Tag Archives: Heritage

Interview with Natalie Marr & David Ashley Pearson: Introducing the Short Film ‘Visitor’

21 Jun

Natalie Marr is an artist who works across video, sound and performance, and draws inspiration from science fiction, landscapes and different experiences of time.  She is currently completing a Masters in Filmmaking and Media Arts at the University of Glasgow.  After the release of ‘Visitor’ Natalie will be taking up a research position at the University of Glasgow in a multidisciplinary project to study the impact of the Galloway Forest Park, Scotland.  For current and previous multi-media projects please check out her website here, ‘Visitor’ will be released in Autumn.

David Ashley Pearson is a multimedia artist who focuses primarily on sound design.  He is particularly interested in exploring improvisation, acoustics and the physicality of sound.  His approach to sound is ever-changing but is underpinned by a curiosity for its substance and a passion for musical exploration.  His blog entitled Love Without Anger, where he reviews film, games and music, can be found here.


These Bones of Mine:  Hello Natalie, thank you for joining These Bones of Mine! In something of a first for this blog our main topic of discussion will be a short experimental film of which you are currently in the process of producing.  Visitor, your upcoming film focuses on people who stargaze and the entwined personal stories of the night sky.  It promises to be something special; however speaking as an archaeologist interested in the lives of others, I’m keen as to what led you onto the path of film making?

Natalie Marr:  Thank you for inviting me! I feel like film has always been there in my life as something that I just love, it is a form that transfixes me, surprises me, soothes me, challenges me.  One of my greatest pleasures is to go to the cinema alone and just sit in the dark with a great film!

I have a background in the arts and I would still struggle to call myself a filmmaker – it doesn’t even matter really – but I suppose what I’m getting at, is that film is just one form that I am drawn to working with, and the qualities of film that I particularly love are the immediacy of it, the way it moves me on a physical, emotional and sometimes spiritual level, and also the way it plays with my experience of time.  These are qualities that I also try to explore in sound and performance.  I am also interested in the experience of seeing a film, sitting in the dark, the way you give yourself to a film for a period of time.  But that’s obviously a very purist way of looking at it!

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A detail from ‘Visitor’. Still film image courtesy of Natalie Marr.

Visitor is very different to any films I have made before…  It has been a very social process. In the past I have tended to shoot abandoned buildings, landscapes, environments that I freely walk around and capture and onto which I project my own story. There is landscape (or skyscape!) in ‘Visitor’ too, but because of this social process of interviews, spending time with people under the stars, as well as the autobiographical aspect, my approach to filming environments has changed too: it is not something I just project onto, it is another element that I am interacting with and learning from.

TBOM:  The interaction of the social process, within the creative production of a piece of art, is an idea that grabs me.  It is much the same in archaeology where archaeologists are never quite just the bystander to the material remains of the past – they act as both the interpreter of the architectural features and artefacts uncovered, but also as a gatekeeper to unlocking the potential knowledge of the remains and disseminating it to a wider audience. We even, acting in an environmental context, landscape the past through the examination of archaeobotanical remains and populate it with species through zooarchaeological analysis.  

In this context the personal voices of the past are largely silenced by time, but I’m left wondering how have you found the effort of capturing the social process?  Have you felt a greater duty to represent those who you film, as oppose to the silent landscapes and skyscapes of your earlier short films and photographs, or is this a false distinction?

Natalie:  Yes! The process has really sharpened my sensitivity to observing and recording and the challenge of how to represent other people’s stories, other people’s lives.  What I’m trying to do is build the experience of that challenge into the film and make myself – as a narrator or guide – vulnerable, responsive and unfinished.  It is very subjectively led, and most documentary/non-fiction films are to some extent – they are personal theses – but what I like about the essay film format, is the emphasis on the personal and the impressionistic and that’s what I’m running with in this film.  ‘Visitor’ deals a lot with projection: how we project ourselves onto the night sky, how we make Space personal.  Constellations as one example: they enable us to navigate our way around the sky, and we give them names that have their own historic and cultural colourings.

But the film is also about being responsive and like you say, it is a mistake to think of the land as silent, though in terms of ‘duty’ or a relationship of care, there is a more obvious concern for me when thinking about representing people, and maybe that’s because the effects of my actions are much more immediate.  It is so so important to get out of that mindset though, and spending time under a dark sky helps!

When I look at the stars, I feel I am tuning in to them.  I’m interested in the experience of darkness and how the body changes in a dark environment.  I get a stronger sense of this out on location in a place like the Galloway Forest Park, in Scotland, maybe because I’m standing outside for hours and time seems to slow down, and maybe it is also because I slowly start to tune in to the sound of the forest and of the different creatures that live there.  A funny side note on that – the last time I stayed in Galloway, one of the best night-time sounds I heard was a cow somewhere off in a neighbouring field, softly mooing as it slept, lovely!

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A silent salute in space. Still film image courtesy of Natalie Marr.

I am a big fan of science fiction and in particular its commitment to ‘becoming other’.  There is a quote I carry around with me all the time, which is from Fredric Jameson in his 2005 book Archaeologies of the Future: The Desire Called Utopia and Other Science Fictions; he’s talking about the challenge in science fiction of representing the other when it is beyond our comprehension or experience, how do you do it?!  And his answer is that the ‘other’ demands a new kind of perception, which demands in turn a new organ of perception, and ultimately a new kind of body (sorry – I am paraphrasing!).  So the problem sort of creates its own solution if you are happy to let it work its magic on you.  With ‘Visitor’ it is a kind of feeling around in the dark at times and not knowing exactly what I’m working with, but it is hugely rewarding to be open to that.

TBOM:  Having seen the two trailers for Visitor a number of times now I am struck by the two timescales represented – the human lifetime and memory contrasted to the great age of the universe and its celestial bodies.  There are also similarities to Patricio Guzmán’s 2010 documentary Nostalgia for the Light, particularly in the revealing scenes of drawing back the covers for the apparatus that are used to peer into the inky darkness.  

However, whereas Guzmán contrasted the interviews of the astronomy and archaeological researchers with the family members searching for the remains of Pinochet’s victims hidden in the Atacama desert, your film is of a more personal nature.  Indeed there is the sense of personal solace present in it, the calm movements noted in the preparation of the equipment to observe the stars.  Where have you drawn your influence for this project from?  How has it developed as you have moved along the length of producing Visitor? 

Natalie:  Yes, its been a while since I saw ‘Nostalgia for the Light’ but it’s definitely there.  I was so moved by it, there was a special kind of quiet power about it, it’s deeply political but also deeply personal.  You are right, there are definitely shared motifs between ‘Nostalgia…’ and ‘Visitor’, personal projections, the unknown, darkness, light.  I see lots of correlations between looking up and looking down, and of course, looking into space is effectively always looking into the past.  I see these women, who are spending every waking moment searching for the remains of their loved ones, as located neither in the present, nor the past.  ‘Nostalgia for the light’…a longing for light cast from the past perhaps, but how long will they have to wait for it to reach them?  They are trapped in a time-scale that will likely outlive them and it’s intensely sad.

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A detail of one of the telescopes at the Galloway Astronomy Centre. Still film image courtesy of Natalie Marr.

The phrase ‘to be in the dark’ is about not knowing and not having answers or facts and this is definitely something shared between ‘Nostalgia…’ and ‘Visitor’.  In ‘Visitor’ there is a reading of darkness in terms of being unanchored, in free fall.  This is how I felt when I lost our mutual friend Holly, like I lost my grip on reality for a while, and it felt very destructive.  In ‘Nostalgia…’ an interviewee comments that to be without memory is to be nowhere, and I think of a tiny body surrounded by total darkness, spinning like the astronaut Ryan in the film ‘Gravity‘, unmoored and alone.  This also makes me think of the Disappearance at Sea short film by artist Tacita Dean about Donald Crowhurst who died at sea, unable to locate himself geographically, because his chronometer was not giving him a correct reading on the local time.  Tacita Dean uses the image of a lighthouse in her film, another motif for searching.

But spending time under dark skies over the last 6 months is changing my relationship with darkness; my body and mind sense in a different way.  It’s like the lights go out and something else switches on, it is a bit like being in a car picking up a radio station that starts off as noise but as you travel into its field of transmission, it becomes clear.  Vision is obviously an important aspect of stargazing, but also the feeling of being outdoors at night, the very different qualities of sound that emerge, and a sense that your ‘time’ vibrates with so many other ‘times’.

When I looked through the telescope at Jupiter recently, I saw this incredibly distant planet and four of its moons, but pressing my face against the eye piece, the darkness of Jupiter’s ‘world’ encloses me and it feels like it’s right there and I can touch it, it is very intimate.  I was speaking to one of the Galloway Biosphere Dark Sky Rangers recently about stargazing as a very intimate activity that involves a lot of trust.  She mentioned that if she were to meet her workshop participants the next day in the sunlight, she may not be able to tell them by face!  So the experience of darkness and of stargazing is quite complex and also transformative for me, and I believe transformative for others too.

TBOM:  Yes, after losing our friend Holly I also felt an incredible sense of darkness and disarray.  Light eventually returned, particularly when I think of the time that we had spent together and also through getting to know one of her favourite musicians, Sufjan Stevens

It seems to me then that memory and distance are recurring motifs within ‘Visitor’, from both your own viewpoint and from the people who you have interviewed for the film.  As an anchor to these themes, and as a comfort to the sheer size and depth of the universe, the bonds of family and friends also seem to play a pivotal part within the film.  Is this a fair assessment?

Natalie:  Yes, definitely.  I keep coming back to distance and proximity.  A lot of the people I have interviewed share their night sky experiences with loved ones or close friends.  It might be a phone call in the early hours of the morning between two people at different ends of the country looking at the same planet, or a certain constellation that makes you think of the person you first encountered it with.  Distance gets collapsed in those moments of remembering.  And I guess that’s what you mean when you have said to me that you feel close to Holly when listening to music she loved and in particular the musicians she introduced you to or that you listened to together.  Memory is a strange thing, as are dreams and sometimes they cross over.

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A walk in the wild as preparations for a night of stargazing take shape. Still film image courtesy of Natalie Marr.

I am definitely partial to the mystical qualities of the universe, as well as the hard science (!).  Astrophysics is fascinating to me and never stops surprising me; though it is extremely rigorous in its science, I think that it is also an area that allows space for speculation and wonder which, for me, is hugely creative and helpful for thinking about slippery things like memory and experience.  The language of astrophysics alone is incredibly rich and strange, and speaking it or listening to it transports me somewhere beyond my usual experience and I guess I’m trying to follow that and see where it leads!

TBOM:  Speaking of other languages I know we have spoken about music before this, with reference to our shared love of Fever Ray, Godspeed You! Black Emperor and Vladislav Delay for example, and I feel I can almost hear their influences within the trailer for ‘Visitor’.  How did you approach the sound and music composition for this film though, and where did your influences for this come from?  

I know that you regularly collaborate with your partner David Ashley Pearson on your productions, such as on the 2013 short film Waiting for an Answer (Waiting for a Sign), and that he has helped produce the soundscape for ‘Visitor’, so this may also be a question for him as well.

Natalie:  It really does help that we’ve known each other for such a long time and also worked on projects together or been witness to each other’s projects.  I’m not great at describing sound, it is very slippery to me.  David has a more nuanced understanding of it and the physics behind it. We didn’t discuss much in the way of influences…  I think we both know what we like!  In terms of soundtracks that have really blown us away recently though…  Definitely Mica Levi’s score for Under the Skin (2013) and we also loved the score by Ryuichi Sakamoto and Alva Noto for The Revenant (2015).

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The preparation of a Bahtinov mask. A Bahtinov mask is a device utilizing focal grids and variations in angle diffraction to help achieve optimum focus when using small astronomical telescopes, or when conducting astrophotography, to view bright stars accurately. Still film image courtesy of Natalie Marr.

There are obviously a set of themes or motifs in ‘Visitor’ which you can sink your teeth into sonically and some of the main aesthetic approaches for this have been thinking about tuning in/tuning out, sounds that take us away from ourselves and yet have an uncanny familiarity and the idea of signalling or sending out a message, a beacon.  We both share an interest in experimental music, but I would say I’m more partial to looking for a beat that I can cling on to, whereas David is a bit more fearless when it comes to sound!  I think it makes sense here to let David talk more about his approach to the sound design…

David Ashley Pearson:  Hi there, thanks for showing such an interest in our film, it means a lot.  My relationship with music (and sound in general) has been incredibly intimate and personal my whole life, I find it embarrassing to listen to the music I love with others as it’s like revealing a part of myself, it makes me feel somewhat naked and exposed!  Even music that it is incredibly social such as Punk, Dance or Pop I find difficult to listen to with others.  I like to delve into sound and find a personal connection, typically when I find that connection I can become obsessed and mesmerised by the sound and feel I own it in some way.

Before moving to London in 2007 I was always looking out for new and interesting sounds, I’ve always listened out for something that struck me as unique and creative but it wasn’t until I got to London and got to listen to and attend some Free Improvisation concerts that I felt my ears truly open up.  I’ve always loved and strove for ambiguity and multiple meanings in my work and I find that in its purest form in Free Improvised music.

When I first moved to London I went to Mark Wastell’s – now sadly closed – Sound 323 record shop in Highgate; exposing myself to a whole new sound culture, it was a phenomenal experience just leafing through all the CDs and absorbing it all.  That first time I went there I bought Lawrence English’s For Varying Degrees of Winter (2007) which is an incredibly meticulous and icy ambient album, I love it but it was probably one of the music conventional CDs there!  At the time Mark had some music playing in the shop that was like nothing I’d heard before; it was an incredibly unusual, textural, hard to place sound… and very slow!  I didn’t know how to interact with it and what it meant, it was alien to me and I loved it because of that; it was Free Improvisation!

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A Scots Pine garden, Glasgow, Scotland. Still film image courtesy of Natalie Marr.

With Free Improvisation (and in particular the ‘New London Silence’ scene that I gravitated towards) all sounds come out of silence and the player’s environment.  Traditional ideas of instrumentation, musical notation and scales are chucked out the window in favour of a purer listening to sound as sound, the sound’s interaction with the space and the sound’s interaction with other sounds.  This idea of sound coming out of silence is incredibly important to me for this film and it’s also important that sounds come out of the imagery and montage that the film paints.  I have made sound concepts/sketches for the two trailers but I hesitate to truly start on the final soundtrack until more sections of the film are in place – as I want to interact with the imagery.  I also want to keep in mind the cinematic space and how my music interacts with the voices of those we’ve interviewed for the film.  I can’t wait to see and hear how it comes together!  The soundtrack will feature voices, textures, field recordings, synthesizers and other bits and bobs… whatever works in driving forward the story Natalie wants to tell!

TBOM:  The two trailers released so far certainly indicate the sound coming out of the silence, and I’m looking forward to seeing how your exposure to Free Improvisation influences the soundtrack David.  Natalie, the initial release date for ‘Visitor’ is September to coincide with the end of your Masters course and you are currently crowdfunding for the remaining production.  What are your hopes for ‘Visitor’ and do you have any plans after? 

Natalie:  Yes, very soon! The film is being produced as part of my degree and will be completed in September.  Once ‘Visitor’ is completed, we’ll be submitting it to festivals, so fingers crossed it gets some interest and circulation and it will be interesting to discuss it with a bit of distance.  In the meantime though, we are working on raising funds to finish the shooting and for some post-production work.  Any support is welcome and we are really pleased to offer some night sky-related perks including a stay at the Galloway Astronomy Centre and an astrophotography workshop with Viridian Skies, also based in Dumfries & Galloway.

 

Beyond the film, there is so much still to be explored.  Recently I’ve been very lucky to be accepted for an incredible research project based at the University of Glasgow, with a focus on mapping the values of the Galloway Forest Dark Sky Park, so that’s the next three and a half years of my life.  I’ve become really attached to the area (and to its skies!) so it is a dream to be encouraged to delve in deeper.

TBOM:  It certainly sounds like you have plenty to contend with and I wish you the best of luck with the release of ‘Visitor’.  I shall look forward to experiencing it when it comes out.  I’m sure readers of this blog will also be interested to hear how your research into the Galloway Forest Dark Sky park takes shape so please do keep in touch.  Thank you and David once again for joining These Bones of Mine.

Natalie:   Thank you also for your support of the film and for taking the time to discuss it in more detail, it really does help to unpick it a bit and reflect on it while it’s still being made.  It is also fantastic to be in such good company on These Bones of Mine!

Further Information

  • Visit Natalie Marr’s website for further information on her current and previous projects.  You can listen to David Ashley Pearson’s sound projects here, and visit his blog Love Without Anger, where he reviews film, music and games.
  • You can help fund and donate to the making of  the short film ‘Visitor’ on the IndiGoGo webpage by visiting here.  Dependent on the amount of money given the individual backer can receive a number of perks related the production of the film.  These include, but are not limited to, special riso print postcards, an invitation to the opening night of the film, as well as a night’s stay at the Galloway Astronomy Centre for two.
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Fieldwork: The Langtang Survivors Fund, The Ruins of Palmyra, and the Role of the Archaeologist in the Present

31 May

As a subscriber of the University of York’s round-up of Mesolithic archaeological news, in the form of the Mesolithic Miscellany Monthly newsletter, it was with surprise and sadness that I came across a first hand account of the earthquake that hit Nepal in late April of this year.  University of York researchers Hayley Saul and Emma Waterton were a part of an archaeological field team conducting work in Nepal, based at the Himalayan village of Langtang, which is north of the Kathmandu valley, when the main 7.8 magnitude earthquake struck the country on Saturday 25th of April.

The field team had left their base at village of Langtang a mere two hours before the quake struck and managed to survive the initial event and the aftershocks with the help of their guides.  Unfortunately, after an arduous and nerve-wracking trek to an evacuation point, they heard the news that the village of Langtang had been destroyed by the avalanches and subsequent landslides as a result of the initial quake and the aftershocks. The small population had been almost entirely killed, with almost every building standing having been flattened from the force of the landslide (see BBC, Reuters & Nepali Times).

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Before the earthquake and landslide. The Langtang village in the Langtang National Park, located in northern Nepal close to the border with Tibet. The village was popular with travellers and winter sport enthusiasts. Image credit: Yosarian via Wikipedia.

Hayley and Emma are helping to raise funds via their Just Giving webpage for the Langtang Survivors Fund, which will go directly towards those who survived the quake and helped guide Hayley, Emma and others on the trek to safety, to help re-build their lives after losing family, friends, their homes and their way of life.  The Nepal earthquake, called Gorkha, that rocked the country and surrounding areas at the end of April of this year, have devastated the Himalayan country.  The main quake and its after shocks, which have continued into May, have killed many in the country (current estimates are at over 7,000 individuals, with many more injured) and has left both the population and its many villages, towns and cities in dire straits and in need of medical aid, food and shelter.

Langtang and Himalayan Culture

The small village of Langtang, in the Bagmati zone in northern Nepal, sits within a national park of some splendour, acting as a starting point for tourists to explore the Himalayan mountain range in the north of Nepal.  Home to around 540 people, the village was a popular destination for tourists visiting the country and hoping to get a glance of the Himalayan mountain range and the Nepalese way of life.  The village catered for the tourists by having almost 55 places to stay, with many of these hotels being  family ran business which catered for the guests.  The Himalayan mountain range is home to a delicate ecosystem and the range has managed to shape the cultures in the countries that share them profoundly, both in their religious worldview (the peaks being sacred to Buddhism and Hinduism) and in their adaptive lifestyle to a harsh environment.

Home to the highest peak on earth, Mount Everest, the Himalayans have also been an area of intense interest to explorers from around the world for decades.  An area of outstanding beauty, it is also an area of tense international pressure with both the countries bordering the Peoples Republic of China’s eastern border and the abuse of the mountain guides (normally the Sherpa people drawn from the upper Himalayan range) causing international ire.  For instance, Tibet, home of the exiled Dalai Lama, is host to many Buddhist monasteries which have seen a relatively severe clampdown on by Chinese authorities following the 1959 Tibetan uprising starting in the capital of Lhasa.  As such the value of cultural heritage is richly viewed as having an important part to play in the formation of identity for the countries that share the Himalayan mountain range.

Since the earthquake, landslides and the subsequent and enormous damage done to villages like Langtang and cities such as Kathmandu, there have been reports of artefact and heritage looting in Nepal.  The Saving Antiquities for Everyone (SAFE) organisation have highlighted the effect that the selling of artefacts after the earthquake helps to further strip the identity and national heritage of the country and urges individuals and organisations not to buy these artefacts.  Nepal has suffered greatly from the natural disaster, as it is a country that relies heavily on tourism and it has been hit hard by the earthquake and subsequent aftershocks.  It is hoped that the sale of its richly historical artefacts, although for reasons understandable, slowly trickles to an end in order to help rebuild the parts of the country affected.  As SAFE highlight, the cultural heritage of a country is a non-renewable resource.  Nepal relies on both its natural beauty and its rich history and culture for its economy.  To destroy that would be to wound it twice.

Palmyra: Blood on the Land

In other news the extremist group Islamic State (otherwise known as Da’ish, Da’eesh ISIS, ISIL) have recently taken the city of Palmyra in Syria from the hands of Syria’s ruler Bashar Al-Assad’s army, taking both the infamous Tadmor prison and the ancient city of Palmyra itself in the bargain.  The modern town of Palmyra lies on a strategically important location between the capital of Damascus and the eastern city of Deir al-Zeir (BBC), and represents an important symbolic gain in a country where Palmyra is held up as a UNESCO world heritage site of international importance.  Furthermore it is close to oil and gas fields which help supply the western cities still under control by Al-Assad.  The Syrian Observatory for Human Rights has consistently reported on the conflict in Syria, both on the appallingly violence employed by each of the factions fighting in the country.

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The massive Roman tetrapylon at the historic site of Palmyra, which acted as a monument generally built near crossroads. The ancient city of Palmyra has a particularly rich and diverse history, of which it’s Roman side was but just one. The ruins of the site are mostly architectural in nature, but do include exquisite examples of a distinct city culture, unique in the Middle East. Image credit: courtesy of Ben Wheatley.

Born out of the 2010-2011 Arabic Spring demonstrations across north Africa and the Middle East, the ongoing Syrian Civil War has led to a fragmentation of both Syria and Iraq, where numerous factions fight a bloody, tense long game of attrition.  Since the start of the civil war there is now currently a total of 7.6 million people who have been displaced within Syria, 220,000 killed since the start of the violence, and a further 3.9 million Syrians living as refugees in neighbouring countries (source).

The so-called Islamic State, a self-styled Islamic caliphate, has become one of the prime contenders for power in the region.  Controlling almost 50% of the land mass of Syria (but not some of major eastern cities) and large chunks of Iraq, the group has thrived on its propaganda to spread its message of intolerance and violence.  Chief among these are the both the show and summary executions carried out in the provinces it controls and, secondly, its wanton destruction of the heritage.  This destruction and the selling of looted artefacts, largely of pre-Islamic art and architecture (particularly any images of the body which the group claims is idolatry) and Shia mosques (the Shrine of Jonah/Mosque of Yunis in Nineveh, for example), is justified by their strict adherence to their view of Sunni Islam.

It is this destruction of heritage that has many worried in the world as the group currently controls Palmyra.  Already news has filtered in of the possible destruction of the 1st century lion (Al-Assad name, the incumbent leader of Syria, means Lion in arabic) and of a bloody retribution in the form of executions of police and army forces and civilians throughout the modern and ancient city.  This follows IS’s form from previous takeovers of cultural heritage sites, such as the unique archaeological sites of Nimrud and Hatra, where they have actively destroyed large parts of the above-ground sites.

There has also been recent news regarding the destruction of a vitally important Mosul Central Library in the Iraq, following the desecration of the main museum.  There is a stark difficulty in attaining reliable sources within IS controlled territory however, as the group fiercely control what and how they show their effect on both the population and territories under their control.  What is clear however is that Islamic State profit hugely by the selling of stolen antiquities on the black market, which helps fund their campaign of terror and slaughter.

It is worth pointing out here the difficulties in finding reliable sources within Syria on the cultural heritage destruction currently taking place throughout the country.  Nor is it just IS who are carrying out the looting and destruction on heritage sites and museums in Syria, but also parts of the Syrian army and other factions fighting in the country.  I advise readers who want to keep informed and up to date to check out Sam Hardy’s blog Conflict Heritage, where many of his posts explicitly detail what is known and what is unknown about the situation in both Palmyra and Syria at large. This post is a good start.

Yet it is not just heritage that faces the wrath of the numerous factions fighting in Syria and Iraq.  Medécins Sans Frontiéres (MSF, otherwise known as Doctors Without Borders), an impartial independent organisation that helps medical aid where it is most needed, have repeatedly warned of the violence that medical staff in the country face, both from the government and from the opposition forces.  This is partly targeted attacks against medical staff and civilians.  Operating in clandestine situations, the organisation and it’s staff have also faced sustained violence and intimidation, even whilst trying to give aid to individuals who need it.

Fieldwork Thoughts

The role of the archaeologist in the field, either during commercial (or CRM) work or during research fieldwork is primarily to collect data, often through a combination of surveying, excavation and/or collating samples for analysis.  The role of academic fieldwork where the pace can, at times, be more relaxed, also allows for a greater integration into the everyday life of the people who you may be based with or around.  Although there is a caveat to this in the fact that some fieldwork takes place in remote, inaccessible locations, a good many field work projects could only take place with the help, aid and friendship of various organisations and individuals.

As Hayley and Emma attest in their vivid recollection of quake, this was the case at Langtang.  It was with the help and dedication of their hosts in Nepal that they have had many succesful seasons of fieldwork at Langtang and that they, and their co-workers, had become deeply involved with life at Langtang.  This has involved getting to know the guides personally and meeting their extended family members, alongside taking an active interest within the daily life at Langtang.

Palmyra represents the possible (until there is firm evidence of destruction this website will not indulge in becoming a mouthpiece of propaganda) destruction of heritage that plays a vitally important part in the identity and self of sense in Syria.  As a BBC article highlights  that:

it must be remembered that there are rarely mutually exclusive choices here. The loss of Syria’s cultural heritage represents the loss of far more than some tourist attractions – it is the loss of connection between multiple generations” (source).

Further to this the repercussions of the ongoing conflict in Syria and Iraq, and the lack of any in-depth will by international partners to aid and stabilize the countries, could have serious geopolitical consequences on the world stage amongst the international community.

As archaeologists we know that the past and the present are intimately linked by cultural bonds and values that help transcend history, and help inform identity and actions today.  As such, and as a discipline, we would be remiss to conduct our fieldwork without knowledge of the environment in which we work.  Finally, we must ask ourselves what is heritage without the people?

Further Information

  • The Just Giving page for the Langtang Survivors Fund, and the first hand account of the devastation, can be found here.  Donations are still welcome.  The funds raised by Hayley Saul and Emma Waterton are to be given to the Community Action Nepal charity, who are based in Kathmandu, in memory of the many friends that both Hayley and Emma made at the village of Langtang during their fieldwork seasons.  The UK-based Disaster Emergency Committee (DEC), who bring together 13 charities, has also launched an appeal.  You find out more and donate here.
  • Medicéns Sans Frontiéres help distribute and organise medical aid around the world, particularly in hard to reach areas.  They often operate in situations deemed too dangerous by many aid organisations.  The organisation is impartial, neutral and independent, and helps respond to both natural and man-made disasters.  They regularly operate in dangerous climates where other aid organisations will not work in and have been instrumental in helping to contain the recent Ebola outbreak in parts of western Africa.  You can help support their important work here.
  • The Mesolithic Miscellany site started out as a journal although this has somewhat petered out within recent years – back editions of the journal are available on their website however.  The Mesolithic Miscellany Monthly newsletter is very active though and advertises recently published articles, edited volumes or books on Mesolithic archaeology.  You can subscribe for free here.
  • The Saving Antiquities for Everyone organisation homepage can be found here.  The non-profit organisation helps highlight cultural destruction from around the globe and carry out both research and fieldwork.  The wide range of the campaigns that it carries out, in places such as Haiti and Kashgar alongside general advocacy, can be found here.
  • Conflict Antiquities, a blog ran by Dr Sam Hardy, regularly provides accurate information on the destruction carried out by IS and the various factions fighting in Syria and Iraq.  The site also thoroughly documents examples of conflict antiquities and cultural destruction from around the world.