disappeared despite great change.
|
||||
keywords: ["Nubia", "Egyptian Nubia", "Nubian village", "West Aswan", "Houses", "Architecture", "High Dam", "Tourism"]
|
||||
---
|
||||
|
||||
|
|
@ -64,13 +64,19 @@ or a small kiosk selling canned milk and candy, or a water spigot.
|
|||
**~~Figure 3. Many walls display a representation of Al Buraq, the mythical being who, according to legend, carried Mohammed to heaven on her back. (Jennings, 1981).~~**
|
||||
|
||||
|
||||
Walls that are made of mud brick absorb the heat of the sun throughout the day. In the winter, this is delightful, but during the summer months the out-of-doors is more comfortable. Both men and women congregate upon the mastabas - benches of smoothly-plastered clay that are built along the fronts of the outside walls - in the evenings, to share tasks and good conversation, and to catch the evening breezes that seem to freshen just in time.
|
||||
Many walls display a representation of al Buraq, the mythical being who,
|
||||
according to legend, carried Mohammed to heaven on her back.
|
||||
|
||||
|
||||
|
||||
|
||||
**~~Figure 4. Some houses have paintings on their walls, indicating that the owner has made the pilgrimage to Mecca (Jennings, 1981).~~**
|
||||
|
||||
|
||||
Some houses have paintings on their walls, along with a verse from the
|
||||
Quran, indicating that the owner has made the pilgrimage to Mecca.
|
||||
|
||||
|
||||
|
||||
|
||||
**~~Figure 5. Most houses have benches of smoothly plastered clay (*mastabas*) that are built along the fronts of the outside walls. (Jennings, 1981).~~**
|
||||
|
|
@ -81,6 +87,12 @@ Walls that are made of mud brick absorb the heat of the sun throughout the day.
|
|||
**~~Figure 6. These *mastabas* are gathering places for men and women at the end of the working day. (Jennings, 1981).~~**
|
||||
|
||||
|
||||
Most houses have benches of smoothly plastered clay (*mastabas*), that
|
||||
are built along the fronts of the outside walls, where both men and
|
||||
women congregate at the end of the day to share tasks and good
|
||||
conversation, and to bask in the freshening evening breezes.
|
||||
|
||||
|
||||
|
||||
|
||||
**~~Figure 7. The wide courtyard of a traditional Nubian home, where celebrations and ceremonies are held. (Jennings, 2007).~~**
|
||||
|
|
@ -103,14 +115,16 @@ courtyard area), served tea, and allowed to wander around the area so
|
|||
that they can see what a traditional Nubian home looks like. It is hoped
|
||||
that they will also buy souvenirs.
|
||||
|
||||
The women of the family may also contribute to the household income by
|
||||
drawing tattoos with henna.
|
||||
|
||||
|
||||
|
||||
**~~Figure 9. Women of the family may also contribute to the household income by drawing tattoos on tourists with henna. (Jennings, 2007).~~**
|
||||
|
||||
|
||||
The women of the family may also contribute to the household income by
|
||||
drawing tattoos with henna.
|
||||
|
||||
|
||||
|
||||
|
||||
**~~Figure 10. A house of the older style (Jennings, 1997).~~**
|
||||
|
|
@ -148,9 +162,12 @@ This is such a home in Gubba.
|
|||
**~~Figure 12. This home is offered as a Bed & Breakfast for any tourist who wants to spend more time in Nubia. (Jennings, 2007).~~**
|
||||
|
||||
|
||||
Restaurants, such as the one in Figure 12, which has been constructed in an old
|
||||
Nubian house, as well as the one in Figure 13, have been built in West Aswan to
|
||||
increase tourism.
|
||||
This home is also offered as a Bed&Breakfast for any foreigner who wants
|
||||
to spend more time in Nubia.
|
||||
|
||||
Restaurants, such as this one which has been constructed in an old
|
||||
Nubian house, and the one below, have been built in West Aswan to invite
|
||||
the tourist trade.
|
||||
|
||||
|
||||
|
||||
|
|
|
|||
File diff suppressed because it is too large
Load diff
|
|
@ -8,7 +8,7 @@ keywords: ["osteoarchaeology", "skeletal", "Nubia", "Sudan", "Middle Nile"]
|
|||
|
||||
# Introduction
|
||||
|
||||
Everyday life in Nubia involves activities such as cooking, cleaning,
|
||||
Everyday life in Nubia involves activities such as, cooking, cleaning,
|
||||
planting seeds, harvesting crops, watching a football match, chatting
|
||||
with friends, monitoring children, eating delicious foods, and drinking
|
||||
tea. If we conjure up images of these quotidian actions from personal
|
||||
|
|
@ -71,7 +71,7 @@ estimated that it takes approximately 10 years for the skeleton to
|
|||
completely remodel.[^7] This process also facilitates a record of life
|
||||
events, embodied in the bones themselves. This is frequently referred to
|
||||
as embodiment theory in bioarchaeology and speaks to the biosocial
|
||||
nature of bioarchaeology.[^8] The discipline goes beyond looking at
|
||||
nature of bioarchaeologyn[^8] The discipline goes beyond looking at
|
||||
broken bones or diseases to assessing lived experience in the ancient
|
||||
past, how it changed during periods of political, economic, and social
|
||||
upheaval, and how these data can be used to inform our understanding of
|
||||
|
|
@ -130,7 +130,7 @@ possess squatting facets.[^14] Singh does state that the presence of
|
|||
squatting facets in fetuses is low in this sample, it is also variable
|
||||
between other samples published in previous works (22.6% Indian; 23%
|
||||
European; 3.1% Japanese). Barnett, however, provides an explanation for
|
||||
these findings. He argues that these traits can indeed be
|
||||
these findings. Barnett argues that these traits can indeed be
|
||||
inherited, however, if the activities that maintain this articulation
|
||||
(i.e., squatting) are not maintained throughout the lifecourse, they
|
||||
will become obliterated as bone turnover occurs.[^15] While this
|
||||
|
|
@ -240,7 +240,7 @@ Table 1. Demographic Distribution of Squatting Facets at Abu Fatima
|
|||
|||||||
|
||||
|
||||
n/o=Not observable; Locality assessed via strontium isotope analysis
|
||||
(see Schrader et al., "Intraregional 87Sr/86Sr Variation in Nubia" for additional information).
|
||||
(see Schrader et al., "Intraregional 87Sr/86Sr Variation in Nubia" for additional information)
|
||||
|
||||
<br/>
|
||||
|
||||
|
|
@ -313,7 +313,7 @@ squatting facets (4E1) is a bit of an oddity. This was a probable male,
|
|||
dating to the Ancient Kerma period (2,500-2,050 BCE), who likely died
|
||||
between 35-50. The grave was looted in antiquity and was quite
|
||||
disturbed, with no skeletal elements remained *in situ*. Despite this,
|
||||
there is evidence to suggest that this individual may have
|
||||
there is evidence to suggest that this individual may have been
|
||||
originally been buried with numerous and varied grave goods. Three
|
||||
lithic blades forming a Nubian-style arrowhead, rawhide sandals, faience
|
||||
beads, and intricate leatherwork and basketry were all found in this
|
||||
|
|
@ -337,7 +337,7 @@ pottery statuette of a squatting man who appears to be naked and
|
|||
emaciated (Fig. 4). There is a similar figure, on display at the
|
||||
Egyptian Museum in Cairo, of an emaciated old squatting man grasping an
|
||||
ivory staff. There are also multiple examples of figures grinding grain,
|
||||
like a statuette from the 5th Dynasty (*ca.* 2,465-2,323
|
||||
like this one, a statuette from the 5th Dynasty (*ca.* 2,465-2,323
|
||||
BCE; Giza; Fig. 5). Figures such as these exhibit scenes from everyday
|
||||
life and were thought to provide resources for deceased in the
|
||||
afterlife. They can also provide some insight into the types of
|
||||
|
|
@ -375,12 +375,12 @@ spatial information was provided. Satinoff found that of the 300 male
|
|||
and female remains analyzed 96% did in fact have squatting facets. This
|
||||
is very much congruent with the findings presented here from Abu Fatima.
|
||||
It does beg the question about genetic predisposition to said facets,
|
||||
given the relatively genetic homogeneity between Egyptians and Nubians.
|
||||
given the relatively genetic homogeneity between Egyptian and Nubians.
|
||||
Skeletal analysis of additional samples, with well-documented
|
||||
chronologies and cemetery locations, would be useful to better
|
||||
understand if the majority of Egyptians and Nubians had squatting
|
||||
facets, or if the similar values between Abu Fatima and the results
|
||||
presented by Satinoff are coincidence. Additionally, skeletal
|
||||
presented by Satinoff are coincidence. Additionally, additional skeletal
|
||||
analysis of non-adult remains, particularly neonates and infants, could
|
||||
be used to address the genetic predisposition theory.
|
||||
|
||||
|
|
@ -427,7 +427,7 @@ Eastern Turkey." *Collegium Antropologicum* 34, no. 4 (December 30,
|
|||
2010): pp. 1257--62.
|
||||
|
||||
Boulle, Eve-Line. "Evolution of Two Human Skeletal Markers of the
|
||||
Squatting Position: A Diachronic Study from Antiquity to the Modern
|
||||
Squatting Positoin: A Diachronic Study from Antiquity to the Modern
|
||||
Age." *American Journal of Physical Anthropology* 115, no. 1 (2001a):
|
||||
pp. 50--6.
|
||||
|
||||
|
|
@ -456,7 +456,7 @@ Morphology of the Lower Extremity of the Panjabi." *Journal of Anatomy
|
|||
and Physiology* 28 (1893): pp. 1--18.
|
||||
|
||||
Dlamini, N., and A.G. Morris. "An Investigation of the Frequency of
|
||||
Squatting Facets in Later Stone Age Foragers from South Africa."
|
||||
Suatting Facets in Later Stone Age Foragers from South Africa."
|
||||
*International Journal of Osteoarchaeology* 15, no. 5 (2005): pp. 371--6.
|
||||
|
||||
Giddens, A. *The Constitution of Society: Outline of the Theory of
|
||||
|
|
@ -540,9 +540,9 @@ Simonetti. "Intraregional 87Sr/86Sr Variation in Nubia: New Insights
|
|||
from the Third Cataract." *Journal of Archaeological Science: Reports*
|
||||
24 (2019): pp. 373--9.
|
||||
|
||||
Schrader, Sarah A., Tomomi Fushiya, Mohamed Saad, and El Hassan Ahmed
|
||||
Schrader, Sarah A, Tomomi Fushiya, Mohamed Saad, and El Hassan Ahmed
|
||||
Mohamed. "Decolonizing Bioarchaeology in Sudan." *Journal of African
|
||||
Archaeology*, 2024: pp. 1--17.
|
||||
Archaeology*, 2024: pp- 1--17.
|
||||
|
||||
Schrader, Sarah, and Christina Torres-Rouff. "Embodying Bioarchaeology:
|
||||
Theory and Practice." In *Theoretical Approaches to Bioarchaeology*,
|
||||
|
|
@ -643,10 +643,10 @@ Wood, W.Q. "The Tibia of the Australian Aborigine." *Journal of Anatomy*
|
|||
[^16]: Trinkaus, "Squatting among the Neandertals."
|
||||
|
||||
[^17]: Boulle, "Evolution of Two Human Skeletal Markers of the Squatting
|
||||
Position."
|
||||
Positoin."
|
||||
|
||||
[^18]: Dlamini and Morris, "An Investigation of the Frequency of
|
||||
Squatting Facets in Later Stone Age Foragers from South Africa."
|
||||
Suatting Facets in Later Stone Age Foragers from South Africa."
|
||||
|
||||
[^19]: Molleson, "Seed Preparation in the Mesolithic."
|
||||
|
||||
|
|
@ -665,7 +665,7 @@ Wood, W.Q. "The Tibia of the Australian Aborigine." *Journal of Anatomy*
|
|||
[^25]: Schrader et al., "Intraregional 87Sr/86Sr Variation in Nubia."
|
||||
|
||||
[^26]: Baykara et al., "Squatting Facet"; Dlamini and Morris, "An
|
||||
Investigation of the Frequency of Squatting Facets in Later Stone Age
|
||||
Investigation of the Frequency of Suatting Facets in Later Stone Age
|
||||
Foragers from South Africa"; Molleson, "Bones of Work at the Origins
|
||||
of Labour."
|
||||
|
||||
|
|
|
|||
|
|
@ -124,7 +124,7 @@ of yourself. That art can feel true even if you don't understand it.
|
|||
|
||||
**Boozer:** How do you stay motivated to create?
|
||||
|
||||
**Shatta:** You know, understanding also motivates me. Just to try to
|
||||
**Shatta:** You know understanding also motivates me. Just to try to
|
||||
understand is motivating. Because understanding goes both ways. At the
|
||||
end of the day, it is understanding. If it is pain, you understand why
|
||||
it is pain. If it is happiness, you understand why it is happiness. So,
|
||||
|
|
@ -198,12 +198,12 @@ another piece that reminds you of homelife or disconnection that has a
|
|||
story behind it.
|
||||
|
||||
|
||||
|
||||
|
||||
|
||||
**~~Figure 1. “The Unknown Hope (1)”: Shatta’s hometown in El-Korgal, Nuba Mountains, Sudan. (Khalid Shatta, 2011).~~**
|
||||
**~~Figure 1. “The Unknown Hope (1)”, Shatta’s hometown in El-Korgal, Nuba Mountains, Sudan. (Khalid Shatta, 2011).~~**
|
||||
|
||||
|
||||
**Shatta:** This one in the Nuba mountains with the white jalabiya
|
||||
**Boozer:** This one in the Nuba mountains with the white jalabiya
|
||||
(figure 1). This is where my mom and dad were born. And I don't know how
|
||||
to put it in English. You can feel the connection of home. The meaning
|
||||
is always very deep. The forest is home. The trees are a soul. And they
|
||||
|
|
@ -233,9 +233,9 @@ earth.
|
|||
2). This is the one we were talking about before, right?
|
||||
|
||||
|
||||
|
||||
|
||||
|
||||
**~~Figure 2. “The Unknown Hope (2)”: Damazin Market, Blue Nile, Sudan (Khalid Shatta, 2011).~~**
|
||||
**~~Figure 2. “The Unknown Hope (2)”, Damazin Market, Blue Nile, Sudan (Khalid Shatta, 2011).~~**
|
||||
|
||||
|
||||
**Shatta:** Yes, this is the one. And on the boy's t-shirt it says "the
|
||||
|
|
@ -289,9 +289,9 @@ is just from the former regime. No. It is deeper. It is more than that.
|
|||
supported by those roots.
|
||||
|
||||
|
||||
|
||||
|
||||
|
||||
**~~Figure 3. “The Unknown Hope (3)”: Internally Displaced Persons (IDPs) from Khartoum (Khalid Shatta, 2011).~~**
|
||||
**~~Figure 3. “The Unknown Hope (3)”, International Displaced Persons (IDPs) from Khartoum (Khalid Shatta, 2011).~~**
|
||||
|
||||
|
||||
**Shatta:** Yes. Because even the people who are in charge now in Sudan.
|
||||
|
|
@ -305,9 +305,9 @@ So, this is my city.
|
|||
**Boozer:** I love this one (figure 4).
|
||||
|
||||
|
||||
|
||||
|
||||
|
||||
**~~Figure 4. “The Unknown Hope (4)”: El-Haj Yousif Neighborhood, Sudan (Khalid Shatta, 2011).~~**
|
||||
**~~Figure 4. “The Unknown Hope (4)” in the El-Haj Yousif Neighborhood, Sudan (Khalid Shatta, 2011).~~**
|
||||
|
||||
|
||||
**Shatta:** Yeah, this is really nice, you know? This guy, he's adopted.
|
||||
|
|
@ -326,9 +326,9 @@ child's life.
|
|||
**Shatta:** Yes. This is the Fulani, the Fulani people (figure 5).
|
||||
|
||||
|
||||
|
||||
|
||||
|
||||
**~~Figure 5. “The Unknown Hope (5)”: Blue Nile, Sudan (Khalid Shatta, 2011).~~**
|
||||
**~~Figure 5. “The Unknown Hope (5)”, Blue Nile, Sudan (Khalid Shatta, 2011).~~**
|
||||
|
||||
|
||||
**Boozer:** Tell us about the Fulani.
|
||||
|
|
@ -352,9 +352,9 @@ in other traditions. This one is in el Kargal my hometown (figure 6).
|
|||
This is also Fulani.
|
||||
|
||||
|
||||
|
||||
|
||||
|
||||
**~~Figure 6. “The Unknown Hope (6)”: Shatta’s hometown, El-Korgal, Nuba Mountains, Sudan (Khalid Shatta, 2011).~~**
|
||||
**~~Figure 6. “The Unknown Hope (6)”, Shatta’s hometown, El-Korgal, Nuba Mountains, Sudan (Khalid Shatta, 2011).~~**
|
||||
|
||||
|
||||
**Boozer:** Awe, so cute!
|
||||
|
|
@ -364,9 +364,9 @@ This is also Fulani.
|
|||
**Boozer:** This is a beautiful one (figure 7).
|
||||
|
||||
|
||||
|
||||
|
||||
|
||||
**~~Figure 7. “The Unknown Hope (7)”: El-Haj Yousif Neighborhood, Sudan (Khalid Shatta, 2011).~~**
|
||||
**~~Figure 7. “The Unknown Hope (7)”, El-Haj Yousif Neighborhood, Sudan (Khalid Shatta, 2011).~~**
|
||||
|
||||
|
||||
**Shatta:** This is my niece.
|
||||
|
|
@ -390,9 +390,9 @@ hard.
|
|||
**Boozer:** Just to get out of the heart of the war.
|
||||
|
||||
|
||||
|
||||
|
||||
|
||||
**~~Figure 8. “The Unknown Hope (8)”: Roseires Dam, Blue Nile at Ad Damazin, Sudan (Khalid Shatta, 2011).~~**
|
||||
**~~Figure 8. “The Unknown Hope (8)”, the Roseires Dam, Blue Nile at Ad Damazin, Sudan (Khalid Shatta, 2011).~~**
|
||||
|
||||
|
||||
**Shatta:** Yes. There's one picture, I need to discuss with you, this
|
||||
|
|
@ -423,7 +423,7 @@ in Action*. The red drawings. Should we also look at them?
|
|||
|
||||
**Boozer:** Would you like to tell us a bit about it?
|
||||
|
||||
**Shatta:** This one is part of *Migration of the Soul*.[^1] The point is
|
||||
**Shatta:** This one is part of *Migration of the Soul*. The point is
|
||||
not the physical migration but the mental migration. And also, the way
|
||||
how we feel disconnected from our own existence. For me it is also more
|
||||
like how we are engaging in time together. But also, time changes and
|
||||
|
|
@ -435,7 +435,7 @@ find the trees, we find the world, we find everything. And from there we
|
|||
build the human civilization. And we had the first migration and it's a
|
||||
lot of knowledge that came from this small family of human beings. And
|
||||
then came the first ancient peoples the first ancient civilizations. And
|
||||
now we are here in, say 2000. For me, to be in 2000 -- wow -- just imagine
|
||||
now we are here in, say 2000. For me, to be in 2000, wow, just imagine
|
||||
that we are the product of many little, little things.
|
||||
|
||||
**Boozer:** Many small past actions and events?
|
||||
|
|
@ -464,7 +464,7 @@ going to worship us!
|
|||
**Shatta:** Yes. You see, he's going to worship us. It's normal! And
|
||||
that's why I feel sometimes, it's like humans we have really smart and
|
||||
beautiful minds to create things. But when we link our soul with belief,
|
||||
we loose our power somehow. Also, there are the trees in the picture,
|
||||
we lost our power somehow. Also, there are the trees in the picture,
|
||||
human trees. It's like a forest. So, for me, it's about we and them.
|
||||
It's about our history and about our present.
|
||||
|
||||
|
|
@ -481,7 +481,7 @@ too. The forgetting.
|
|||
**~~Figure 10. “Gods in Action (1)” (Khalid Shatta, 2021).~~**
|
||||
|
||||
|
||||
**Shatta:** It is from a series called *Gods in Action*.[^2] So, *Gods in
|
||||
**Shatta:** It is from a series called *Gods in Action*. So, *Gods in
|
||||
Action* was inspired by a specific ocean. Solomon Islands and those
|
||||
people. The way they portray their gods is a very scary way. And even
|
||||
when they welcome someone, it is scary. For me, I find it very
|
||||
|
|
@ -506,7 +506,7 @@ together. Sometimes I feel, in Sudan in general, we have connections
|
|||
with nature in a spiritual way. Because we are always symbolizing
|
||||
things. People portray themselves like the snake, the lion, whatever.
|
||||
Maybe the point is to study the movement of these animals and to portray
|
||||
themselves as these creatures. And also, the fish. The fish is my
|
||||
themselves as like these creatures. And also, the fish. The fish is my
|
||||
favorite sign. I enjoy using it in my art. And in Sudan, in the Nuba
|
||||
Mountains, they draw alligators, elephants, and fish in the caves.
|
||||
Because, as we said before, there is a lot of knowledge that we
|
||||
|
|
@ -521,8 +521,8 @@ is just a question for the future of how to use it in Sudan. Because
|
|||
sometimes I feel Sudan is just an empty place. We have to build it from
|
||||
scratch. And I use art sometimes as the missing home. Because here I
|
||||
live really good. I enjoy life. But sometimes I get this feeling of
|
||||
"ahhh, I came from Sudan." I remember. And I feel sad and I feel like
|
||||
-- wow -- I have to do that in Sudan. Because I feel what we are missing.
|
||||
"ahhh, I came from Sudan." I remember. And I feel sad and I feel like,
|
||||
wow, I have to do that in Sudan. Because I feel what we are missing.
|
||||
What we are missing in Sudan, we are missing the foundation. This is an
|
||||
illustration showing question (figure 12). I love the human expression.
|
||||
The eyes. I paint a lot of eyes.
|
||||
|
|
@ -562,7 +562,7 @@ myself. You understand?
|
|||
|
||||
**Shatta:** Deep trauma, depression, stress, and anxiety and on top of
|
||||
that what's going on. Boom. It was really -- wow. And now I'm just
|
||||
saying it's a good experience. *Yanni*,[^3] I love the journey! Because
|
||||
saying it's a good experience. *Yanni*,[^1] I love the journey! Because
|
||||
also Norway, it's a place that makes me able to understand myself right
|
||||
now. And also, in my art journey because I made all those arts here. To
|
||||
make art is not an easy thing if you live in fear.
|
||||
|
|
@ -603,21 +603,21 @@ from it. Is that right?
|
|||
|
||||
**Shatta:** No, it's not only like that. I really love my art. For me, I
|
||||
need it, I feel the beauty of it. And when people see that too, I see it
|
||||
more and I appreciate that. Wow! It means a lot to me. I attract someone
|
||||
more and I appreciate that. Wow. It means a lot to me. I attract someone
|
||||
through my art.
|
||||
|
||||
**Boozer:** That it's having an impact, someone's finding meaning in it,
|
||||
and making a connection with you? That it helps you see your art in a
|
||||
new way?
|
||||
|
||||
**Shatta:** Yes. And that's beautiful -- wow -- What I'm trying to say is,
|
||||
**Shatta:** Yes. And that's beautiful. Wow. What I'm trying to say is,
|
||||
yeah, I appreciate that. Art, it comes from the soul. It is the language
|
||||
of the heart, so when people like my art it makes me feel I am honest
|
||||
when I am painting and when I am drawing. And also, it connects me. For
|
||||
instance, my art is like research. When I start a painting, I start to
|
||||
search. I like to go deep, and deep, and deep. And even it connects me,
|
||||
especially the project I'm working on now which is about history, about
|
||||
humans, about Sudan, Nubia, about many things. But also -- wow -- it's a
|
||||
humans, about Sudan, Nubia, about many things. But also, wow, it's a
|
||||
sign of how those people find me and my art. Why me? That's why I'm
|
||||
saying I believe in this art.
|
||||
|
||||
|
|
@ -626,16 +626,16 @@ the people who have been displaced due to the current war? Does art have
|
|||
a place in giving people a feeling of home?
|
||||
|
||||
**Shatta:** I know we have war in Sudan. But I can't speak for any
|
||||
artist, but in a way, an artist needs time to observe. You can always paint.
|
||||
artist, but in a way, it needs time to observe. You can always paint.
|
||||
You know this painting? This is the first painting I made just about
|
||||
Sudan (figure 13) after I went to Cairo after one year. I campaigned
|
||||
about war, I campaigned about war, but I didn't feel it. You see? But
|
||||
me, in Cairo, I couldn't ignore it. That's why I made this painting.
|
||||
Because of what is going on in Sudan. It makes me have to try to
|
||||
understand the whole thing, how we came to this war, just to attack. To
|
||||
understand the whole things, how we came to this war, just to attack. To
|
||||
attack what is going on. Because for me, what comes out, it is part of
|
||||
the solution. You see now, this is part of the solution. And it is part
|
||||
of the problem. It's a lot of things. It's the politics. It's many
|
||||
of the problem. It's a lot of things. It's the politics. Its many
|
||||
things. But at the same time, art is the witness of the time. From
|
||||
person to person, it is different. But I don't feel I can speak about
|
||||
this question in Sudan, but still I paint. I paint. I painted this
|
||||
|
|
@ -675,11 +675,5 @@ power. It's a lot of things. So, this is what I'm exploring.
|
|||
|
||||
**Shatta:** Yes.
|
||||
|
||||
|
||||
|
||||
[^1]: In “The Migration of the Soul” series I have been dealing with the way we may feel out of place. When we have to flee, from one country to another, from your home to a camp, from your worn torn village to the capital city, that is not simply physical migration but manifests in our feeling a sensation of being disconnected. Fleeing your home and having to settle in another country or a capital, where you have little resources, no connections, arriving with trauma and emotional baggage for which there might be no help available, having to carve out a place for yourself in an unfamiliar society, is an alienating experience. I make frequent use of ancient Kemetic and Cushitic symbols from the historical kingdoms of the Nile valley civilisations, the ancestors of the community in which I was born in Sudan’s Nuba mountains. I want to show how our past is connected to our present selves, and that when we lose the connection to the past, we may feel displaced. When we don’t know who we are, we feel lost. I also seek to explore how the alienating and seemingly chaotic state of migration connects us. Whether we have fled war and trauma or not, we face suffering and hurt, we feel disconnected and lost. Our souls may transfer - migrate, if you will - to a different place and, paradoxically, that alienating experience brings us all closer. Through exploring what I refer to as the migration of the soul, I believe that we may understand each other better. In the “Migration of the Soul” series, the sensation is of being out of place. We live in a time where many people feel a disconnection from their own bodies and existence.
|
||||
|
||||
[^2]: The “Gods in Action” series offers a perspective on how we represent the divine through art, craft, music, and dance. As a point of departure, I want to focus on indigenous communities in multiple parts of the world, one of which includes myself as a member, as a member of an indigenous community in the Nuba mountains of Sudan. I explore how these expressions are shaped by the environment we live in, how they differ and what connects them. I want to invite you to a journey from the Nile to the Oceanic communities of the Pacific Ocean, and beyond. I explore how the divine is expressed and experienced in the environment we live in, and in our art and rituals, as well as to explore the belief systems we use to enable ourselves to conceptualize it. And I explore how these expressions connect to a wider context, beyond the communities.
|
||||
|
||||
[^3]: *Yanni* is a filler used in spoken Arabic equivalent to "like" or
|
||||
[^1]: *Yanni* is a filler used in spoken Arabic equivalent to "like" or
|
||||
"you know" in English.
|
||||
|
|
|
|||
|
|
@ -20,7 +20,7 @@ artefacts; vol. V: Bioarchaeology; vol. VI: The rock art and rock gongs.
|
|||
The publication of the first volume encourages us to hope that MDASP
|
||||
will not repeat the mistakes of the Aswan High Dam Campaign in the 1960s
|
||||
that, despite the efforts of some missions,[^1] remain largely
|
||||
unpublished. We await a third generation of Nubiologists to finish the
|
||||
unpublished. We await a third generation of Nubiologists to complete the
|
||||
task of completing those publications. And of course, trusting that SARS
|
||||
will complete their own mission's task, they will have set a good
|
||||
example for those responsible for the other concessions awarded during
|
||||
|
|
@ -42,7 +42,7 @@ awarded only in 1996 to the Gdansk Archaeological Museum Expedition
|
|||
awarded concessions and the entire area to be flooded, from the dam
|
||||
construction site to the island of Mograt, became the focus of
|
||||
archaeological work in Sudan for the rest of the first decade of the 21st
|
||||
century. The editor of the volume, Derek Welsby, head of the
|
||||
century (Fig. 1). The editor of the volume, Derek Welsby, head of the
|
||||
SARS mission at the MDASP, describes the history of the project in the
|
||||
first chapter of the volume (pp. 1--14).
|
||||
|
||||
|
|
@ -56,7 +56,8 @@ at least in terms of keeping up with the logistical and research
|
|||
challenges, are definitely worth our admiration.
|
||||
|
||||
The present reviewer has worked with different missions in the frame of
|
||||
the MDASP (see, for example, Plate 1.9 in p. 11 of the volume) and knows from first-hand experience the difficulties that the
|
||||
the MDASP (see, for example, Plate 1.9 in p. 11 of the volume, as well
|
||||
as Fig. 2) and knows from first-hand experience the difficulties that the
|
||||
missions faced. Looking back to those years, the memories from working
|
||||
against the clock counting down the last years of traditional life in
|
||||
the natural and cultural landscape of the Fourth Cataract, one feels
|
||||
|
|
@ -138,15 +139,15 @@ the description of the SARS' publication of the project in p. 12.
|
|||
|
||||
Paradoxically, a similar feeling of wanting to publish the material as
|
||||
quickly as possible is visible in the presentation of images. No less
|
||||
than 598 Tables, Plates and Figures have been printed in color!
|
||||
than 598 Tables, Plates and Figures that have been printed in color!
|
||||
Kudos to the typesetters, printers and funders, but the density of this
|
||||
material has caused the dimensions of the images to shrink and makes it
|
||||
impossible to see the details of half of them without a magnifying
|
||||
glass. This issue could have been avoided with a more thought-out
|
||||
selection (hence the argument above) or by the creation of a larger
|
||||
volume. The price difference between the printed and pdf versions is
|
||||
substantial (65£ vs 15£[^3]) and those who choose to purchase the printed
|
||||
version should at least be compensated by the quality of the printed
|
||||
volume. The price difference between printed and pdf versions is
|
||||
substantial (65£ vs 15£[^3]) and those wanting to purchase the printed
|
||||
version would at least be compensated by the quality of the printed
|
||||
texts and images.
|
||||
|
||||
It remains in any case a desideratum to find one day all the datasets
|
||||
|
|
@ -293,12 +294,12 @@ Preface. Salahedin Mohamed Ahmed
|
|||
Chapter 1: Merowe Dam Archaeological Salvage Project. The SARS Amri to
|
||||
Kirbekan Survey 1999-2007. Derek A. Welsby
|
||||
|
||||
Chapter 2: The Landscape of the Fourth Nile Cataract and Its
|
||||
Geomorphologic Evolution. Pawel Wolf, Baldur Gabriel, Robert Bussert,
|
||||
Chapter 2: The landscape of the Fourth Nile Cataract and its
|
||||
geomorphologic evolution. Pawel Wolf, Baldur Gabriel, Robert Bussert,
|
||||
and Ronny Schomacker
|
||||
|
||||
Chapter 3: Merowe Dam Project. Land use and Vegetation in the Flooding
|
||||
Area of a Planned Hydrodam in Northern Sudan. Arnaud Malterer
|
||||
Area of a planned Hydrodam in Northern Sudan. Arnaud Malterer
|
||||
|
||||
Chapter 4: The Oral History of the Manasir. M. Jalal Hashim
|
||||
|
||||
|
|
@ -311,8 +312,8 @@ Chapter 7: Modern Vernacular Architecture and Settlements Organization
|
|||
at the Fourth Nile Cataract between Dar el-Arab and Dar el-Waraaq.
|
||||
Nadejda Reshetnikova
|
||||
|
||||
Chapter 8: Architecture and Life in Villages of the Fourth Nile Cataract
|
||||
in the Region of al Tiref. Frances Welsh
|
||||
Chapter 8: Architecture and life in villages of the Fourth Nile Cataract
|
||||
in the region of al Tiref. Frances Welsh
|
||||
|
||||
Chapter 9: Bibliography for Volume I
|
||||
|
||||
|
|
@ -330,14 +331,14 @@ Eigner, Dieter. "Kirbekan -- ein Dorf der Manasir am 4. Nilkatarakt."
|
|||
Berlin* 17 (2006): pp. 71--80.
|
||||
|
||||
———. "Kirbekân: A Village of the Manasir." In *"Nihna nâs al-bahar -- We are the people of the river": Ethnographic Research in the Fourth Nile Cataract Region,
|
||||
Sudan*, edited by Cornelia Kleinitz and Claudia Näser, pp. 127--60. Wiesbaden: Harrassowitz, 2012.
|
||||
Sudan*, edited by Cornelia Kleinitz and Claudia Näser, pp. 127--160. Wiesbaden: Harrassowitz, 2012.
|
||||
|
||||
Haberlah, David. "Cultural Landscape of Dar al-Manasir." In *"Nihna nâs al-bahar -- We are the people of the river": Ethnographic Research in the Fourth Nile Cataract Region,
|
||||
Sudan*, edited by Cornelia Kleinitz and Claudia Näser, pp. 49--74. Wiesbaden:
|
||||
Harrassowitz, 2012.
|
||||
|
||||
Haberlah David and Jutta von dem Bussche. "Das Dorf Atoyah auf der Insel Sherari. Wandel der Siedlungsstruktur im Dar al-Manasir." *Der Antike Sudan: Mitteilungen der
|
||||
Sudanarchäologischen Gesellschaft zu Berlin* 16 (2005): pp. 125--35.
|
||||
Sudanarchäologischen Gesellschaft zu Berlin* 16 (2005): pp. 125--135.
|
||||
|
||||
Hafsaas-Tsakos, Henriette. "Ethical Implications of Salvage Archaeology and Dam Building: The Clash between Archaeologists and Local People in Dar al-Manasir, Sudan."
|
||||
*Journal of Social Archaeology* 11(1), 49--76.
|
||||
|
|
|
|||
|
|
@ -12,7 +12,7 @@ excavations in Sudan, especially in the Meroitic heartland, in a region
|
|||
encompassing the capital city of Meroe, the surrounding riverine areas,
|
||||
and the Butana hinterlands. Along the eastern bank of the Nile, the
|
||||
Meroitic urban landscape is now defined by a chain of cities regularly
|
||||
spaced every c. 10 km, from Dangeil in the North to Wad ben Naga in the
|
||||
spaced every *c.*10 km, from Dangeil in the North to Wad ben Naga in the
|
||||
South.[^2] Recent discoveries in Central Sudan and the Gebel Barkal
|
||||
region, as well as renewed studies of previous excavation results from
|
||||
Nubia and the city of Meroe, have noticeably increased our knowledge of
|
||||
|
|
@ -60,9 +60,8 @@ sources and their relations can be summarized in a diagram displaying
|
|||
the interdependence between textiles and their production context
|
||||
(Fig.1).
|
||||
|
||||
|
||||
|
||||
**~~Figure 1. Textile production as interactions between resources, technology, and society (adapted from Andersson Strand et al., \"Old Textiles, New Possibilities,\" p. 151).~~**
|
||||
|
||||
**~~Figure 1. Textile production as interactions between resources, technology and society (adapted from Andersson Strand et al. 2010: 151).~~**
|
||||
|
||||
Despite the inherent limitations of such theoretical models, this
|
||||
diagram successfully illustrates the textile artefacts within their own
|
||||
|
|
@ -94,9 +93,8 @@ much greater number than other wooden or metallic spindle pieces. Found
|
|||
at Ballana in grave B58, a complete spindle[^14] provides a reliable
|
||||
example of this type of tools, its construction and use (Fig. 2).
|
||||
|
||||
|
||||
|
||||
**~~Figure 2. Complete spindle, Ballana, tomb B58. (Reproduced from Williams, *Meroitic Remains from Qustul and Ballana*, vol. 1, p. 159, fig. 61e. Courtesy of the Oriental Institute of the University of Chicago).~~**
|
||||
|
||||
**~~Figure 2. Complete spindle, Ballana, tomb B58. (Reproduced from Williams 1991: vol. 1, 159, fig. 61e. Courtesy of the Oriental Institute of the University of Chicago).~~**
|
||||
|
||||
This simple tool is composed of a spindle shaft and a whorl, placed at the
|
||||
top and secured by the insertion of a metal hook that was used to attach
|
||||
|
|
@ -111,16 +109,13 @@ there is an interesting dichotomy between the artefacts recovered in
|
|||
Nubia, which favored turned wooden whorls, and those from Central Sudan,
|
||||
where decorated ceramic was clearly preferred (see Figs. 3, 5, 8).
|
||||
|
||||
|
||||
|
||||
**~~Figure 3. Tila Island, House VI: map and location of textile tools (photographs and drawings E.Yvanez. from A.J. Mills’s excavation diaries, map reproduced from Edwards, \"Appendix 3. The Meroitic settlement on Tila Island,\" p. 113, fig. 36).~~**
|
||||
|
||||
**~~Figure 3. Tila Island, House VI: map and location of textile tools (photographs and drawings E.Yvanez. from A.J. Mills’s excavation diaries, map reproduced from Edwards 1996: 113, fig. 36).~~**
|
||||
|
||||
|
||||
|
||||
**~~Figure 5. Tila Island, House II: bone points (drawings E. Yvanez from A.J. Mills’s excavation diaries).~~**
|
||||
|
||||
|
||||
|
||||
**~~Figure 8. Ceramic spindle whorl from Meroe-city with pattern of a sorgho plant, from oven area M260. SNM 604 (photograph E. Yvanez, courtesy of the Sudan National Museum).~~**
|
||||
|
||||
Other types of implements -- used for weaving this time -- contribute
|
||||
|
|
@ -129,7 +124,7 @@ preservation of organic material on settlement sites, it has proved
|
|||
impossible to recognize with any certainty the wooden beams that made up
|
||||
ancient looms. However, frequent discoveries of pear-shaped weights
|
||||
indicate that, in Meroitic Sudan and Nubia, most weaving was done on a
|
||||
vertical loom called the "warp-weighted loom," in which the warp threads
|
||||
vertical loom called the "warp-weighted loom", in which the warp threads
|
||||
were drawn tight by a series of loom weights.[^16] Often found in sets,
|
||||
loom weights could be made of stone or more commonly unbaked clay (see
|
||||
Figs. 4, 7). Small picks or spatulas made of bone or wood (see Fig. 5)
|
||||
|
|
@ -171,7 +166,7 @@ According to estimations, Tila's population remained quite limited,
|
|||
totaling between 56 and 102 people at a time, divided into about 20
|
||||
households. Despite the small scale of Tila's settlement, an important
|
||||
number of textile implements were discovered scattered in the different
|
||||
buildings. The cross-study of excavation diaries, object inventories,
|
||||
buildings. The cross-study of excavation dairies, object inventories,
|
||||
and available drawings and plans, led to the localization of most of the
|
||||
tools and the reconstitution of their original context of use and
|
||||
discovery. This article will focus on four significant examples: houses
|
||||
|
|
@ -206,9 +201,8 @@ fulfilled similar functions.
|
|||
|
||||
*House I* (Fig. 4)
|
||||
|
||||
|
||||
|
||||
**~~Figure 4. Tila Island, House I: map and location of textile tools (drawings E. Yvanez. from A.J. Mills’s excavation diaries, map reproduced from Edwards, \"Appendix 3. The Meroitic settlement on Tila Island,\" p. 106, fig. 30).~~**
|
||||
|
||||
**~~Figure 4. Tila Island, House I: map and location of textile tools (drawings E. Yvanez. from A.J. Mills’s excavation diaries, map reproduced from Edwards 1996: 106, fig. 30).~~**
|
||||
|
||||
The first occupation level in House I was relatively well preserved
|
||||
under brick rubble.[^23] The structure consists of a roughly rectangular
|
||||
|
|
@ -233,7 +227,7 @@ Storage area (room 5): 1 set of 3 loom weights.
|
|||
weights" (excavation diaries, number unspecified).
|
||||
|
||||
It is unfortunate not to have a precise number for the "large group of
|
||||
loom weights" found in the "loggia," as this information could have
|
||||
loom weights" found in the "loggia", as this information could have
|
||||
helped us determine the number and size of the looms that could have
|
||||
been working at the same time in this building. However, it is clear
|
||||
that the "loggia", with its protected but well-lit space, would have
|
||||
|
|
@ -245,11 +239,9 @@ House I.
|
|||
*House II* (Figs. 5-6-7)
|
||||
|
||||
|
||||
|
||||
**~~Figure 6. Tila Island, House II: spindle whorls and bone point discarded in latrines (room 7) (photograph and drawings E. Yvanez from A.J. Mills’s excavation diaries).~~**
|
||||
|
||||
|
||||
|
||||
**~~Figure 7. Tila Island, “House II collection of loom weights” (excavation photograph ref. F/445: 6, A.J. Mills archives, courtesy of David Edwards).~~**
|
||||
|
||||
House II is a building complex formed by at least nine different housing
|
||||
|
|
@ -261,10 +253,10 @@ illustration of the different kinds of storage and/or refuse contexts
|
|||
where textile implements can be found. In the case of House II, they
|
||||
appeared in the kitchen area, in a small, vaulted storage chamber, and
|
||||
in a storage area with jars. A group of two spindle whorls and one bone
|
||||
pick were also discovered discarded in a small cellar, which appears to
|
||||
pick was also discovered discarded in a small cellar, which appears to
|
||||
have been used as a latrine (Fig. 6).
|
||||
|
||||
Besides the tools listed in the inventories, the archives also provided a
|
||||
Beside the tools listed in the inventories, the archives also provided a
|
||||
very useful excavation photograph that comes to complete the object list
|
||||
from House II. The image (Fig. 7) shows about 350 loom weights, all
|
||||
pear-shaped and made of unbaked clay, neatly arranged in small groups of
|
||||
|
|
@ -275,7 +267,7 @@ weights". In the present state of the documentation, it is difficult to
|
|||
be absolutely sure that all loom weights shown on the photograph were
|
||||
indeed found in House II, or if they correspond to different groups
|
||||
unearthed on the site since the previous year excavations (such as the
|
||||
"large group of loom weights found in House I") and only collected
|
||||
"large group of loom weights found in House I?) and only collected
|
||||
there. The caption seems however to point towards a sole discovery in
|
||||
House II. In any case, it seems that a very big group of loom weights
|
||||
was indeed found in this large complex, possibly spread around different
|
||||
|
|
@ -288,7 +280,6 @@ largest group of such implements ever discovered in Sudan and Nubia.
|
|||
|
||||
|
||||
|
||||
|
||||
**~~Table 1. Summary count of loom weights per structure at Tila Island.~~**
|
||||
|
||||
|
||||
|
|
@ -313,7 +304,7 @@ have been a primarily female activity[^25] and linked it to the basic
|
|||
sustenance strategy of the household.
|
||||
|
||||
However, the number of textile implements at Tila, especially associated
|
||||
to weaving, seems to tell a rather different story. On the one hand, Houses
|
||||
to weaving, seems to tell a rather different story. On one hand, Houses
|
||||
V and VI, with their rather limited corpus, could point towards a
|
||||
domestic production with no specialization of space or person. There,
|
||||
the scale of the production seems to have been limited, the data clearly
|
||||
|
|
@ -349,11 +340,12 @@ during excavations, mainly along trenches and test pits:
|
|||
|
||||
|
||||
|
||||
|
||||
**~~Table 2. Summary of textile tools per context, Meroe.~~**
|
||||
|
||||
|
||||
|
||||
The Meroe spindle whorls form a homogeneous group made of well-burnished
|
||||
ceramics in conical or biconical shapes, with the upper surface almost
|
||||
ceramic in conical or biconical shapes, with the upper surface almost
|
||||
always decorated by incised or impressed patterns (Fig. 8). The
|
||||
specimens from the oven area (M260) were likely found within their
|
||||
manufacturing context, as they were accompanied by several other small
|
||||
|
|
@ -388,9 +380,8 @@ surprising to find within their walls a great number of textile tools,
|
|||
accumulated by several generations. The context of textile production is
|
||||
still domestic, here distributed along a residential street of Meroe.
|
||||
|
||||
|
||||
|
||||
**~~Figure 9. Meroe-city, trench TT6 between I and G 50/51: map and location of textile tools (drawings E. Yvanez, reproduced from Shinnie & Bradley, *The Capital of Kush I*, fig. 8, fig. 81-82, 216-217).~~**
|
||||
|
||||
**~~Figure 9. Meroe-city, trench TT6 between I and G 50/51: map and location of textile tools (drawings E. Yvanez, reproduced from Shinnie & Bradley 1980: fig. 8, fig. 81-82, 216-217).~~**
|
||||
|
||||
*North mound*
|
||||
|
||||
|
|
@ -448,9 +439,8 @@ textile activities were an important aspect of the life of this
|
|||
building, and that they were inserted within a mixed domestic and
|
||||
industrial urban environment.
|
||||
|
||||
|
||||
|
||||
**~~Figure 10. Meroe-city, north mount building I.A: map and location of textile tools (drawings E. Yvanez reproduced from Shinnie & Bradley, *The Capital of Kush I*, fig. 23, fig. 81-82, 216-217).~~**
|
||||
|
||||
**~~Figure 10. Meroe-city, north mount building I.A: map and location of textile tools (drawings E. Yvanez reproduced from Shinnie & Bradley 1980: fig. 23, fig. 81-82, 216-217).~~**
|
||||
|
||||
# Discussion
|
||||
|
||||
|
|
@ -528,7 +518,7 @@ with a household-based workforce (either direct members of the family or
|
|||
associated retainers).
|
||||
|
||||
How did textile activities affect the daily life of people living in
|
||||
these settlements? In the absence of written accounts, we need to rely on
|
||||
these settlements? In the absence of written account, we need to rely on
|
||||
our knowledge of the textile *chaîne opératoire* and Meroitic settlement
|
||||
organization to get a glimpse of the life experiences of textile craft
|
||||
people. The number of tools from places such as Tila, Meroe's North
|
||||
|
|
@ -538,7 +528,7 @@ whorls appear in varied contexts across settlements and because spinning
|
|||
is a portable and time-consuming activity, we can imagine that several
|
||||
individuals could be seen spinning in streets and other communal spaces
|
||||
on a very regular basis. During the harvest season, we can also picture
|
||||
a heightened activity involving more people and more time, as well as
|
||||
a heighten activity involving more people and more time, as well as
|
||||
installations to store the unprocessed fibres. Weaving on the other hand
|
||||
seems to have been attached more often to a specific domestic structure,
|
||||
especially to spaces open or semi-open to light and air. These
|
||||
|
|
@ -562,7 +552,7 @@ craft activities, and the Meroitic domestic and economic landscapes.
|
|||
|
||||
Adams, Nettie K. "Sacred Textiles from an Ancient Nubian Temple." In
|
||||
*Sacred and Ceremonial Textiles, Proceedings of the Textile Society of
|
||||
America Biennial Symposium,* pp. 259--68. Chicago: The Art Institute of
|
||||
America Biennial Symposium*, pp. 259--68. Chicago: The Art Institute of
|
||||
Chicago, 1996.
|
||||
|
||||
Adams, William Y., and Nettie K. Adams. *Qasr Ibrim: The Ballaña Phase*.
|
||||
|
|
@ -615,8 +605,8 @@ Choimet, Gabrielle. "The Meroitic Settlement
|
|||
at Damboya: Preliminary Results." *Sudan & Nubia* 24 (2020): pp. 190--7.
|
||||
|
||||
Edwards, David N. "Appendix 3. The Meroitic settlement on Tila Island."
|
||||
In *The Archaeology of the Meroitic State: New Perspectives on Its
|
||||
Social and Political Organization*, edited by David N. Edwards, pp. 106-14. Cambridge Monographs in African
|
||||
In *The Archaeology of the Meroitic State: new perspectives on its
|
||||
social and political organization*, edited by David N. Edwards, pp. 106-14. Cambridge Monographs in African
|
||||
Archaeology 38. Oxford: British Archaeological Reports, 1996.
|
||||
|
||||
Flohr, Miko. "Working and Living under One Roof: Workshops in Pompeian
|
||||
|
|
@ -654,7 +644,7 @@ Forgotten Village." *Sudan & Nubia* 24 (2020): pp. 24--30.
|
|||
Millet, Marie. "Mouweis, une ville de l'Empire de Méroé." *Bulletin de
|
||||
la Société Française d'Egyptologie* 186/187 (2013): pp. 83--98.
|
||||
|
||||
Nosch, Marie-Louise, Henriette Koefoed, and Eva Andersson Strand (eds).
|
||||
Nosch, Marie-Louise, Henriette Koefoed, and Eva Andersson Strand (Eds.).
|
||||
*Textile Production and Consumption in the Ancient Near East:
|
||||
Archaeology, Epigraphy, Iconography.* Ancient Textiles Series 12.
|
||||
Oxford: Oxbow Books, 2013.
|
||||
|
|
@ -664,7 +654,7 @@ Settlement on the Middle Nile: The Pottery Assemblage from Late Meroitic
|
|||
Hamadab, Sudan (2nd to 4th Century A.D.)*. Archäologische Forschungen
|
||||
in Afrika 1. Berlin: Deutsches Archäologisches Institut, 2022.
|
||||
|
||||
Picton, John, and John Mack. *African Textiles: Looms, Weaving and
|
||||
Picton, John, and John Mack. *African textiles: Looms, Weaving and
|
||||
Design*. London: The British Museum Press, 1979.
|
||||
|
||||
Rondot, Vincent. "El-Hassa : un temple à Amon dans l'île de Méroé au
|
||||
|
|
@ -709,7 +699,7 @@ Williams, Bruce B. *Meroitic Remains from Qustul, Cemetery Q, Ballana,
|
|||
Cemetery B and a Ballana Settlement*. OINE VIII, vol. 1-2. Chicago: The
|
||||
Oriental Institute of the University of Chicago, 1991.
|
||||
|
||||
Wolf, Pawel, and Ulrike Nowotnick. "Hamadab -- A Meroitic
|
||||
Wolf, Pawel,and Ulrike Nowotnick. "Hamadab -- A Meroitic
|
||||
Urban Settlement. Excavations 2001-2003." *Archéologie du Nil Moyen* 10
|
||||
(2006): pp. 257--72.
|
||||
|
||||
|
|
@ -721,7 +711,7 @@ Oxford: Oxford Academic, 2021.
|
|||
Sept. 2024.
|
||||
|
||||
Wolf, Pawel, Ulrike Nowotnick, and David N.
|
||||
Edwards. "Settlement in the Meroitic Kingdom." In *Handbook of Ancient
|
||||
Edwards. \"Settlement in the Meroitic Kingdom\". In *Handbook of Ancient
|
||||
Nubia*, edited by Dietrich Raue, pp. 713--82. Berlin-Boston: De Gruyter,
|
||||
2019. <https://doi.org/10.1515/9783110420388-031>, accessed 3 Sept.
|
||||
2024.
|
||||
|
|
@ -760,31 +750,31 @@ Museum National d'Histoire Naturelle, 2019.
|
|||
and the present volume for their support.
|
||||
|
||||
[^2]: Baud, "Méroé, un monde urbain"; Wolf and Nowotnick, "The Meroitic
|
||||
Heartland"; Grzymski, "The City of Meroe."
|
||||
Heartland"; Grzymski, "The city of Meroe."
|
||||
|
||||
[^3]: Wolf, Nowotnick, and Edwards, "Settlement in the Meroitic
|
||||
Kingdom."
|
||||
|
||||
[^4]: Rondot, "El-Hassa: un temple à Amon dans l'île de Méroé."
|
||||
|
||||
[^5]: Maillot, "The Archaeological Site of Damboya"; Choimet, "The
|
||||
Meroitic Settlement at Damboya."
|
||||
[^5]: Maillot, "The archaeological site of Damboya"; Choimet, "The
|
||||
Meroitic settlement at Damboya."
|
||||
|
||||
[^6]: Wolf and Nowotnick, "Hamadab -- A Meroitic Urban Settlement";
|
||||
Nowotnick, *Ceramic Technology, Production and Use*,
|
||||
passim.
|
||||
|
||||
[^7]: Baud, "The Meroitic Royal City of Muweis"; Millet, "Mouweis, une
|
||||
[^7]: Baud, "The Meroitic royal city of Muweis"; Millet, "Mouweis, une
|
||||
ville de l'Empire de Méroé."
|
||||
|
||||
[^8]: This volume is a perfect incarnation of this renewed interest, as
|
||||
well as ongoing research projects such as the one on metallurgy led
|
||||
by Jane Humphris (UCL Qatar) or G. Choimet's doctoral work, see
|
||||
Choimet, "Habitat et urbanisme méroïtiques en Nubie et au Soudan
|
||||
central." Reappraisals of archival documentation from the Nubian
|
||||
central." Reappraisal of archival documentation from the Nubian
|
||||
campaign are also bringing new light on craft activities, notably
|
||||
textiles (see Mann and van den Bercken, "Shokan. Revival of a
|
||||
Forgotten Village." A similar dynamic was also at the root of the
|
||||
forgotten village." A similar dynamic was also at the root of the
|
||||
Meroe Archival Project, reexamining the excavation archives of Peter
|
||||
L. Shinnie from his work in settlement areas at Meroe.
|
||||
|
||||
|
|
@ -793,17 +783,18 @@ Museum National d'Histoire Naturelle, 2019.
|
|||
*Qasr Ibrim: The Ballana Phase*, pp. 97--8., Yvanez, "De fil en
|
||||
aiguille : aspects de l'artisanat textile méroïtique."
|
||||
|
||||
[^10]: Yvanez, "Clothing the Elite? Patterns of Textile Production and
|
||||
Consumption."
|
||||
[^10]: Yvanez, "Clothing the elite? Patterns of textile production and
|
||||
consumption."
|
||||
|
||||
[^11]: These sources are however well known for textile production in
|
||||
pharaonic Egypt (e.g. Vogelsang-Eastwood, "Textiles") or the Ancient
|
||||
Near East (Nosch, Koefoed, and Andersson Strand.
|
||||
*Textile Production and Consumption in the Ancient Near East*).
|
||||
Near East (Nosch, Koefoed and Andersson Strand.
|
||||
*Textile Production and consumption in the Ancient Near East*).
|
||||
|
||||
[^12]: The aims and methods of recent textile research are usefully
|
||||
exposed in Andersson Strand et al., "Old Textiles -- New
|
||||
Possibilities" and Harlow and Nosch, "Weaving the Threads."
|
||||
Possibilities" and Harlow and Nosch, "Weaving the Threads:
|
||||
methodologies in textile and dress research."
|
||||
|
||||
[^13]: Kemp and Vogelsand-Eastwood. *The Ancient Textile Industry in
|
||||
Amarna*. Studies developing a similar scope are however blossoming,
|
||||
|
|
@ -814,7 +805,7 @@ Museum National d'Histoire Naturelle, 2019.
|
|||
sites continue to bring evidence of an extensive textile production,
|
||||
contemporary with the Meroitic period in Sudan. See for example the
|
||||
cases of Karanis (Thomas, *Textiles from Karanis*), Kellis (Bowen,
|
||||
"A Study of the Textile Industry at Ancient Kellis"), or the
|
||||
"A study of the textile industry at ancient Kellis"), or the
|
||||
Roman-period forts of the Eastern desert (for a comprehensive
|
||||
bibliography, see Bender Jørgensen, "Textiles from Mons Claudianus,
|
||||
'Abu Sha'ar and other Roman sites").
|
||||
|
|
@ -822,18 +813,18 @@ Museum National d'Histoire Naturelle, 2019.
|
|||
[^14]: Williams, *Meroitic Remains from Qustul and Ballana*, vol. 1, p.
|
||||
159, fig. 61e.
|
||||
|
||||
[^15]: Yvanez, "Spinning in Meroitic Sudan."
|
||||
[^15]: Yvanez, "Spinning in Meroitic Sudan".
|
||||
|
||||
[^16]: For a description of the warp-weighted loom and its use, see
|
||||
Barber, *Prehistoric Textiles*, pp. 91--113.
|
||||
|
||||
[^17]: Kemp and Vogelsand-Eastwood. *The Ancient Textile
|
||||
[^17]: [Kemp]{.smallcaps} and Vogelsand-Eastwood. *The Ancient Textile
|
||||
Industry in Amarna*, pp. 358-73. See also Spinazzi-Lucchesi, *The
|
||||
Unwound Thread*, pp. 91--3.
|
||||
|
||||
[^18]: Adams and Adams, *Qasr Ibrim: The Ballaña Phase*, p. 98.
|
||||
|
||||
[^19]: Edwards, "Appendix 3. The Meroitic settlement on Tila Island."
|
||||
[^19]: Edwards, "Appendix 3. The Meroitic settlement on Tila Island".
|
||||
|
||||
[^20]: Full publication of the archives forthcoming. I would like to
|
||||
express all my gratitude to David N. Edwards who accepted to share
|
||||
|
|
@ -841,23 +832,24 @@ Museum National d'Histoire Naturelle, 2019.
|
|||
the site, and to dissect the archives to understand the exact
|
||||
conditions of the tools' discovery.
|
||||
|
||||
[^21]: Edwards, "Appendix 3. The Meroitic settlement on Tila Island,"
|
||||
[^21]: Edwards, "Appendix 3. The Meroitic settlement on Tila Island",
|
||||
pp. 112--3.
|
||||
|
||||
[^22]: Edwards, "Appendix 3. The Meroitic settlement on Tila Island," p.
|
||||
[^22]: Edwards, "Appendix 3. The Meroitic settlement on Tila Island", p.
|
||||
112, fig. 35.
|
||||
|
||||
[^23]: Edwards, "Appendix 3. The Meroitic settlement on Tila Island," p.
|
||||
[^23]: Edwards, "Appendix 3. The Meroitic settlement on Tila Island", p.
|
||||
106, fig. 30.
|
||||
|
||||
[^24]: Edwards, "Appendix 3. The Meroitic settlement on Tila Island," pp.
|
||||
[^24]: Edwards, "Appendix 3. The Meroitic settlement on Tila Island", p.
|
||||
108-11, figs. 31, 32.
|
||||
|
||||
[^25]: Gender studies have always been an important part of ancient
|
||||
textiles research (see for example "Women's Work", *in*
|
||||
Barber, *Prehistoric Textiles*, pp. 283--98). For a
|
||||
Barber[,]{.smallcaps} *Prehistoric Textiles*, pp. 283--98.). For a
|
||||
modern scholarly perspective and references, see Harlow and Nosch
|
||||
"Weaving the Threads," pp. 10--11. If the link with the
|
||||
"Weaving the Threads: methodologies in textile and
|
||||
dress research", pp. 10--11. If the link with the
|
||||
household is clearly established in ancient Sudanese contexts, no
|
||||
data pertaining to gender and a gendered differentiation of labor
|
||||
has come to light.
|
||||
|
|
@ -865,7 +857,7 @@ Museum National d'Histoire Naturelle, 2019.
|
|||
[^26]: Shinnie and Bradley, *The Capital of Kush I*, and Shinnie and
|
||||
Anderson, *The Capital of Kush II.*
|
||||
|
||||
[^27]: Török, *Meroe City*.
|
||||
[^27]: Török, *Meroe City, an ancient African capital*.
|
||||
|
||||
[^28]: More spindle whorls have been discovered during Jane Humphris's
|
||||
excavations at Meroe for the UCL Qatar Sudan archaeological project.
|
||||
|
|
@ -884,7 +876,7 @@ Museum National d'Histoire Naturelle, 2019.
|
|||
[^31]: Focused on test pits and trenches, the methodology followed by
|
||||
P.L. Shinnie didn't allow for the excavation of complete building
|
||||
structures. The objects are therefore attached to numbered
|
||||
"squares," making their attribution to specific houses difficult and
|
||||
"squares", making their attribution to specific houses difficult and
|
||||
hypothetical. For a description of excavation techniques and maps,
|
||||
see Shinnie and Bradley, *The Capital of Kush I*.
|
||||
|
||||
|
|
@ -896,7 +888,7 @@ Museum National d'Histoire Naturelle, 2019.
|
|||
|
||||
[^35]: Even in much better documented contexts, such as Pompeii,
|
||||
relating traces of crafts to a greater economic organization remains
|
||||
difficult, see Flohr, "The Textile Economy of Pompeii."
|
||||
difficult, see Flohr, "The textile economy of Pompeii."
|
||||
|
||||
[^36]: Yvanez, "Precious textiles"; "Clothing the elite"; and Yvanez and
|
||||
Wozniak, "Cotton in ancient Sudan and Nubia."
|
||||
|
|
@ -904,18 +896,18 @@ Museum National d'Histoire Naturelle, 2019.
|
|||
[^37]: Adams, "Sacred Textiles"; Adams and Adams, *Qasr Ibrim, The
|
||||
Ballana Phase*, pp. 60--1, 129--37.
|
||||
|
||||
[^38]: Spinazzi-Lucchesi and Yvanez, "Textile Workshops in the Nile
|
||||
Valley?".
|
||||
[^38]: Spinazzi-Lucchesi and Yvanez, "Textile workshops in the Nile
|
||||
valley?".
|
||||
|
||||
[^39]: For a comprehensive view of Meroitic textile technics and
|
||||
clothing, see Adams, "Sacred Textiles"; Wild, "Fringes
|
||||
and Aprons"; Yvanez, "De fil en aiguille : aspects de l'artisanat
|
||||
textile méroïtique" and "Clothing the Elite? Patterns of Textile
|
||||
textile méroïtique" and "Clothing the elite? Patterns of Textile
|
||||
Production and Consumption."
|
||||
|
||||
[^40]: Yvanez, "Spinning in Meroitic Sudan."
|
||||
|
||||
[^41]: Barber, *Women's Work*. Textile crafts (especially
|
||||
[^41]: Barber, *Women's work*. Textile crafts (especially
|
||||
weaving) are frequently associated to mixed activities in domestic
|
||||
settings, from contexts and production scales as different as Roman
|
||||
Pompeii or Viking Age long houses, see Flohr, "Working
|
||||
|
|
|
|||
|
|
@ -5,4 +5,4 @@ affiliation: Independent researcher
|
|||
|
||||
# Biography
|
||||
|
||||
Amany Abdelsadeq Sayed Hussein is an architect, urbanist, and independent researcher from Egyptian Nubia. Her research interests focus on architectural heritage and people-centered architectural practices.
|
||||
Amany Abdelsadeq Sayed Hussein is
|
||||
|
|
@ -1,10 +1,10 @@
|
|||
---
|
||||
title: Hamad Hamdeen
|
||||
affiliation: Al Neelain University, Khartoum, Sudan & Czech Academy of Sciences, Prague, Gzech Republic
|
||||
affiliation: Al Neelain University, Khartoum, Sudan
|
||||
---
|
||||
|
||||
# Biography
|
||||
|
||||
Hamad Mohamed Hamdeen is an Associate Professor of Environmental Archaeology and the Head of the Department of Archaeology at the University of El Neelain (Sudan) and a researcher at the Institute of Archaeology, Czech Academy of Sciences, Prague (Gzech Republic). He holds a BA (2011) in Archaeology, an MA (2015), and a PhD (2017) in Environmental Archaeology, all from the Department of Archaeology at the University of Khartoum. He also obtained a diploma from the Institute of Archaeology, Nicolaus Copernicus University, Poland.
|
||||
Hamad Mohamed Hamdeen is an Associate Professor of Environmental Archaeology and the Head of the Department of Archaeology at the University of El Neelain (Sudan). He holds a BA (2011) in Archaeology, an MA (2015), and a PhD (2017) in Environmental Archaeology, all from the Department of Archaeology at the University of Khartoum. He also obtained a diploma from the Institute of Archaeology, Nicolaus Copernicus University, Poland.
|
||||
He has participated in several archaeological projects, including the El Ga’ab Archaeological Project and the Czech Institute of Egyptology’s mission at the Sabaloka Cataract. He has also worked at Banagnarti, in the Third Cataract region, at Shaqadud, and on other projects. He is the director of the archaeological research and paleoenvironmental project for the White Nile state, as well as the work in the Western Desert within the framework of the Third Cataract region project.
|
||||
He has published and presented more than 50 articles in journals and conferences and has authored unpublished fieldwork reports and booklets. He was awarded the Scientific Superiority of Young Arab Archaeologists Award from the General Union of Arab Archaeologists (2016) and the UNESCO/Poland Co-Sponsored Fellowships Programme in Archaeology and Conservation Edition 2019/2020.
|
||||
|
|
|
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