Archaeological Heritage: Methods of Education and Popularization 9781407310473, 9781407340227

Table of contents :
Front Cover
Title Page
Copyright
Table of Contents
Introduction
Painted tombs from Viminacium and their presentation to the public
Amateurs and archaeology. Experimental method or madness? How do we share it all?
Goths’ Village in Masłomęcz
Using virtual museums in education: tools for spreading Calabrian cultural heritage among today’s youth
Communicating archaeology outside of museum walls Špica and Congress square – case study from Slovenia
Archaeology on the Web. Educating children and youth though internet portals
Fostering education through virtual worlds: the learning and dissemination of ancient Biskupin
Discovering archaeology by residents of a small town, or on the promotion of archaeology in Mosina near Poznań
Using social media and new technologies in the popularization and promotion of archaeology
The ‘SiciliAntica’ Association and its activities in archeology education and popularization
The Viminacium Archaeological Park and Scientific and Research Centre
Museum education. Exhibitions and outdoor events as forms of integrated presentation and popularisation of archaeological heritage in Biskupin
Multifarious transmission of museum lessons in Biskupin in education and popularizing of archaeological heritage
Educational activities, workshops, events ... or how an archaeological museum can present the past
Who’s to blame for the tabloidization of archaeology or how to sell science cheap in the Polish press
Educational activities of the ‘Blue Lion’ archaeological education center - present and future
Reflections on popularizing Egyptology
Servizio Soprintendenza ai beni culturali ed ambientali – Siracusa. Education and activities in the promotion of archaeological heritage: selected examples
Archery Tournament in Biskupin as an example of polygenic forms of implementing the promotion of archaeological heritage
Roman cultural heritage as a tourist and educational resource
Educational activities at the Archaeological Museum of theMiddle Oder Region
The archaeological fête in ludic space
Archaeological workshops to celebrate Children’s Day
Per aspera ad astra... Children at the University
Virtual reconstruction as an archaeological didactic tool
Archaeology as a tool for rehabilitation of people with special needs (and vice versa)
Education, not only archaeological, in the Museum of Archaeology and History in Elbląg: should we be ashamed?
Industriae Theatrum Ex Silesia: Showing the functioning of a medievalindustry in a contemporary industrial conurbation
Heritage for the PeopleArchaeology at the City Museum of Ljubljana and Visitors to the Museum

Citation preview

BAR S2443 2012 CHOWANIEC & WIĘCKOWSKI (Eds)

Archaeological Heritage: Methods of Education and Popularization Edited by

Roksana Chowaniec Wiesław Więckowski

ARCHAEOLOGICAL HERITAGE

B A R

BAR International Series 2443 2012

Archaeological Heritage: Methods of Education and Popularization Edited by

Roksana Chowaniec Wiesław Więckowski

BAR International Series 2443 2012

ISBN 9781407310473 paperback ISBN 9781407340227 e-format DOI https://doi.org/10.30861/9781407310473 A catalogue record for this book is available from the British Library

BAR

PUBLISHING

Contents Introduction................................................................................................................................................. iii Jelena Anđelković, Painted tombs from Viminacium and their presentation to the public..........................1 Spyridon Bakas, Amateurs and archaeology. Experimental method or madness? How do we share it all?.................................................................................................................................9 Bartłomiej Bartecki, Goths’ Village in Masłomęcz....................................................................................17 Francesca Bertacchini, Assunta Tavernise, Using virtual museums in education: tools for spreading Calabrian cultural heritage among today’s youth........................................................25 Dijana Cerovski, Irena Šinkovec, Communicating archaeology outside of museum walls. Špica and Congress square – case study from Slovenia.............................................................................31 Roksana Chowaniec, Archaeology on the Web. Educating children and youth though internet portals............................................................................................................................................37 Roksana Chowaniec, Assunta Tavernise, Fostering education through virtual worlds: the learning and dissemination of ancient Biskupin...................................................................................43 Anna Cicha, Joanna Struwe, Discovering archaeology by residents of a small town, or on the promotion of archaeology in Mosina near Poznań......................................................................49 Karolina Ciejka, Using social media and new technologies in the popularization and promotion of archaeology............................................................................................53 Marta Fituła, The ‘SiciliAntica’ Association and its activities in archeology education and popularization......................................................................................................................59 Snežana Golubović, Milica Tapavički-Ilić, The Viminacium Archaeological Park and Scientific and Research Centre...................................................................................................................67 Anna Grossman, Paweł Hildebrandt, Museum education. Exhibitions and outdoor events as forms of integrated presentation and popularisation of archaeological heritage in Biskupin.....75 Anna Grossman, Małgorzata Starak-Juchniewicz, Paweł Hildebrant, Multifarious transmission of museum lessons in Biskupin in education and popularizing of archaeological heritage...............................................................................................................................85 Sabina Hryniewiecka, Marta Kalisz, Educational activities, workshops, events or how an archaeological museum can present the past.............................................................................93 Katarzyna Jarosz, Who’s to blame for the tabloidization of archaeology or how to sell science cheap in the Polish press..............................................................................................97 Monika Jodczyk, Educational activities of the ‘Blue Lion’ archaeological education center present and future......................................................................................................................................101 Agnieszka Kowalska, Kamil Kuraszkiewicz, Reflections on popularising Egyptology............................107 Rosa Lanteri, Servizio Soprintendenza ai beni culturali ed ambientali – Siracusa. Education and activities in the promotion of archaeological heritage: selected examples...............................................111 Marek Lewandowski, Piotr Dmochowski, Archery Tournament in Biskupin as an example of polygenic forms of implementing the promotion of archaeological heritage......................................115 Nemanja Mrđič, Roman cultural heritage as a tourist and educational resource......................................121 Julia Orlicka-Jasnoch, Educational activities at the Archaeological Museum of the Middle Oder Region.................................................................................................................................129 Michał Pawleta, The archaeological fête in ludic space...........................................................................133 Joanna Popielska-Grzybowska, Archaeological workshops to celebrate Children’s Day.......................141

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Monika Rekowska, Per aspera ad astra... Children at the University........................................................145 Karolina Rosińska-Balik, Virtual reconstruction as an archaeological didactic tool................................153 Dario Scarpati, Archaeology as a tool for rehabilitation of people with special needs (and vice versa).........................................................................................................................................159 Grzegorz Stasiełowicz, Education, not only archaeological, in the Museum of Archaeology and History in Elbląg: should we be ashamed?........................................................................................163 Joanna Tokaj, Dariusz Rozmus, Magdalena Cyankiewicz, Industriae Theatrum Ex Silesia: Showing the functioning of a medieval industry in a contemporary industrial conurbation....................167 Bernarda Županek, Tamara Bregar, Heritage for the People. Archaeology at the City Museum of Ljubljana and Visitors to the Museum...........................................................................175

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Introduction Despite the enormous changes that have taken place in the recent decades, archaeologists continue to display a distrustful approach to the need to present their discoveries and researches to the wide public, thus underestimating the nature of the problem and the importance of popularisation of research. An aspect they fail to take into consideration, or even severely neglect, is that such actions are in their own best interest. It is common knowledge that the more people ‘know’ about archaeology and the work of researchers and the more they appreciate the cultural heritage, the more monuments and archaeological sites – objects of research of archaeologists and museum specialists – will be saved from devastation or looting. Indirectly, the promotion of knowledge will preserve research material for archaeologists to come and save the historical heritage for future generations. This volume stems from an International Conference titled ‘Methods of Education and Popularization in Archaeological Heritage’, held in December 1-3, 2011, at the University of Warsaw, Institute of Archaeology, Poland, organized by Foundation of Friends of the Institute of Archaeology. It also includes two papers which were originally proposed to be part of that conference, but could not be presented there for unexpected causes. The conference had aimed to present various modern methods of education and promotion of the archaeological heritage (e.g. museum workshops, interactive exhibitions, virtual animations, QR codes and other). We wanted the participants to share their experience in education and promotion of archaeology and archaeological heritage, as well as to present good examples of such initiatives. Therefore this publication is a mosaic of different methods and ways of education and popularization in archaeological heritage. We would like to thank all the participants of the conference. Special thanks go to the all people who helped in organization of this meeting; in particular to Mrs. Iwona Zych for the linguistic revision of texts. We are also indebted for financial support to the Polish Ministry of the Science and Higher Education (program ‘Upowszechnianie badań’ - 799-P-DUN-2011).

Dr Roksana Chowaniec, Assistant Professor, Institute of Archaeology, University of Warsaw Dr Wiesław Więckowski, Assistant Professor, Institute of Archaeology, University of Warsaw Warsaw, May 2012

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Painted tombs from Viminacium and their presentation to the public Jelena Anđelković Abstract More than 28 painted tombs, from the late Roman and early Christian period, were discovered at Viminacium, and three of them are presented to the wide public. One is presented in situ, while the other two are reconstructed. The original context of their creation, meaning and significance is preserved for the contemporary viewer, since visitors observe frescoes in the tombs from the deceased’s point of view. Keywords Viminacium, frescoes, tombs, Roman, art, visitors, underworld

More than 28 painted tombs, from the late Roman and early Christian period, were discovered in the various Viminacium necropolises.1 Mihajlo Valtrović first reported on a Roman cemetery extending along the right bank of the Mlava River to the south of the city (Valtrović 1884, 3–14). The burial grounds to the south and west of the city were excavated from 1977 to 1997, the one to the east of the military camp has been under exploration since 2000 (Zotović 1986, 41–60; Bogdanović 2010, 8399; Golubović 2008, 46-51; Redžić 2008, 59-61). More than 14,500 graves, both inhumations and cremations, have been discovered to date, furnished with grave goods of different kind. In the period of Roman domination, burials were practiced on several other, already explored necropolises: Više grobalja, Pećine, Kod bresta, Drmske carine and Velika kapija. Dozens of monumental tombs of the earth or hypogeum type, intended for family burials, were excavated in the northern part of the explored necropolises, close to the civil settlement. The painted tombs belong mainly to the late antique period (with the exception of two tombs from the beginning of the 3rd century AD) and they were excavated in the late Roman necropolis level, either free-standing or inside or next to memorial structures (Korać 2007, 153). Most of these painted tombs are damaged and the wall frescoes are preserved fragmentarily. Tomb plundering, frequent at Viminacium even in antiquity, is the reason for this condition (Golubović 2008, 13, footnote 12).

so-called ‘Tomb of the Cupids’ (G 160) was discovered at the site of Pirivoj. It was left in situ, the conservation of the frescoes being carried out on the spot without dismantling the walls of the tomb. This method of conservation was used on this particular tomb for the first time at Viminacium.3 The good condition of the wall paintings caused these three tombs to be selected for presentation to the public visiting the archaeological park of Viminacium. It is the first archaeological park with presentational and interpretational potential on the list of tourist destinations in Serbia (Maksin et al. 2011, 331–340). Inside the park, the Pirivoj necropolis deserves special attention. The mausoleum of a very important person4 is located there together with other ancient skeletal burials preserved in situ for presentation (Figure 1). The three painted tombs, which are the subject of this paper, are located at a lower level of the site, at a depth of 5 m. In the presentation and interpretation of Viminacium as an archaeological park and in the interaction with visitors, these tombs represent the underworld. After an introductory lecture by an expert guide, visitors are welcomed by staff dressed in Roman costumes (togas and tunicas) and pass through the cemetery towards the entrance to the underworld. At this point, Charon, the ferryman of Hades, emerges from the darkness dressed in black (Figure 2). The guide presents him with a coin on behalf of the visitors, a symbolic fee for crossing into the world of the dead. This is how the ancient myth is recreated (Figure 3) and the visitors follow the guide and Charon in silence, stepping into dark space with low floor lighting. The descent into Hades down a corridor that is 130 m long is designed as a personal and emotional experience, recreating the legendary journey into the underworld (Maksin et al. 2011, 335).

Paradoxically, two of these tombs, Pagan tomb (G2426) and Christian tomb (G5517), were very well preserved owing to the plundering (Korać 2007, 157–168 and 168– 185), which left the tombs open. Consequently, climatic conditions inside the tombs were similar to those outside. The two tombs were discovered when the foundations for the Kostolac power plant were dug at the archaeological site of Pećine. Conservation works were carried out by the Republican Institute for Protection of Cultural Monuments and the frescoes were removed to the National Museum of Požarevac, where they are now on display.2 In 2003, the

Following the guide, visitors stop in a room which is 5 m under the surface, still in the dark. Here, the guide explains their position and the purpose of such conditions. Then they enter into the first tomb with original frescoes from the end Christian tomb, cf. report by conservator Miroslav Stanojlović (1991, 53–58). 3   Conservation carried out by Prof. M. Stanojlović and his team of conservators. On prevention measures and resultant problems, cf Stanojlović 2006, 143–145. 4   Mausoleum probably belonged to the Roman emperor Hostilian, cf. Jovanović 2006, 39; Korać et al. 2009, 98-99.

  Viminacium, Roman city and military camp, archaeological site in Serbia. More about the site and the excavations: http://www.viminacium. org.rs. 2   Conservation works in the Pagan tomb were carried out by conservator Zvonimir Zeković, Prof. at the Applied Arts faculty (personal information). On the conservation and transfer of frescoes from the 1

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Archaeological Heritage. Methods of Education and Popularization

Figure 1. ‘Pirivoj’ site with the Mausoleum (photo M. Korać).

Figure 2. Viminacium’s Charon, guide to the underworld (photo M. Korać). of the 3rd or the beginning of the 4th century AD. This is tomb G-160, popularly called ‘Tomb of the Cupids’ (Figure 4). It was discovered in 2003, north of the Mausoleum in the Pirivoj necropolis (Korać 2007, 186–188). This tomb belongs to the most common type, typical of masonry

painted tombs featuring a characteristic trapezoid shape, known as the Viminacium type (Vasić 1907, 66–98). In this type the end walls are of trapezoid shape and the long side walls are rectangular and inclined. The walls are divided into symmetrical geometrical shapes, which form framed

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Jelena Anđelković: Painted tombs from Viminacium and their presentation to the public

Figure 3. Charon and visitors in front of the entrance to the ‘world of death’ (photo J. Anđelković).

Figure 4. Visitor in the Tomb with Cupids (photo J. Anđelković). panels for motifs and scenes. The west wall was not preserved, but it could be that this wall once held portraits of the deceased couple, i.e., the master and mistress of the tomb.5 As was the rule in pagan art, other scenes in the

tomb were subordinated to the idea of the afterlife and apotheosis of the dead. Images on the long walls of the tomb include servants (male on the northern and female on the southern wall), birds with a vase,6 peacocks,7 the

  Traces of some letters on this wall could suggest inscriptions with their names, since the fragmented and dislocated bones belonged to a male and a female. On the other hand, the west wall was always dedicated to portraits of the buried individuals (Valtrović 1906, 128–138; Stričević 1956–1957, 411–413; Ovčarov and Vaklinova 1978, 26–27; Dimitrov and

Čičikova 1986, 33–35; Danov and Ivanov 1980, 105–121; Marijanski– Manojlović 1987, 17–32; Korać 2007, 179 and 186). 6   These birds can be interpreted as doves or quails. 7   More about the peacock as a sign and symbol of paradise and apotheosis, cf. Anđelković et al. 2011, 231–248.

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Archaeological Heritage. Methods of Education and Popularization two facing west on both walls and grapevines in the upper friezes. The trapezoid eastern wall contains two cupids with a basket or cornucopia, mythological figures represented here presumably as guides to the underworld. The eclectic manner of this painting sublimes the styles of the pre Constantine and Constantine ages.

several other typologically identical tombs representing the Viminacium type described above. It was marked as G5517 (Korać 2007, 157–168). The interior of the tomb has the same arrangement with two trapezoid end walls and two longer rectangular lateral ones. The difference between this and other tombs of the same type is in the narrative of the decoration: the scenes are composed as individual panels, but are arranged to be read as a story in clockwise direction.

These frescoes have been conserved but without any restoration, and protected with anti-reflective glass. This is the first time at Viminacium when frescoes have not been removed as was commonly done before. The method was proposed by conservator Miroslav Stanojlović (1997, 59–60). For frescoes to be properly protected the climate, that is, the temperature and moisture in the air have to be optimal.8 But there are many benefits of such a presentation, most importantly that the walls need not be cut and the entire tomb can be presented in all of its archeological and architectural importance. Another significant elements is preservation of ancient atmosphere and context, as well as interaction with visitors.9

From the tunnel visitors step into the tomb, where they can stand upright. In front of the entrance there is the first scene with an earthly horseman, who is followed by a lion. The composition suggests that the next element of the story is the paradise scene with peacocks and tree of life on the right. In similar scenes, the peacocks are usually depicted symmetrically on either side of a vase, but here the symmetry and balance have been distorted by the turned head of the peacock on the right (Anđelković et al. 2011, 231–248). The next scene is again on the right side, above the entrance. It depicts the heavenly horseman who is followed by a dog and in front of whom there is a leopard. All gestures of the figures in the scene point again to the right, to the wall left of the entrance, which is focused on Christ’s monogram. To understand the meaning of this complicated pictorial story, we actually must turn clockwise around our axis, exemplifying the importance of keeping frescoes in their original context. Copies of the frescoes were placed in a setting similar to the original one in order not to violate the correct reading of the iconographical and symbolical story.

The dark entrance and corridors leading to the tombs are artificially constructed to prepare visitors for the experience. They stand in front of the first original tomb, where the guide explains the reasons for a journey like this one. The floor of the tomb had been removed, hence visitors look at the frescoes from the deceased’s point of view, i.e., their eyes are on the same level as the body once was. The body was introduced into the tomb through a rectangular opening in the roof. Frescoes ran all around the tomb. On the left side one can still see the remains of cupids, while in front and behind there is the same layout of scenes and motifs (peacocks, birds with vases, figures of male and female servants under the grapevine frieze), as if in mirror reflection. In contrast with the preliminary darkness, the frescoes are in the light,10 bringing out the vivid and richly nuanced colors in full. This part of the visit is a culmination point with visitors able not only to see, but also to feel and participate (commenting and laughing), even giving expression to their superstitions by leaving a coin. They go inside the tomb two at a time and remain there for a couple of minutes. They are heard to say ‘wow’ after exiting and are generally very excited.

After exiting from the Christian tomb, visitors continue in a crouched position down a low-ceilinged corridor toward the third and last tomb of the Viminacium underworld, tomb G 2624, also known as the Pagan tomb (Korać 2007, 168–185) contains only copies of frescoes now kept at the National Museum in Požarevac. It represents the Viminacium type and was discovered in 1983 at the Pećine site. The dislocated and fragmented bones of two individuals were found in the tomb; they have been identified by an anthropologist as a young woman, some 20 years of age, and an elderly male about 60 years old. The bones of the woman show degenerative changes indicating serious illness of the hips (Mikić 2007, 37–43, figure 1 and 2; Korać 2007, 168). Considering that the west wall in pagan tombs usually held a portrait of the deceased, it is believed that the portrait of a young woman on the west wall, i.e., to the left of the entrance into the tomb, represents a portrait of the deceased woman; the entire decoration program of this tomb is subordinated to this image.

In the same way tourists visit the next two tombs, which are not in their original location and which present replicas of the original frescoes kept at the National Museum in Požarevac. The tombs have been constructed on the left side of the corridor leading to the exit. Here, visitors need to crouch because the ceiling is low. The first tomb in the corridor contains replicas of frescoes from the Christian tomb (Figure 5). This tomb was discovered in 1990, at the Viminacium necropolis called Pećine, together with

This 4th century AD portrait is one of the most important images in the Viminacium fresco gallery, not only because of its artistic quality. It stands in the same line with others from the artistic centers in Asia Minor, Rome, Alexandria etc. To arouse greater interest among contemporary viewers we have called this image of a Roman lady Viminacium’s Mona Lisa. Her smile is equally mysterious

  Moisture in the air and walls is regulated by a special device. On conservation problems related to moisture, cf. Rogić and Mrđić 2006, 119–126. Conservators are planning other protection measures in the future. 9   Security cameras have also been introduced, beside protective glass, for better protection of the frescoes. 10   This is very low, fine halogen light, which is white and non-warming. 8

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Jelena Anđelković: Painted tombs from Viminacium and their presentation to the public

Figure 5. West wall from the Christian tomb, G – 5517 with Christ monogram and G – 2624 with portrait of the Viminacium’s Mona Lisa (photo M. Korać) and her glance directed to the side, and she is depicted as a half-figure, but the most important thing is the mastery of the artist: the painter of the Viminacium portrait was for late antiquity and early Christianity what Leonardo da Vinci was for Renaissance art. Visitors remember the nickname and mostly agree as to the similarities between this image and the painting of the Mona Lisa. The tomb is the last one on the underworld route and it is important that visitors come away with a professional interpretation beside the popular one. They should understand, for example, the relationship between the scenes depicted on the walls, like between the deceased woman and the male servant shown on the opposite wall, to the right of the entrance. This male servant is depicted in full figure, in motion, offering gifts of bread to the deceased woman. The scene is typical of pagan funerary art.11 But for modern visitors the heart shaped leaves (visible in the background behind the servant’s shoulder) and the blush on his cheeks are suspiciously close to a love story, a touch of which is always preferable in ancient legends. Guides make it a point to emphasize the arbitrariness of such interpretations. The peacocks on the side walls are shown facing the lady and one easily observes that they are over-sized. This measure is meant probably to reinforce the symbolism of this apotheosis scene (Anđelković et al. 2011, 231–248; Janićijević 2009, 135–143).

As we could see, the relatively modest material remains that can be seen in the Viminacium archaeological park commonly evoke visitors’ reactions (Nikolić et al. 2011, 259–268). This effect has been achieved thanks to the form of the presentation: darkness of the underworld and original or reconstructed walls inside the tombs; extra elements like staff dressed in Roman costumes and the Charon figure; also expert guides introducing visitors to the park and its parts. Thus, the Viminacium archaeological park is a product which can be described in terms of the emotional design theory.12 According to this theory, three aspects of design (visceral, behavioral and reflective)13 are necessary in order to turn an archaeological park into a successful product. With these three aspects of design, three spatial principles can be accomplished and three groups of presentations in the park represented. The action form14 of the presentation can be connected with the reflective level of emotional reception from the environment, the iconic form15 with the behavioral, and the symbolic form16   More about emotional design as an approach emphasizing the importance of positive emotional responses by users, on the Viminacium cf. Nikolić et al. 2011, 259–268. 13   The theory of emotional design by Donald Norman says that there are three different aspects of design that can be perceived in a product. The visceral aspect is related to the appearance of the product, the sound which it produces, the smell which it discloses, and every other feeling which it arouses in us at first contact. The behavioral aspect includes the easiness or difficulty with which we use a product and our satisfaction or dissatisfaction as a result of that. The reflective aspect carries with it a rationalization and intellectualization of a product, creating the final impression in the minds of consumers (Norman 2004). 14   Action forms of presentations: experimental archaeology, touching historical objects, reconstruction of past events, walk in the park. 15   Iconic forms of presentations: photos, drawings, reconstructions, threedimensional representations, models – setup, TV shows, informative panels, maps, multimedia presentations, organization of the park, signs for moving and direction. 16   Symbolic forms of presentations: plans – maps, excavation reports, audio tours, guided tours, book guides, lectures, informative panels. 12

Having seen the last tomb visitors climb up toward the exit. Outside, in full daylight, they happily express their satisfaction, commenting that the visit to the underworld is the best part of the tour of the Viminacium site.

  As in the Tomb of the Cupids, cf. footnote 5.

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Archaeological Heritage. Methods of Education and Popularization Golubović, S. 2008. Grobovi u obliku bunara sa nekropola Viminacijuma. Beograd. Golubović, S. 2008. Izveštaj o arheološkim istraživanjima na lokaciji ‘Kod Koraba’ (Viminacijum). Arheološki pregled. 2/3, 46–51. Janićijević, G. 2009. Portret žene iz Viminaciuma mogući ključ za odgonetanje ikonografskog sadržaja antičke sepukralne umetnosti, Ikonografske studije 2, 135–143. Jovanović, A. 2006. Tlo Srbije. Zavičaj rimskih careva. Beograd. Korać, M. 2007. Slikarstvo Viminacijuma. Beograd. Korać, M., Golubović, S. and Mrđić, N. 2009. Itinerarivm Romanvm Serbiae. Belgrade. Mikić, I. 2008. Antropološki osvrt na Pagansku grobnicu G – 2624 antičkog Viminacijuma. Archaeology and Science 3, 37–43. Maksin, M., Pucar, M., Milijić, S. and Korać, M. 2011. Održivi razvoj turizma u Evropskoj Uniji I Srbiji. Beograd. Маrijanski–Manojlović, M. 1987. Rimska nekropola kod Beške u Sremu (Римска некропола код Бешке у Срему). Novi Sad. Nikolić, E., Anđelković, J. and Rogić, D. 2011. Archaeological Park as a Product of Emotional Design: Design and Organization of a Park Based on the Exploration of Visitors’ Emotions. Archaeology and Science 6, 259–268. Norman, D. A. 2004. Emotional Design: Why We Love (or Hate) Everyday Things. New York. Оvčarov, D. and Vaklinova, М. 1978. Rannovizantiskit pametnici ot Bulgaria IV-VII vek (Ранновизантискит паметници от България IV-VII век). Sofia. Redžić, S. 2008. Izveštaj o arheološkim istraživanjima lokaliteta Pirivoj, Viminacijum, u 2005. Godini. Arheološki pregled 2/3, 59–61. Rogić, D. and Mrđić, N. 2006. Vlaga – uzrok štete na fresko slikarstvu. Archaeology and Science 1, 119–126. Stanojlović, M. 1991. Skidanje zidnih slika iz jednog groba u Viminacijumu avgusta – septembra 1990. Гласник друштва конзерватора Србије 15, 53–58. Stanojlović, M. 1997. Moguća prezentacija konzerviranih zidnih slika iz Viminacijuma. Гласник друштва конзерватора Србије 21, 59–60. Stanojlović, M. 2006. Freske groba G 160 na Pirivoju u Viminacijumu. Гласник друштва конзерватора Србије 30, 143–145. Stevens, S. T. 1991. Charon’s Obol and Other Coins in Ancient Funerary Practice. Phoenix 45, no. 3, 215–229. Stričević, Đ. 1958. Brestovik – Rimska grobnica. Starinar VII-VIII, 411–413. Valtrović, М. 1884. Otkopavanja u Kostolcu. Starinar 2, 3–14. Valtrović, М. 1907. Rimska grobnica u selu Brestoviku. Starinar I, 128–138. Vasić, M. 1907. Nekolike grobne konstrukcije iz Viminacijuma. Starinar II, 66–98. Zotović, Lj. 1986. Južne nekropole Viminacija i pogrebni obredi. Viminacium 1, 41–60. Web sites: http://www.viminacium.org.rs

with the visceral. Usually, action presentations make the greatest impression on visitors, yet they seldom exist in archaeological parks. At Viminacium, tourists are treated daily to a large number of presentations of this type, which makes their experience at the site unforgettable. The practical example of the presentation of the painted tombs, described in this paper, exemplifies this perfectly. The Viminacium park was created and continues to develop spontaneously, taking into account processes of visitors’ perception, interpretation and behavior.17 Recently, the park has been used as a model for organizing archaeological sites into archaeological parks as a part of a major project Itinerarium Romanum Serbiae, that is, route of the Roman emperors.18 The following inscriptions from the site guestbook are quoted in illustration of the importance of the visitors’ emotional participation in the presentation of the Viminacium tombs: Thank you for all your hard work… you will be rewarded by future generations! (03. 05. 2011. Joe and Rhoda, San Diego, CA USA); The oldest antiquities I have ever seen. Superb (03. 05. 2011. Deg – Australia); Tombs are preserved and excellently visible, as well as the frescoes (17. 06. 2011. Elektroprenos, Banja Luka, Bosnia and Herzegovina); I loved getting to see the graveyard and being in the graves, even though I freaked out, just a little. I have a feeling that this isn’t the last time I’ll be in a grave though (13. 07. 2011. Kat Stewart from Tulsa, OK USA); You are so cool!!! I liked the tombs especially!! Regards from Goca ’98 (29. 04. 2010. Gordana Dimitrijević V2. Serbia); We came here from Switzerland. It was very interesting to see this Roman town and we saw it will be hard work until everything is finished. Thank you to show as all this (07. 08. 2008. B. Klaw, Amanda); I saw Ephesus in Turkey, baths in Cartage, and now this here and I’m thrilled (10. 08. 2008. Tijana, Serbia). To finish with my favorite which is also an important message to archaeologists: TOP!! p.s. dig faster!!!s. Bibliography Anđelković, J., Rogić, D. and Nikolić, E. 2011. Peacock as a sign in the late antique and early Christian art. Archaeology and Science 6, 231–248. Bogdanović, I. 2010. Rezultati arheološko-geofizičkih istraživanja na lokalitetu ‘Kod Koraba’ (Istočna nekropola Viminacijuma). Archaeology and Science 5, 83–99. Danov, H. and Ivanov, T. 1980. The Silistra tomb. Antique tombs in Bulgaria. Sofia. Dimitrov, R and Čičikova, М. 1986. Kasnoantičnata grobnica pri Silistra. Sofia.

  More about the Viminacium cf. Golubović and Tapavički–Ilić 2012. In this volume. 18   More about the Itinerarium Romanum Serbiae project cf. Mrđić 2012. In this volume. 17

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Jelena Anđelković: Painted tombs from Viminacium and their presentation to the public

Dr Jelena Anđelković Archaeological Institute of Serbian Academy of Sciences and Arts, Beograd, Serbia e-mail: [email protected]

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Amateurs and archaeology. Experimental method or madness? How do we share it all? Spyridon Bakas Abstract Until recently the archaeological community promoted acquired knowledge through conventional and traditional means of popularization, e.g., university publications, scientific magazines, academic conferences. Over the years the Koryvantes Association has managed through diverse activities and interactive participations to establish innovative ways of communication and new communicational channels enabling maximum effectiveness in transmitting the results of experimental archeology to the general public. Keywords Experimental archaeology, popularization, reenactment, multimedia, hoplites, linothorax, ‘Koryvantes’ Association

in experimental archaeology projects, publications of experimental results, participation in numerous educative public events and international documentaries etc. (Figure 1).

The Association of Historical Studies ‘Koryvantes’ deals with experimental archaeology, historical reconstruction and reenacting. It concentrates on the study of ancient Greek warfare through experimental archaeology techniques, covering a time range from the 15th to the 3rd century BC. Until now we have reconstructed successfully various types of warrior accouterment from the 10th to the 5th century BC.

Depictions of Ancient Greek hoplite were used already in the very beginning of the 19th century, in the Romantic Age, when men of letters sought the model of ideal humanity in Ancient Greece and her white marble temples.

The Koryvantes Association has been active officially from 2009, as a non–profit, living history association. The association counts more than 25 active members in Greece, amongst them writers, researchers, reenactors and history enthusiasts. During these four years of activity, the Association has managed to be productive on many levels related to historical research issues, e.g. participation

Reenacting of Ancient Greek hoplites started in the United Kingdom in the 1980s and 1990s, based on Anglo–Saxon prototypes derived from popular history publications (Connolly 1988, 58). The first of these romantic and superficial approaches had limited effect in terms of real archaeological investigation, but on the other hand

Figure 1. A moment of training courses (photo Association of Historical Studies Koryvantes). 9

Archaeological Heritage. Methods of Education and Popularization prepared the ground for further similar attempts worldwide. Over the years these initial humble steps inspired more and more people to create numerous reenacting groups all over the world. In Greece, hoplite reenacting appeared in the late 1990s and immediately encountered a variety of problems, namely, as the Koryvantes front–line experience has shown: a) The conservative social landscape of modern Greece was prejudiced against new and groundbreaking cultural events. There were also stereotypes that have dominated in Greece for decades, that is, use of the soldier image for the purposes of militaristic propaganda by illegal governments of the past. Thus, in the modern Greek mind, the image of an ancient Greek soldier carried suspicious and dangerous connotations; b) Other stereotypes confronting the association came from historical research, specifically, extensive but inadequate studies by Western scholars in recent decades. Many early works by ‘amateur gentlemen archaeologists’ were later discarded in effect of established scientific archaeological studies. These studies were purely theoretical and despite their extensive and well-structured philological core, they were incapable of incorporating and applying experimental practice. As a result, no solid and generally accepted theory on Ancient Greek warfare exists for lack of reliable data from fieldwork; c) Another serious difficulty was the gap of more than 2500 years separating the modern from the ancient. The knowledge essential for even a rudimentary reconstruction of the Ancient Greek world is enormous. Long term systematic effort is required to be able to reconstruct an entire social, political and military regime. By contrast, European Medieval reenacting had not faced such fundamental problems even a the early stage, because the medieval tradition has never quite disappeared from European culture and is still present, in one form or another. The ancient tradition, on the other hand, has been lost for the most part. In the end, however, we drew strength and courage from the very fact of the weakness of our case study (due to chronological distance and the lack of actual finds) to continue our efforts.

Figure 2. Linothorax Reconstruction (photo Association of Historical Studies Koryvantes). reconstruction of the most debated armor of the ancient world, the linothorax. The linothorax was probably the most popular armor of the 5th century BC and it is for us the most mysterious. It was armor backed on linen cloth, a dominant form in Greece from the 7th to the 3rd century BC. Collaboration with the distinguished scholar and armorer Mr Dimitris Katsikis (www.hellenicarmors.gr) in 2010 has resulted in what is most likely the first historically correct linothorax armor. The main objective was to combine experimental archaeology (traditional construction methods) and scientific documentation in a reconstruction of a workable/ reliable linothorax armor capable of successful operation under real battle conditions. The inherent difficulty of this project is that existing archaeological evidence (and there is none other) does not support a secure reconstruction. Previous attempts to build a version of the linothorax armor were influenced to a large extent by artistic and structural stereotypes which have haunted the image of an ancient Greek soldier in the previous century (Heckel and Jones 2006, 16). Existing misconceptions, in the Association’s view, are due to a lack of extended archeological fieldwork.

Experimental archaeology Experimental archaeology is defined as a process during which, and through the application of appropriate conditions, an attempt is made at a scientifically documented historical reconstruction with the aim of drawing scientific conclusions with regard to issues that cannot be addressed by traditional history or archaeology. It is a method for testing ideas and exploring the past through experiment (Shimada 2005, 603). So experimental archaeology steps in to fill the gaps, complete the lines and clarify unknowns in historical research, sometimes even pose new questions (Kuijpers 2008, 25). During the past years our club has conducted various experimental archeological projects aiming, on one hand, to reproduce ancient Greek weapons and, on the other, to discover and document specific ways in which they perform under real battle conditions. A significant example of an experimental archaeological project carried out by Koryvantes activity, where the result was a milestone in our research, was the

In conclusion, it is very difficult to reconstruct the past sitting at a desk, especially when the subject under investigation has to do with warfare (Figure 2). 10

Spyridon Bakas: Amateurs and archaeology. Experimental method or madness?

Figure 3. Testing Linothorax’s flexibility (photo Association of Historical Studies Koryvantes). Well established stereotypes, like the ‘white linothorax’ look, monolithic ‘glue’ structure etc., were based mainly on sophisticated and stylized images of ancient soldiers in pottery decoration (Dunkan 1981, 95) and had to be reconsidered and critically analyzed. Here, the power of experimental archaeology in unquestioned, as it can test all theories by filtering them through reality. Soon our survey revealed that commonly accepted theories (Sekunda 2000, 11) contain may gaps and unexplained elements. Under real battle conditions the said ‘white and glued linothorax’ (Sheppard 2008, 8; cf also http://www.uwgb.edu/aldreteg/ Linothorax.html) was absolutely useless. Our approach to a secure reconstruction of the linothorax followed strict principles: using only reliable historical sources and archaeological evidence for reconstructing duplicates of arms from the age and their practical application in real-life conditions. Each new reconstruction, whether armor, shield or sword, is tested in an appropriate natural environment and in conditions applicable to the era under examination (e.g. testing the linothorax in temperatures ranging from 35 to 40 centigrade during the Greek summer). It also takes into consideration specific psychological, bodily and cultural factors which were dominant in the era under research, e.g. realistic test conditions which for the linothorax means continuous use for 1–2 hours in combat conditions, despite hardships. Finally, later or modern information is used to complement and bridge historical gaps (comparative survey, anachronism). In the case of the linothorax, there are no historical accounts of how to build a linothorax, but Byzantine authors supply interesting information on similar armor. The Hoplite needed flexible armor in order to be able to move effectively in the stifling conditions of two colliding phalanxes composed of heavy infantry (othismos). The armor had to allow freedom of movement in all dimensions. At any time the fighter may have had to

crouch, run, kick, use weapons in all directions. The armor had to be conventional and construction and repair had to be possible using household tools and materials (Katsikis 2010, 18). The armor also had to function properly with other pieces of equipment (shield, helmet, spear, sword, knives). A finding that we had from our initial experiments is that any protective device must be designed as part of the shield system, which is quite logical as the whole hoplite phalanx battle was based on the use of the shield (Katsikis 2011, 30). Moreover, armor should be made in such a way that it can respond to real battle conditions and for that purpose the selection of a suitable combination of local materials is enormously important from the point of view of their mechanical and structural properties (Katsikis 2011, 30). Τhe end result of our experiment was quite satisfactory. The armor that was produced satisfied on the whole all of the above technical specifications and informed guesses. In each case satisfactory performance in the battlefield was the ultimate criterion; in other words, the armor passed trial with great success. The following publication of our study in military magazines was a milestone in the investigation of Ancient Greek armor, earning credit from specialists in the field (Figure 3). Popularization of experimental archaeology National and public museums have played a central role in providing educational program associated with archaeology or museums. Maybe the first such modern attempt was the ‘Museum College’ established in 1977 by the National Museum of Korea. The aim of this institution was to enable the general public to cultivate a basic knowledge and appropriate understanding of traditional culture and

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Archaeological Heritage. Methods of Education and Popularization history and provide an opportunity for life-long education (Kwon and Kim 2011, 88). These first attempts were innovative and inspired new ideas for the popularization of archaeology. Until recently the archaeological community promoted acquired knowledge through conventional and traditional means of popularization, e.g. university publications, scientific magazines, academic conferences. This ‘closed circuit’ means of popularization discouraged active participation by the general public, resulting in the accumulated knowledge being the well-guarded property of a privileged few.

it would go for the multidimensional level and the key issue was how specifically to put flesh and bones on a onedimensional image to create a three-dimensional vivid Ancient Greek warrior, weighed down with kilograms copper/bronze scales and plates. In a way which will make the viewer understand that the warrior standing in front of him is actually the warrior created in his fantasy through the reading of history books. What better way to verify theories and informed guesses? Nevertheless, even the best possible digital reconstruction of an Ancient Greek warrior cannot be free of mistakes and disputes. Digital technology has its limitations in many sectors of theoretical and applied sciences. Therefore, even modernization of means for transporting academic knowledge to the general public often faces obstacles. For instance, a scientific archaeological project can give the general public a virtual image of what is being described using computer graphics (drawing). This may be an ambitious and well documented effort, but who can guarantee 100 percentages correctness of the end result and furthermore who can predict how it will be accepted by the general public? To what extent the public will accept as real a virtual image of an Ancient Greek warrior from 2500 years ago? Το sum up, what is missing from digital and graphic reconstructions is their experimental verification and that cannot be done in any other way but materially. A graphic designer under the supervision of an archaeologist will follow instructions and translate them into digital form, but the main issue remains: there is no way for digital models to be tested in real conditions in order to prove their ‘workability’. Furthermore, theory has become practice with three-dimensionality giving viewers a practical way of effectively embracing theory, accept and bringing into closer focus the results of archeological research, which thus stops being so impersonal and remote. Monotonous paragraphs of ancient and modern writings take on life, they can be touched, heard, felt, understood better. In this context, our club has been publishing our own studies and articles on a monthly basis in the Greek specialist press and in our electronic database. Our photographic archive is also widely used by specialist Greek journals for their Ancient Greek–related historical topics on a monthly basis. Finally, we can say with pride that our work is considered as a form of fine art, finding acceptance even in Greek lifestyle magazines.

New technologies and industries developed in the past 50 years have given archaeologists a wonderful opportunity to visualize the forgotten past through films, for instance, even if the primary objective of these kind of productions was net profit. Numerous expensive epic film productions have entered the public imagination from the 1960s on, giving the public at large an opportunity to admire reconstructed ‘Hollywood–made’ glory and magnificent past on television and at the cinema. The coming of the digital era in the past decade has added incredible potential to archaeological science in many fields, one of them being a new way of reproducing the past through digital applications for academic purposes and educative ones as well. Experimental archeology through its capability to move to non–traditional avenues of research may be capable of transmitting acquired knowledge in radical ways. Years of diverse and interactive activities have permitted the Koryvantes Association to establish innovative ways of communication, new communicational channels enabling maximum effectiveness in transmitting the results of experimental archeology to the general public. Koryvantes perceives experimental archaeology as the most efficient form of linking archaeology with specific social activities, providing and retaining at the same time the values of archaeological science. Having managed to create something innovative, something that combines historical anachronism and knowledge of Hephaestus’ workshop, we then faced the need to promote the results of our efforts through various channels, which conventional archaeology had not used before. The power of the ‘multidimensional’ The relationship between archaeology and the public is usually framed in terms of the opposition between conveying a finding within scholarly circles and communicating with the general public. A consumerist model lies at the heart of most of efforts by archaeologists to communicate with the public. In this model archaeologists sometimes produce a product, sometimes a dumbed–down version of the academic edition and sell it to the general public (Macguire and Reckner 2005, 218). Numerous examples exist of sketches and stereoscopic images (in drawing) from the 1970s, 1980s, and 1990s giving a simple and uncomplicated product to the public. This kind of approach is obsolete today. Koryvantes assumed

‘The power of interactive participation’ Without any doubt experimental archeology has indisputable advantages as an interactive medium between performers and the general public. Living history and a revival of the past in realistic fashion can be achieved by a natural fusion of protagonists and spectators. Modern presentation methods use interactive communication activities to achieve effective understanding of the message by the receiver. There are many examples where viewers can ‘participate’ in the presentation through prototype methods and actions. Our club had the opportunity to implement experimental archeology 12

Spyridon Bakas: Amateurs and archaeology. Experimental method or madness? with interactive applications during the recent Biskupin Archaeological Festival in Poland (17–25 September 2011). The results of experimental archeology, such as a technical movement, a hoplite phalanx drill and phalanx formation, were combined harmoniously and amusingly with the participation of small children during the event. The end result of the interaction between the receiver and the transmitter, through two–way interactive interaction was surprisingly successful and satisfactory. Generic activation of the human senses (touch, hearing, vision,

smell) and the simultaneous participation of a receiving audience during the presentation guarantee acceptance of the results of experimental archeology . In this context, our Association participates regularly in various public activities, such as demonstrations and lectures for children and students, public presentations at cultural events and public lectures about Ancient Greek martial arts. These aspects are easy to find in modern interactive marketing and have been introduced at many archaeological parks (Yorke and Uzi 2004, 10–20) (Figure 4 and 5).

Figure 4. Interactive workshops with children in Biskupin Archaeological Festival, 2011 (photo Association of Historical Studies Koryvantes).

Figure 5. Interactive workshop with the wide public in Biskupin Archaeological Festival, 2011 (photo Association of Historical Battle Fair). 13

Archaeological Heritage. Methods of Education and Popularization ‘The Power of Multimedia Reporting’ Another issue has to do with whether experimental archeology and its results can be made publicly available to people through means of modern channels of communication. The issue has to do with whether an academic textbook will not only be tested in practice through experimental reconstruction, but will also evolve toward some form of technological standardization with a view to becoming more easily accepted by modern consumers. Reality leaves no doubt that the future of experimental archeology is largely technological in nature. Attempts to revive aspects of ancient Greek warfare, such as traditional archery, have demonstrated the importance of audio-visual material and multimedia tools as a mean of popularization (Bakas, 2010). Our Association has already established collaboration with a professional producer of Electronic Games (Modifications), who has reproduced faithfully the Koryvantes hoplites as videogame-fixed models, imaging not only our weapons and techniques of war, but also conveying the movement of ancient soldiers. At the same time, fully equipped members of our group have participated in a video clip of a Heavy Metal/Epic Music band, thus promoting our efforts mainly to young audiences, a fact which brings younger people closer to archeology and Greek history. This represents the next dimension of the evolution of experimental archeology fully in line with modern elements of marketing (Stone et al. 2003, 15–36). Local music and electronic game industries have considered it essential to approach us in order to implement authentic reconstructed images of Ancient Greek hoplites in their virtual electronic world which is certainly more familiar to the new generation. As a result, history and archeology acquire their rightful place in the everyday life of an average consumer in the form of entertainment.

Figure 6. Revival of ‘Pankration’ through Ancient Greek Battle fair (photo Association of Historical Studies Koryvantes).

Bibliography Bakas, S. 2010. World Traditional Archery: History and Present Situation of Preservation. In Proceedings of WTAF International Academic Seminar 2010, 150–152. Cheonan City, The National Association of Archery for All Publishing. Connolly, P. 1988. Greece and Rome at War. London, Greenhill Books. Heckel, W. and Jones, R. 2006. Macedonian Warrior, Alexander’s Elite infantryman. Oxford, Osprey Publishing. Head, D. 1981. Armies of the Macedonian and Punic Wars. Cambridge, Wargames Research Group Publication. Katsikis, D. 2010. Linothorax, the ancient Kevlar. Army and Tactics Magazine 1 (9), 9–22. Katsikis, D. 2011. The Hoplite Phalanx in the Battle. Techniques and Tactics under new revision. Army and Tactics Magazine 2 (2), 18–31. Kuijpers, M. H. G. 2008. Bronze Age Metal Working in the Netherlands (c. 2000–800BC). Leiden, Sidestone Press. Kwon, O. Y. and Kim, M. J. 2011. Public Archaeology in Korea: A Duet of Popularity and Nationalism, In O. Katsuyuki and M. Akira (eds.), New Perspectives in Global Public Archaeology, 88. London, Springer New York Dordrecht Heidelberg Publishing. Macguire, R. and Reckner, P. 2005. Building a Working Class Archaeology. The Colorado Coal Field War Project, In Conlin C. E. and Symonds J. (eds.), Industrial Archaeology Future Directions, 218. New York, Springer Science and Business Media Publishing. Sekunda, N. and Hook, A. 2000. Greek Hoplite 480– 323 BC Weapons Armor Tactics. Oxford, Osprey Publishing. Sheppard, R. 2008. Alexander the Great at War His Army His Battle His Enemies. Oxford, Osprey Publishing.

‘The Power of alternative action’ Another challenge for our Association was to connect hoplite activities with secondary established, war-oriented arts which existed in Greece in the 5th century BC. In other words, we had to re-establish the forgotten bridge between pure military training and the more civilian martial arts like wrestling. After all, in Ancient Greece athletics in ideology and practice were close connected with heroism and battle. The connection between experimental archaeology and martial arts specialists appeared to us essential. A fusion of sports originating from Classical Greece and experimental archaeology can fill the gaps and give informative answers on issues that have puzzled researchers for years. In the past three years we have cooperated with sportsmen to promote the revival of Pancration, an Ancient Greek martial art. The main question is to what extent a 5th century fighter could apply Pancration techniques in battle and how much the application of such techniques could contribute to winning. Answers to questions of this kind can contribute significantly to extending current knowledge on this aspect of social life in the Greek City states (Figure 6).

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Spyridon Bakas: Amateurs and archaeology. Experimental method or madness? Shimada, I. 2005. Experimental Archaeology. In Handbook of Archaeological Methods, H. Maschner and Ch. Chippindale (eds.), 1, 603–642. Oxford, AltaMira Press. Stone, M., Bond A. and Blake E. 2003. The definitive Guide to direct and interactive marketing. Glasgow, Pearson Education Limited Publishing. Yorkem R. and Uzi A. 2004. Archaeology and the Consumption of the Past. Oxford, Altamira Press. http://www.uwgb.edu/aldreteg/Linothorax.html Mr Spyridon Bakas President of Association of Historical Studies ‘Koryvantes’, Greece e-mail: [email protected]

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Goths’ Village in Masłomęcz Bartłomiej Bartecki Abstract Archaeological research into the culture of the Goths in the Hrubieszów Basin started in 1977. The news of the excavations in Masłomęcz quickly made the front pages of the newspapers and got a lot of publicity on the radio and TV. Today, Goths’ Village is an unusual place where the past and the present meet - international projects, re-enactment group presenting heritage of the Goths and the local governments’ idea to transform archaeology into an economy. Keywords Goths, experimental archaeology, festival, local heritage

The beginning, 1977

Excavations, graves, findings

In the 1970s the majority of researchers studying the Roman period treated the Hrubieszów Basin as archaeologically uncharted territory. This borderland region was more often associated with the archaeology of the Neolithic Age or early Middle Ages, mainly due to the research into the origins of the Polish state carried out in the 1950s. If someone decided to prospect for other sites, they penetrated areas situated directly on the Bug, not those at the far end of a region covering about 200 square kilometres. Andrzej Kokowski, at that time a young archaeologist studying the Roman period, suggested an archaeological verification of earlier findings, yet this idea was treated sceptically to say the least. However, in 1977, the international career of the Masłomęcz Goths began in the fields of Masłomęcz, a small village near Hrubieszów. It was on account of several pieces of pottery found in a freshly-ploughed field near a bus stop. The beginnings of this archaeological adventure were difficult, just like in many other places. The scepticism and mistrust of the inhabitants of the region towards the group of young archaeologists were quickly replaced with entirely different relations based on mutual respect, interest and, in the end, friendship. In 1978, regular excavations began in Masłomęcz. Consecutive seasons of fieldwork in the plot behind the barn belonging to the Mazur family produced extremely valuable discoveries, associated with the Scandinavian Goths traversing Europe from the mythical island of Scandza to Oium on the Black Sea. On this route (associated in Polish archaeology with the range of the Wielbark culture) was the fertile land between the Huczwa and the Bug. There, at the end of the 2nd century AD, they settled, establishing a Germanic civilisation (the Masłomęcz group) which lasted at least until the turn of the 4th century AD (Kokowski 2010). The incredibly rich and interesting archaeological material collected in this area reflects its strategic, central location on the trade route between Scandinavia – the cradle of the Goths – and the northern coasts of the Black Sea. The Masłomęcz finds, but above all the evidence of exceptional burial customs practised here quickly caught the attention of not only academic circles, but also the public.

Excavations at the Gothic cemetery in Masłomęcz and simultaneous, though small-scale investigations in Gródek on the Bug, Moroczyn and other sites, quickly made the front pages of newspapers and were reported on radio and television. In the course of many research seasons, archaeologists discovered finds extremely attractive for the media. Gold, silver and bronze elements of jewellery and costume, and vast amounts of imported glass both in the form of beakers and countless types of beads, were excavated from Gothic graves. Discoveries of pottery, bone artefacts and an enormous number of combs made of antlers were equally diverse. Extremely laborious documentation made it possible to record unique burial customs whereby the ancient inhabitants of the Hrubieszów Basin treated corpses in a macabre way. Strange rituals resulted in graves featuring corpses without heads, trunks quartered to a varying degree, single limbs or, for example, elements of animal skeletons used to replace missing parts of human corpses. Equally attractive for the media was the custom of repeated opening of ancient graves in order to complete the rituals. The nature of discoveries, the atmosphere of Masłomęcz and the unusual ability of Andrzej Kokowski, now a professor, to present difficult archaeological subjects in an academic way that was nevertheless attractive for amateurs, created a perfect foundation for building a new archaeological identity of the Hrubieszów region. First steps to popularisation In the course of the research, the regional weekly magazine ‘Tygodnik Zamojski’ regularly imparted news on the latest discoveries, and published interviews and working theories, which often could not be verified until years later. The circle of those keeping up with the achievements of archaeologists from Lublin and their Polish and foreign associates expanded quickly. News was reported in the press and on the radio outside the region for a long time (Kokowski 2004, 119–123). The campaign ‘Summer with Archaeology’, conducted by the national Polish Radio Channel Three was a milestone in popularising the Masłomęcz research in the 1980s. Between 1983 and 1987 the Gothic cemetery was visited by archaeology enthusiasts from all over Poland (Figure 1). Countless

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Archaeological Heritage. Methods of Education and Popularization

Figure 1. Summer with archaeology – the campaign organised with radio Trójka made the Goths from Masłomęcz famous and won them lots of friends. (photo W. Kostko) imploring inquiries were made about the possibility of participating in the historically significant Masłomęcz excavations, delivered to misinterpreted or misspelled names and addresses, e.g. ‘Firefighters University of Archaeology in Gróbieszew’. Only or as many as 250 people had this honour (Kokowski 2004, 37). The number of press reports was increasing so quickly that they had to be organised; thus, to sum up the results of the research, a bibliography of reports containing the most important titles was published (Gurba 2003).

was beyond all expectations. Masłomęcz started being recognised. The Polish version of the exhibition, ‘Skarby wschodnich Gotów (Treasures of the Eastern Goths)’, was also displayed in Zamość. Between 2003 and 2004, another big Polish–German exhibition was organised. This time, the exhibition entitled ‘Die Vandalen’ included a large collection of Gothic artefacts from the Hrubieszów Basin. Also in this case, richly illustrated catalogues in two language versions, German and Polish, were issued.

International exhibitions

Popularisation of archaeology in Hrubieszów commune schools and through archaeological competitions

A growing number of source materials and attractive finds necessitated an undertaking which would make it possible to present artefacts from Masłomęcz to a broader circle of antiquity enthusiasts in Poland and abroad. The international career of Gothic finds as museum exhibits started in 1994. The exhibition ‘I Goti’, organised in Milan, included not only many priceless gold exhibits from the Crimea, but also equally intriguing objects discovered in the small village of Masłomęcz. One year later, a large exhibition entitled ‘Schätze der Ostgoten’ was organised in cooperation with the Lower Saxony culture centre in Bevern, represented by Dr Christian Leiber. The joint undertaking, by the archaeologists from the Maria Curie– Skłodowska University in Lublin and the Zamość Museum, also gained political prestige. One of the participants in the opening ceremony of the exhibition was the then Prime Minister of Lower Saxony, Gerhard Schröder, later Chancellor of Germany. A richly illustrated catalogue was issued for the occasion and the number of visitors

Even as successive generations of archaeologists arrived in Masłomęcz and Gothic artefacts gained international renown, the Hrubieszów region drew extensively on the scholarly achievements of the Lublin archaeological centre. The results of the investigation of the Masłomęcz cemeteries as well as of sepulchral sites in Gródek and Moroczyn, and settlements, for example, in Hrubieszów– Podgórze, were included in the curricula of local primary and secondary schools. Special interest groups were established. Teachers willing to expand their students’ knowledge turned to archaeologists for materials, which would be easily comprehensible for the youngest (Kokowski 2007, 58). These materials, in turn, together with a rich collection of press reports, exhibition catalogues and more specialist academic monographic publications, became source materials for cyclical archaeological competitions taking place since 2000, initially organised in the Hrubieszów Commune, but then becoming a district event. The main issue was the research on the culture of the 18

Bartłomiej Bartecki: Goths’ Village in Masłomęcz

Figure 2. The Goths knowledge competitions built up a supra-regional reputation. (photo J. Fuchs) Goths in the Hrubieszów Basin. However, as competitors became increasingly knowledgeable, the competition started to include questions connected with all periods in the history of mankind and tasks testing knowledge of the chronology of European archaeology in general (Figure 2). The broad interest in such competitions came as a big surprise. The most active challengers in archaeological combat from primary and junior high schools had such knowledge of the prehistory of the region that they could embarrass many a student of archaeology.

professor Kokowski in recognition of 25 years of research on the Goths. In 2007, another statuette was awarded to Mrs Zofia Mazur from Masłomęcz, who has become a symbol of the Hrubieszów Basin as recognisable as the priceless Gothic artefacts discovered in her field. The fourth statuette went to Dr Alix Hänsel, research director at the Museum für Vor- und Frühgeschichte in Berlin, in gratitude for bringing the exhibition ‘Troy – The Dream of

The ‘Laurels of Masłomęcz’ Award A particularly important and prestigious role in the creation of the archaeological image of the Hrubieszów region was played by the ‘Laurels of Masłomęcz’ merit award, established in 2002 by the decision of Jan Mołodecki, Hrubieszów Commune administrator, and professor Andrzej Kokowski, director of the Institute of Archaeology at the Maria Curie-Skłodowska University in Lublin. The ‘Laurels of Masłomęcz’ were to be awarded to people who have made a remarkable and permanent contribution to shaping the cultural and economic image of the Hrubieszów land. By 2011, first-class award were presented to professor Jørgen Ilkjær, Danish archaeologist and enthusiast of the Hrubieszów region and its archaeology, and to Dr Christian Leiber from Germany, thanks to whom artefacts from the Hrubieszów Basin were displayed at two big exhibitions in Germany: ‘Treasures of the Eastern Goths’ and ‘The Vandals – Guardians of the Amber Route’, both of which greatly popularised Hrubieszów archaeology. The third award went to

Figure 3. The Laurels of Masłomęcz statue, designed by Jarosław Strobin, is awarded by the Laurels Committee based in the Hrubieszów Commune. photo J. Fuchs) 19

Archaeological Heritage. Methods of Education and Popularization Heinrich Schliemann’ to Hrubieszów. But these are not the only winners of the award. Recipients of commemorative awards include: Aleksander Kwaśniewski, former President of the Republic of Poland, professor Marian Harasimiuk, Rector of the Maria Curie–Skłodowska University in Lublin, and Dr Wojciech Brzeziński, director of the State Archaeological Museum in Warsaw (Kokowski 2007, 12). Professor Aleksander Bursche from the University of Warsaw is an important winner, being the one thanks to whom a unique ancient coin from Gródek was included in the collection of the museum in Hrubieszów (Figure 3). The 2009 commemorative award went to the primary school in Stefankowice, the pupils of which achieved the best results in archaeological competitions.

In the first place, it was decided to hold a meeting of the inhabitants and archaeologists in Masłomęcz every year. Archaeological festivals were subsequently organised to uphold the memory of the region’s ancient heritage. But it soon turned out that small meetings of befriended inhabitants of Masłomęcz and archaeologists from all over Poland cannot fill the void after burying the last excavation at the Gothic cemetery. Important steps by the local government, the 2007 project In the spring, 2007, the Hrubieszów–Mircze Association ‘Better Tomorrow’ – Local Action Group embarked on a project, co–financed from the Pilot Programme Leader+Scheme II. The project was aimed at promotion of cultural heritage and increasing the tourist attractiveness of the communes of Hrubieszów and Mircze. At the base of the project were the results of long-term archaeological research conducted in the region with particular focus on the discovery of the Gothic community in Masłomęcz. Thanks to the involvement of many people aware of the cultural and historical heritage of the region, it was possible to build a museum exhibit stylised as a Gothic building – a Gothic hut resembling a residential building discovered in the course of excavations in Hrubieszów– Podgórze (Figure 4). A tourist route, Trail of the Goths, was designed, leading through places connected with the most important archaeological discoveries and interesting scenic, natural, cultural and historical places. The starting point is the Gothic hut reconstruction and it ends at the ruins of the castle of the Ostroróg family in Kryłów.

After 25 years... now what? Excavations at the Gothic cemetery ended officially in 2002. It seemed that Masłomęcz would become an ordinary village known only from specialist archaeological literature and archival issues of newspapers. A solemn international meeting was mounted with archaeologists, members of local government, inhabitants of the region, and all friends of Hrubieszów archaeology coming together to write the end of this chapter in the history of the region. It was a time of closure and recollection, but also a large media event. With the end of the excavations the ‘great’ archaeology of Masłomęcz was to be consigned to the past. Something entirely the opposite happened. The inhabitants of the region, used to the presence of archaeologists, students, and even representatives of the media, were determined to maintain cooperation with academic circles.

Figure 4. Gothic buildings in Masłomęcz – built thanks to projects conducted by the Hrubieszów Commune. (poto B. Bartecki) 20

Bartłomiej Bartecki: Goths’ Village in Masłomęcz

Figure 5. Experimental archaeology in Goths’ Village (photo B.Bartecki) An exceptionally important element in the popularisation of archaeology in the region was the publication of ‘30 Powodów do Mieszkania w Krainie Gotów (30 Reasons to be Proud of Living in the Land of the Goths)’ by professor Kokowski, describing the most interesting events, discoveries and issues connected with research conducted in the Hrubieszów region. The promotion of the book took place during an archaeological festival organised to sum up the realisation of these plans. The project, which was implemented in 2007, gave rise to a series of further large– scale activities aimed at the creation of a reconstruction group presenting various aspects of the everyday life of the Goths inhabiting Masłomęcz between the 2nd and the 4th centuries AD.

the inhabitants of the region, during which old crafts and customs of the Goths from the Hrubieszów Basin were presented. The courses were organised under the supervision of archaeologists from the Stanisław Staszic Museum in Hrubieszów (Bartecki 2010, 94–95; Kokowski 2011, 22). The Gothic group was officially presented to the public in the middle of 2008. The existence and origins of this three-generation Gothic community aroused great public interest. On the day of the presentation, news of the event was reported in all prominent media outlets in Poland. It seems that it is the only group in the world to have made such an overnight decision to ensure that the cultural heritage of its members’ neighbourhood – which, after all, is not Slavic – is remembered. At present, the group has about 30 members, but interest in joining the Gothic community is still increasing. Among members of this Germanic community are both first-form school pupils and those who remember the recent political changes that swept this part of the world in the 20th century. Such a combination of generations under one Gothic banner would have been impossible had it not been for the honorary patronage of professor Kokowski, long-time head of the archaeological excavations in Masłomęcz, who instilled in the inhabitants of the Hrubieszów region a respect for archaeology and for the work of archaeologists. The project was destined to be a success. Every day domestic life of village inhabitants was complemented by a series of workshops presenting old crafts. Under the tutelage of archaeologists, experienced craftsmen and restorers, the Masłomęcz community quickly mastered different skills, such as using traditional, historical methods for making and firing Gothic pottery (Figure 5). Weaving, jewellery–

Life in the land of the Goths, the 2008 and 2009 projects In 2008 and 2009, two large projects aimed at the promotion and reconstruction of the cultural heritage of the Hrubieszów Commune were implemented. The emphasis was put on archaeological achievements connected with the examination of the Gothic civilisation in Masłomęcz. The first project (August–September 2008) entitled ‘Life in the Land of the Goths – Promotion and Reconstruction of the Cultural Heritage of the Village of Masłomęcz’ was financed by the Civic Initiatives Fund FIO 2008. The other project (January–July 2009) was financed by the Hrubieszów Commune from the resources of the Pre–Accession Rural Support Programme (PPWOW). The principal aim was the creation of an intergenerational group cultivating the cultural and historical heritage of the Hrubieszów Commune. As part of the these undertakings, the Hrubieszów Association ‘Better Tomorrow’ – Local Action Group organised a series of training courses for 21

Archaeological Heritage. Methods of Education and Popularization making and culinary workshops were also organised, the latter being based on historical sources referring to ancient cuisine. A group of Gothic warriors, armed with weaponry recreated on the basis of archaeological finds from the Lublin region, joined the ranks of the craftsmen. Months of hard work began to yield tangible results. A smallscale public initiative was noticed not only by the Polish media but, above all, by neighbouring local governments which understood the opportunity that had been seized by the Hrubieszów Commune. Soon, this unofficial group became the archaeological hallmark of the Lublin province and the venture gained international status thanks to the positive experiences of the Gothic group from Masłomęcz.

became very popular, especially among teachers. Living history lessons in Masłomęcz were included in the curricula of many schools, not only those in Hrubieszów (Bartecki 2010, 96). Cyclical archaeological festivals, which have now become international archaeological events, have attracted thousands of antiquity enthusiasts. Three times in a row the Goths from Masłomęcz took part in the Festival of Ancient Heritage in Svisthov, Bulgaria, gaining even more international friends for archaeology in Hrubieszów. Svisthov and Hrubieszów signed a partnership agreement. Countless different events are taking place now, presenting the achievements of the modern Goths in the Lublin region (Figure 6).

Goths’ Village NGO–2010

Archaeological projects in the Hrubieszów museum

The Goths’ Village Masłomęcz Association was established officially in 2010. Its aim is the popularisation of the cultural and historical heritage of the Hrubieszów region, both in Poland and abroad. Very quickly, many ambitious undertakings and possibilities became apparent. The members of the association continue to improve their skills, expand their knowledge and improve their Gothic equipment, which goes hand in hand with numerous presentations of traditional crafts and dynamic re-enactment of battles of Germanic warriors. Thousands of guests started arriving in this small village near Hrubieszów, which is known for the Goths. Pottery and weaving workshops for children and teenagers, and interesting lectures on the life and customs of the previous inhabitants of the region

In 2010 the popularisation of archaeology in the Hrubieszów region took on a whole new dimension. Under the organisational patronage of the Institute of Archaeology of the Maria Curie–Skłodowska University in Lublin, the Stanisław Staszic Museum in Hrubieszów opened the exhibition ‘Troy – The Dream of Heinrich Schliemann’. It was a singular event for the inhabitants of the town. Never before had an institution ranking lower than a national or specialist archaeological museums been given the opportunity to present the unique collection of Troy exhibits with ‘Priam’s Treasure’ in the forefront. Cooperation with major museums abroad, such as Museum für Vor- und Frühgeschichte in Berlin, and with Polish institutions, such as the State Archaeological Museum

Figure 6. Three-generation Gothic community from Masłomęcz (photo archive of the association) 22

Bartłomiej Bartecki: Goths’ Village in Masłomęcz and the National Museum in Warsaw, started a new era in Hrubieszów archaeology. Another exceptional PolishGerman exhibition organised in Hrubieszów, ‘Silver Horse – Archaeological Treasures Between the Black Sea and the Caucasus’, presented findings from Polish and German research conducted in southern Russia and present–day Ukraine in the 19th and early 20th centuries. Again, thanks to cooperation with the Institute of Archaeology of the Maria Curie–Skłodowska University in Lublin and the Berlin institution, the museum could put up a show of unique finds which attracted thousands of visitors, underscoring the extremely important role played by archaeology in the region. Undertakings of this type were possible thanks to the involvement of local governments aware of the region’s archaeological heritage and responsive to the need for creating and protecting the Hrubieszów Basin image.

have a positive effect on the high level of unemployment in the region. The undertaking calls for individual grants to be given for developing micro–businesses, especially in trades connected with tourism. Entrepreneurs will also be provided with advisory and training support on conducting business and writing business plans, as well as training courses in acquiring EU grants. Training courses aimed at developing skills and qualifications connected with professions other than agriculture and courses in entrepreneurship will be organised as part of the Human Resources Development Fund. At the same time, a Local Swiss Grant Fund of Social Initiatives Development will be run. As part of this activity, grants will be given for the support of local initiatives promoting the region and, above all, its products, services, culture and art connected with the Goths. NGOs involved in the development of Gotania and those promoting and developing tourism will also receive support. Grants will be given for the support of local initiatives promoting the sub-region, participation in tourist fairs, preparation of souvenirs, reconstruction of Gothic costumes and creation of a tourist information system (maps, information boards). The project, which is supposed to run for four years, will also include the organisation of promotional events in the form of international festivals of ancient and medieval culture, cyclical Gothic fairs, traditional crafts workshops and many other attractions not only connected with archaeology. The scope of this publication makes it impossible to describe all of the sometimes very complicated mechanisms of granting financial help to individuals, companies and NGOs. It is important, however, to emphasize the prestige that can be achieved by activities popularising archaeology, both of the Hrubieszów region and others. In 2011, a series of events promoting the Lublin region was financed by the Regional Operational Programme of the Lubelskie Voivodship, among them the ‘International Festival of Ancient Culture Gotania’ 2011. The project was realised in co-operation with local governments of the subregion. The undertaking, apart from the three–day festival in Masłomęcz and Hrubieszów between 29–31 June 2011 included the organisation of seven supporting events in partner communes (Bartecki 2012).

From idea to modern management, Gotania and the Swiss Contribution (from archaeology to economy) While the new archaeological identity of the inhabitants of Masłomęcz was being shaped with support from local government under the patronage of Lublin archaeologists, other social and economic initiatives based on archaeology mushroomed. Archaeological initiatives and social projects aimed at the popularisation of archaeology through involvement of the local community were recognized by local authorities in neighbouring regions. The Gothic brand of the Hrubieszów Commune became an attractive tourist product, increasingly recognisable throughout the country. Ten communes from three districts decided to make use of the achievements based on the strategy suggested by professor Kokowski, the Masłomęcz Goths researcher. Together, they drew up a project for the creation of a supralocal brand, which was to be associated by potential investors and tourists with the Hrubieszów, Tomaszów Lubelski and Zamość regions. The popularisation of archaeology was to take on a new economic dimension. The title of the project included the word Gotania, which appears in an anonymous Greek source, probably with reference to the northern land from which two Gothic tribes, the Thervingi and the Greuthungi, are believed to have set off to reach the Balkans. At this point, it is worth quoting project mastermind professor Kokowski: I assumed that Gotania should be first of all a synonym for a cultural and religious tolerance of old, and that it should aspire to its former economic and political importance. These assumptions served as a starting point for the development of various regional identities with Gotania as their common background (Kokowski 2012).

Conclusions and targets Popularisation of archaeology in the Hrubieszów region has a long tradition. The first seasons of excavations at a Gothic cemetery in Masłomęcz at the beginning of the 1980s were of key importance. Excellent cooperation between archaeologists, village inhabitants and institutions, a friendship which has grown over the years, and pride in the heritage of the region have produced positive effects for over 30 years. At present, there are several hundred Polish re–enactment groups reconstructing life in different historical epochs. Most often they are open to secondary school and university students and other enthusiasts of ancient cultures. Generally, they have wide access to specialist literature and Internet resources, and their activity derives from their professions, as in the case of many archaeologists and historians. But what happened

The ground base of the project is a cohesive and uniform area in terms of geography, natural environment, society, economy, history and culture. A project entitled ‘From Idea to Modern Management of the Sub-region of Gotania’ was submitted under the Swiss–Polish Cooperation Programme. It was evaluated positively and earmarked for external funding. The Local Swiss Enterprise Grant Fund was also part of the project and was supposed to 23

Archaeological Heritage. Methods of Education and Popularization in the small village near Hrubieszów was very unusual. Here, interest in the ancients came with the arrival of archaeologists examining a Germanic, that is, ‘foreign’, cemetery in the village. After years of acclimatising to archaeological reality and the fame generated by media interest, the initial mistrust of the Masłomęcz residents towards archaeologists developed into an enthusiasm for building a new, regional identity. The idea for establishing a group presenting the archaeological heritage of the Hrubieszów region germinated in this fertile soil almost overnight. It posed a great challenge for older people, who were without professional education or any experience in the field of reconstruction, and with limited access to professional literature. There is no doubt that many issues still need to be professionally ‘polished up’. Initially social activities now are in need of more extensive academic supervision. Popularisation activities unexpectedly took on a whole new dimension. Social initiatives carried out in a small community developed, or rather gave rise to large economic projects based on the same archaeological foundations. However, combining archaeology with economy and, in consequence, regional policy, resulted in new threats. The ‘Gotania Project’ is new, it is still in the strategy-planning phase. At this stage it is vital that the proper sense of activities instigated by a group of enthusiasts caring about their cultural and historical heritage is not lost. Activities which may transform the academic value of discoveries from Masłomęcz into a commercial, banal product designed to bring easy profit, should be supervised. Planned festivals of ancient culture cannot become only colour fairs geared towards the sale of souvenirs, beer and hot–dogs. Designed ‘archaeoparks’ cannot resemble Jurassic Park or Disneyland. Archaeology cannot become a political tool used to whatever degree by people having nothing in common with this field.

Kokowski, A. 2011. Archeologia naprawdę żywa. In M. Ausz, G. Miliszkiewicz, H. Stachyra and D. Szewczuk (eds.), Muzea skansenowskie we współczesnej edukacji historycznej, 13–24. Lublin. Kokowski, A. (ed.) 2012. Gocka duma Masłomęcza. Masłomęcz–Hrubieszów–Lublin. In print. Mr Bartłomiej Bartecki Muzeum im. ks. Stanisława Staszica w Hrubieszowie Masłomęcz Association Goths’ Village, Poland e-mail: [email protected]

Translated by E. Zabłocka Bibliography Bartecki, B. 2010. Powrót Gotów do Kotliny Hrubieszowskiej. Zamojski Kwartalnik Kulturalny 3 (104), 94–96. Bartecki, B. 2012. Wioska Gotów w Masłomęczu/The Goths’ Village in Masłomęcz. In A. Kokowski (ed.) Gocka duma Masłomęcza. Masłomęcz–Hrubieszów– Lublin. In print. Gurba, J. (ed.) 2003. Dwadzieścia pięć lat archeologii w Masłomęczu 1977-2002. Materiały do bibliografii prasowej archeologii w Masłomęczu. Lublin. Kokowski, A. 2004. Rzecz o przyjaźni czyli ćwierć wieku z archeologią w Masłomęczu (tylko dla dorosłych). Lublin. Kokowski, A. 2007. Trzydzieści powodów do dumy z mieszkania w krainie Gotów. Hrubieszów-Lublin. Kokowski, A. 2008. Goci. Od Skandzy do Campi Gothorum (Od Skandynawii do Półwyspu Iberyjskiego). Warszawa.

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Using virtual museums in education: tools for spreading Calabrian cultural heritage among today’s youth Francesca Bertacchini and Assunta Tavernise Abstract This work aims at presenting three systems devoted to the spreading and learning of Calabrian Cultural Heritage. The first is called ‘Virtual Museum Net of Magna Graecia’, and allows the achievement of personalized learning paths related to cultural goods by providing educational contents on the basis of a thematic search or a map. The other two virtual museums allow the selection and visualization of contents at different levels of detail and the user, as an avatar, can observe cultural finds and pictures. Thanks to this kind of digital tool supporting the educational process, the young generation, a target scarcely attracted by museums and galleries, can be engaged in entertaining learning. Keywords Learning, virtual museum, edutainment, education, virtual environments, teaching/learning methodologies

Introduction

using mainly stereographic techniques (Pieraccini et al., 2001).

Calabria is a region of Southern Italy, rich in environmental and cultural resources which, unfortunately, are not well exploited. In fact, Calabria offers many archaeological, architectural and artistic goods, mainly related to Greek colonial expansionism in the Mediterranean area, but the archaeological parks and the artefacts housed at the main Southern Italian museums are unknown to the wide public. Moreover, most of these finds are not exhibited and accessible to visitors, but stored in museum warehouses (sometimes without any cataloguing process), even if from a cultural perspective they constitute a single set (Naccarato et al., 2011). Therefore, the Evolutionary Systems Group (ESG) operating at Università della Calabria has realized three Virtual Museums showing all the finds related to the Magno­Greek period and able to engage young people in entertaining learning. In fact, this kind of digital tool can become a cognitive amplifier, supporting the educational process (Pantano and Tavernise 2009, 2011), as well as approaching the young generation, a target scarcely attracted by museums and galleries but one feeling comfortable in using technology. This new kind of learning has been called “edutainment’: a merging of the terms “education’ and “entertainment’ (Bilotta et al. 2009). The positive results of this approach have been demonstrated in many studies, also with regard to scientific topics (Bertacchini et al., 2006, 2009).

Moreover, the creation of the European networks of excellence in the CH field has given additional impetus to this specific domain of research, focusing on the challenge of standardizing processes for data capture, networking, and interoperability as primary strategies for linking information throughout the entire sector (Arnold and Geser 2007). This paper aims at presenting the three virtual museums realized by ESG to exploit the CH richness of the region of Calabria in Italy. The ‘Virtual Museum Net of Magna Graecia’ and the other virtual museums are introduced in the following sections. Some conclusions have been presented in the final section. The ‘Virtual Museum Net of Magna Graecia’ This system (http://www.virtualmg.net/) offers a global vision of Magna Graecia archaeological heritage, cancelling the physical distance between the user and the cultural finds. Pictures of CH finds and places, as well as videos, historical information, and 3D reconstructions, are at the disposal of the learner, who can study, experience and enjoy the contents from different levels (Bertacchini et al., 2006).

In a Virtual Museum, a user can access the real or the 3D version of finds, both aiming at the preservation of Cultural Heritage (CH). 3D reconstructions are used to enhance preservation and scholarship, providing tools for large collections to be preserved, catalogued and searched effectively, or producing high-quality digital representations of cultural artefacts that can be accessed and investigated worldwide. Digital reconstructions and applications for remote access enable visitors of virtual museums to interact with cultural artefacts and to enjoy new experiences (European Commission 2007). Significant examples of 3D digital images are the ‘Madonna col Bambino’ by Giovanni Pisano or Michelangelo’s ‘David’, as well as the 3D model of the Florentine ‘Pietà’, realized

In particular, the Virtual Museum is structured in four main sections: Real, Virtual, Documents and Didactics, Help and Presentation. In ‘Real’, the user can find museums and finds present in Calabria, also using a map with geographical access developed by GIS technology. A learner can choose a museum, a room in the museum, a window in the selected room, and a find present in the showcase (an example is in Figure 1). Some of these finds can also be virtually manipulated. Alternatively, the learner can geographically look for and find an archaeological park, visiting the ancient ruins in virtual form (some of the virtual visits can be visualized by using QuickTime VR system). The level “Virtual’ 25

Archaeological Heritage. Methods of Education and Popularization

Figure 1. An example of finds present in the showcases of Sybaris museum, in the Virtual Museum Net of Magna Graecia (http://www.virtualmg.net/).

Figure 2: A Riace bronze warrior and its virtual 3D reconstruction (http://www.virtualmg.net/). 26

Francesca Bertacchini and Assunta Tavernise: Using virtual museums in education

Figure 3. The reconstruction of an agora with a tuna fish seller, realized using Augmented Reality techniques (http://www.virtualmg.net/). allows the manipulation of 3D objects (reading a brief history of the find) and the visualization of reconstructions of Magno-Greek buildings, environments, machines, theatrical masks and sculptures. A 3D reconstruction of a Riace bronze warrior from the museum of Reggio Calabria (Italy) is presented in Figure 2, in its original state (as assumed by archaeologists).

The finds in the museums consist of: a. pictures of finds in their current state and/or reconstructed according to their former glory; b. pictures of 3D reconstructions of entire settlements or parts of it (squares, specific buildings like the theatre or temples, environment of the time); c. pictures of 3D reconstructions of imaginary characters dressed in typical clothes, and placed in specific places of the virtual environment; d. videos on the Calabrian Magno-Greek period, capable of enriching the museum experience.

Users can also access texts and documentary videos on the period; videos have been realized using Augmented Reality techniques. A tuna fish seller in the agora (city square) is shown in Figure 3 as in an ordinary ancient everyday life scene. Events connected with the project and the research group are presented in the Help and Presentation’ section.

All the pictures of real objects are the result of a long photographic campaign in each Calabrian museum; furthermore, 3D reconstructions have been realized according to specific and analytical historical/ archaeological information and are the result of close collaboration between archaeologists and Computer Graphics experts.

Moreover, a version in progress of this Virtual Museum, based on web 2.0 technologies and called ‘SMVMG 2.0’, is able to provide educational personalized paths for the learning of CH contents. In particular, users can access virtual reconstructions of ancient scenarios and create connective paths among them. In fact, the user can visualize: a. the places and objects of cultural interest present in a selected perimeter according to his/her position; b. museums, archaeological parks, and libraries at a certain time (and in a determined perimeter); c. the road map (as text or image) from the user’s position to a selected cultural find; d. the learning itinerary (as text or image) (Naccarato et al., 2011). As for example, if the user is interested in a specific museum, he/she will choose the museum among the results and can access personalized information using the map, visualizing the places and the simplest path to reach it, i.e., from the airport. Then, he/ she can know the ideal path from a museum to another place of interest, calculating the distance and the opening timetable.

In the first virtual museum devoted to Magna Graecia, images and pictures provide a suggestive journey among objects and events of the past. Users can immerse themselves in a virtual environment, learning through an innovative and enjoyable educational tool, living an experience that is formative and engaging at the same time (especially for young users). Moreover, they have the opportunity to expand their knowledge, taking charge of the complete learning experience in ways that best suit their individual needs and interests. In fact, the learner can have a unitary vision of the patrimony of a museum (or more museums), and amplify the complexity of the visit. Hence, his/her attention is engaged in different characteristics of the same topic, evaluating a cultural artifact on the basis of its specific dimensional and typological characteristics, as well as it spatial and temporal relations. In fact, it is possible to find the related position of the artifact in a 3D reconstruction of the city/house, examining it in the age in which it was used. In this view, users are able to search virtually and identify objects in the pictures of 3D reconstructions of archaeological sites: as a consequence, the learning experience becomes entertaining and users feel totally involved in it.

Virtual Museums on Calabrian Magno-Greek period The other two systems realized by ESG are 3D reconstructions of real museums in which the user, as an avatar, can observe cultural finds and pictures. Moreover, according to the learning principles of constructivism, the user can manipulate virtual objects, and then make comparisons between a virtual reconstruction of an artefact and its current state.

Figure 4 shows a section of this virtual museum, as well as the navigation of the avatar in a room. In fact, the user can explore the museum as in real life, walking in the different 27

Archaeological Heritage. Methods of Education and Popularization

Figure 4. A section of the first virtual museum and the navigation of the avatar in a room (Bertacchini et al. 2009; Bilotta et al. 2007). rooms (a map at the right side of the desktop helps the users that choose this modality of navigation). Another approach to the environment is provided by the Wii™ wireless controller based on gestures, designed for offering an experience that is formative and engaging at the same time, especially for young users (Pantano and Tavernise 2009). In addition to this modality which is very similar to videogames, the user can traditionally use the mouse/ keyboard/joystick to move and explore the environment. In this view, interactivity has become a communication means favoring concentration, attention and minor mental effort (just as in videogames). This intuitive approach is a key factor which has moved educational virtual environments closer to the young users, allowing an effectively immersive journey into a past displayed by computers.

access contents from a distance. Also in this case the ancient story told through 3D images becomes more interesting and stimulating for the general public and, in particular, for young users. In fact, they can access different levels of detail regarding the same CH find, from vision to virtual manipulation. Hence, the knowledge of a cultural find is not limited to it as a single historical and artistic product, but learners can virtually ‘manipulate’ significant 3D objects and watch them as in a real Virtual Reality Theatre (Virtual Theatres are based on stereoscopic tools, and users can visualize 3D objects by wearing special glasses with polarized lens) (Steventon and Wright 2006). An example of this kind of visualization is shown in Figure 5. In this way Virtual Museums provide information with convincing and valuable educational function, and arouse interest and curiosity in receivers of the message.

In the second virtual tool realized by ESG, a traditional museum present at Università della Calabria (Italy) has been reconstructed in 3D, providing the opportunity to

Manipulation of CH finds is an activity that cannot be replicated in the physical world, because the actual finds are ruined or fragmented, or in the store (or display case) of

Figure 5. A real Virtual Reality Theatre and its 3D reconstruction in the Virtual Museum realized by ESG (Pantano and Tavernise, 2011). 28

Francesca Bertacchini and Assunta Tavernise: Using virtual museums in education – ICWL 2009. Proceedings of 8th International Conference on Web-based Learning (ICWL), 19–21 August 2009, 1–16. Aachen. Bertacchini, P. A., Bilotta, E., Di Bianco, E., Di Blasi, G. and Pantano, P. 2006. Virtual Museum Net. In Z. Pan, R. Aylett, H. Diener, X. Jin, S. Göbel and L. Li (eds.), Technologies for E-Learning and Digital Entertainment. Proceedings of First International Conference, Edutainment, April 16-19, 2006, Hangzhou, China, 1321–1330. Hangzhou. Bertacchini, F., Bilotta, E. and Pantano, P. 2006. Il Caos é semplice e tutti possono capirlo. Bologna, Muzzioeditore. Bilotta, E., Gabriele, L., Servidio, R. and Tavernise, A. 2009. Edutainment Robotics as Learning Tool. In Z. Pan, A. D. Cheok, W. Müller and M. Chang (eds.), Transactions on Edutainment III 2, 2, 25­35. Heidelberg, Springer Berlin. Bilotta, E., Pantano, P., Bertacchini, F., Gabriele, L., Longo, G., Mazzeo, V., Rizzuti, A. C., Talarico, A., Tocci, G. and Vena S. 2007. ImaginationTOOLSTM. A 3D environment for learning and playing music. In Proceedings of Eurographics Italian Chapter 07. 139– 144. Trento. Bilotta, E. and Tavernise, A. 2012. Designing educational paths in virtual worlds for a successful hands-on learning: cultural scenarios in NetConnect project. In S. D’Agustino (ed.), Immersive Environments, Augmented Realities and Virtual Worlds: Assessing Future Trends in Education. USA: IGI Global. In press. European Commission 2007. Access to and preservation of cultural heritage-Fact sheets of 25 research projects funded under the Sixth Framework Programme for Research and Technological Development (FP6), Imprimé par OIL, Luxemburg. Gärdenfors, P. and Johansson, P. 2005. Cognition, education, and communication technology. Mahwha. New Jersey, Lawrence Erlbaum Associates. Naccarato, G., Pantano, E. and Tavernise, A. 2011. Educational personalized contents in a Web environment: Virtual Museum Net of Magna Graecia. In G. Styliaras, D. Koukopoulos and F. Lazarinis (eds.), Handbook of Research on Technologies and Cultural Heritage: Applications and Environments, 446­460. Hershey PA, USA, IGI Global. Pantano, E. and Servidio, R. 2009. Pervasive environments for promotion of tourist destinations. In D. Vrontis, Y. Weber, R. Kaufmann and S. Tarba (eds.), Managerial and Entrepreneurial Developments in the Mediterranean Area, 1213–1335. Cyprus, EuroMed Press. Pantano, E. and Tavernise, A. 2011. Enhancing the educational experience of Calabrian Cultural Heritage: a technology-based approach. In S. Chhabra and H. Rahman (eds.), Human Development and Global Advancements through Information Communication Technologies: New Initiatives, 104­124. Hershey PA, USA, IGI Global.

a far museum. However, manipulation improves learning from a constructivist point of view (Kafai and Resnick 1996; Papert 1991). Furthermore, the superimposed and interchangeable view of the virtual object and the real one supplement and enhance learning solutions (Bilotta and Tavernise 2012). Conclusion Recent advances in information and communication technologies have provided novel tools and strategies for learning of educational CH content in an entertaining way. Virtual museums represent an advanced learning opportunity: in these virtual worlds visitors are not only allowed to look back into time witnessing history and cultural expansion, but they have also access to a handson approach able to support a deep understanding of the historical and artistic heritage in all of its components (Bednar et al., 1995; Bilotta and Tavernise 2012; Gärdenfors and Johansson 2005; Kafai 2006). Moreover, several studies have demonstrated the positive effect on students of learning through interactive technologies, supporting the dissemination of knowledge and showing entertainment aspects facilitating the educational process (Pantano and Tavernise 2011). Thus, the enhancement of a user’s experience in the present increases his/her understanding and knowledge of ancient civilizations in the past. Furthermore, advanced technological instruments offer solutions adaptable to every kind of user, providing a means of scientific communication at different levels of complexity. For these reasons, a virtual museum experience can become a tool for thorough learning in school laboratories and/or a means for raising the tourist attractiveness of Calabrian destinations (Pantano and Servidio 2009). Finally, some of the virtual systems realized by ESG have been presented by a popular documentary of a public Italian TV channel, exclusively devoted to the Magna Graecia period. This has shown the efficacy of the realized research products from a different point of view, as well as the importance of good interrelation of scientific communication, archaeology and advanced technologies. Bibliography Arnold, D. B. and Geser, G. 2007. Research agenda for the applications of ICT to cultural heritage. Epoch Publication . Bednar, A. K., Cunningham, D., Duffy, T. M. and Perry J. D. 1995. Theory into Practice: How Do We Link?, In T. M. Duffy and D. H. Jonassen (eds.), Constructivism and the technology of instruction: A conversation, 17– 34. Hillsdale, NJ, Lawrence Erlbaum Associates. Bertacchini, F., Bilotta, E., Bossio, E., Vena, S. and Pantano, P. 2009. Learning Chaos in an Interactive Virtual Museum. In M. Spaniol, Q. Li, R. Klamma and R. W. H. Lau (eds.), Advances in Web Based Learning

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Archaeological Heritage. Methods of Education and Popularization Pantano, E. and Tavernise, A. 2009. Learning Cultural Heritage through Information and Communication Technologies: a case study. In M. Chang and C. W. Kuo, Handbook of Research on Computer Enhanced Language and Culture Learning, 103­119. Hershey PA, USA, IGI Global. Pantano, P., Bilotta, E. and Bertacchini, F. 2008. Educational Virtual Scenario for Learning Chaos and Complex Theories. The International Journal of Virtual Reality 7 (2), 19­26. Papert, S. and Harel, I. 1991. Constructionism. New York, Ablex Publishing Corporation. Pieraccini, M., Guidi, G. and Atzeni C. 2001. 3D digitizing of cultural heritage. Journal of Cultural Heritage 2, 63­70. Steventon, S. and Wright, A. 2006. Intelligent Spaces. The Application of Pervasive ICT. Berlin, Springer. Kafai, Y. 2006. Playing and making games for learning: Instructionist and constructionist perspectives for game studies. Games and Culture 1 (1), 36­40. Kafai, Y. and Resnick, M. 1996. Constructionism in practice – designing, thinking and learning in a digital world. Mahwha, New Jersey, Lawrence Erlbaum Associates. Dr Francesca Bertacchini Università della Calabria Via P. Bucci, cubo 17/B 87036 Arcavacata di Rende (Cosenza), Italy e-mail: [email protected] Dr Assunta Tavernise* Università della Calabria Via P. Bucci, cubo 17/B 87036 Arcavacata di Rende (Cosenza), Italy e-mail: [email protected] *corresponding author

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Communicating archaeology outside of museum walls Špica and Congress square – case study from Slovenia Dijana Cerovski and Irena Šinkovec Abstract Archaeological excavations are the most attractive, but the least approachable medium. We are used to seeing archaeological sites being interpreted and communicated to the public months or years after the excavations have finished. The authors discuss reasons for low popularization of archaeology, which should be responsible for this task – archaeologist in the field or museum professionals, and what new approaches to archaeology can be proposed in the museum education programs. Keywords Museum communication, popularization of archaeology, public archaeology

Introduction

communication of archaeology, which can be understood through the new approaches to museum communication, introduced with community museology and new museology (cf. Davis 2008). Social limits to museum educational and promotional activities are discussed, as is the understanding of the role played by archaeology in museum educational practices.

Communication became a driving force of museum operations at the end of the 20th century and traditional ways of communication have changed rapidly as a consequence. Museums are becoming more and more visitor–centred and by this they are seeking new communication channels and methods. Traditional communication was limited to inside the museum institution and was focused on exhibitions and related events, gatherings, publications and workshops as the essence of the communication. As exhibition designs changed along with the architectural image of recent museums, so did ways of communicating heritage to the public (cf. Hooper–Greenhill 1994).

From community programs to outreach programs What is communication and how is it defined by different museologists? Since the 1980s communication has been found to be indispensable. According to Hooper– Greenhill, communication is a major museum function that includes activities that attract visitors through exhibitions, workshops and demonstrations. Hooper–Greenhill also believes that museum education can take place both in the museum and in the community. In addition, using concepts of visitor satisfaction and customer care, measuring museum use tends to be limited to activities and visitor perception, whereas museum use is in fact much broader than that (Hooper–Greenhill 1994, 55 and 142).

The idea of presenting information about the archaeological heritage within a broader context of public space is far from being new (Carter (ed.) 2001, 7; Hooper–Greenhill 1994, 143; Potter 1997; 35; White and Weisman 2004, 27). The National Museum of Scotland was among the first to introduce new approaches to presenting archaeology. While the new Museum of Scotland was being built in Edinburgh, windows were provided in the high wooden fence around the site so that passers–by could see what was happening. Small notices by each window explained what stage the work had reached (Carter (ed.) 2001, 7). The idea of presenting archaeology to audiences even as excavations are proceeding has been integrated into the academic curriculum of South Florida University’s museology program. American students are trained regarding the role of archaeology in society: who it affects and how. Furthermore, public outreach and archaeology education programs are often part of the fieldwork, as is a local–to–global perspective (White and Weisman 2004, 28).

Moreover, Maroević argues for the presentation space of cultural heritage to be significantly larger than museum realities. We live in one and visit the other (Maroević 1998, 244). Finally, in ICOFOM definitions of the key concepts of museology, Desvallées and Mairesse describe communication as a driving force of museum operations that involves the public through traditional and innovative practices, including also extramural activities (Desvallées, Mairesse 2010, 30). The concept of communication has a variety of meanings; in fact, there are as many definitions of museum communication, as there are authors writing about it. The definition used here is that of specific, that is, direct or outdoor communication.

There has been some academic discussion of museological approaches to communication in recent years and these are presented and exemplified by practical applications from Slovenia. The authors describe the relationship between museums and other institutions responsible for interpretation and promotion of archaeological heritage and suggest some new ideas for promotion and

The traditional feeling is that the public should come to museums to see collections and use resources, because the most effective experience is through actual observation in the galleries. In recent years museums have re–examined and expanded their roles as educational institutions providing services to diverse audiences (Pitman– Gelles 1981, 125). Diverse audiences require different

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Archaeological Heritage. Methods of Education and Popularization communication and educational approaches. Workshops, classes, and other formal education programs are only one aspect of community programs. Publications and games, which can be taken home and programs that allow people, who may not be able to attend the museum, to reach it anyway, are another aspect. Among the most successful programs to reach diverse audiences are so–called outreach programs, which range from satellite facilities to loan kits, mobile displays, mobile vans or buses that travel to distant schools or communities (Hooper–Greenhill 1994, 142; Pitman–Gelles 1981, 123–124).

Archaeology forms part of the heritage that is kept and presented in museums. Traditionally, the process of communication and presentation of archaeology is physical. Inside the museum institution, it can be presented through workshops. It can also be presented in public space, for example with guided tours in archaeological parks and summer camps of experimental archaeology. Recently, the promotion of archaeology has also been done online, through social media and by virtual museums.

With the rise in awareness about how to expand their audience, museums have started to open their doors and are taking their staff and collections outside, into community centres, hospitals, prisons, schools and day centres. Working in informal community venues means empowering community groups and building confidence (Hooper–Greenhill 1994, 143).

Kongresni trg (Congress square) and Zvezda park are one of the most distinguished classicist urban compositions from the early 19th century. The square was built on the filled–in embankment, which protected the walls of the Roman settlement of Emona and subsequently the walls of medieval Ljubljana. It was established at the beginning of the 19th century, soon after the demolition of the medieval town walls and the Governor’s city gate.

Case I: Kongresni trg/Congress square

The staff, collections and resources have in this way become helpful to people in the community, who have been redefining their identities and searching for connections with their past. Outreach programs provide an effective way of reaching an audience. On one hand, community programs have turned out to be among the most difficult for museums to develop, because they require extra thought about their substance and the public relations aspects, but on the other hand, these types of programs represent some of the most innovative aspects of the museum today (Pitman–Gelles 1981, 112).

The square is also of great historical and political significance as it was built after Napoleonic Wars for the occasion of the Holy Alliance Congress, which was held in Ljubljana in 1821 and was attended by the most important European monarchs, including the Emperor of Austria and the King of Naples. Prior to the Congress, the ruins of the former Capuchin Monastery, which stood to the north of the square, had been cleared away by the municipality and in 1824 a temporary plan was prepared to arrange a park there. Eight avenues of trees were planted, running in

Figure 1. The presentation of archaeological artefacts (photo Arhej d.o.o.). 32

Dijana Cerovski and Irena Šinkovec: Communicating archaeology outside of museum walls. eight different directions and crossing in the centre. This form gave the park its name, Zvezda, which means a star. With this arrangement the area became the first public park and a lively social space. By 1829 most of the square was surrounded by buildings and the square and the park did not change much until the 20th century. Between the world wars, the square was rearranged by Mr J. Plečnik, who connected the square with the bank of the Ljubljanica River. The project to build the garage under the square, which rid the area of cars, started in 2002 (Kladnik 2004, 56–57; Mihelič 2001, 114–145).

In Roman times, the area of Kongresni trg lay before the north wall of the Roman city of Colonia Iulia Emona. Six–feet–deep trenches were found, as well as remain of a Roman road leading to Celeia, and a cemetery from the early 1st century AD. In the end of the 1st century AD, the city expanded; consequently numerous economic and commercial facilities were constructed over the former cemetery. Buildings were equipped with drainage channels, hypocausts (under–floor heating system) and mosaic and fresco decoration. In the 4th century AD, fear of raiding barbarians caused the inhabitants to fix the defence walls and ditches and to pull down all the architecture standing in front of the walls. Just as in Roman times, so in the middle Ages and in modern times, the area of Kongresni trg lay outside of the city walls. The city area on the left bank of Ljubljanica River, called Novi trg (New Market), lay at the southern edge of the archaeological research area. The outer edge of the defence ditch from modern times was discovered. The entrance gate lay across a bridge and was called Vicedomska vrata. In the early 17th century the Capuchin monastery with gardens, commercial premises and associated church of St. John the Evangelist was built in the area of Kongresni trg. In the era of Napoleon’s conquest (1809–1813), the French turned the buildings of the monastery and church into a military depot and stables. In 1817, the monastery was finally destroyed.

Before construction of the parking garage, it was necessary to carry out preliminary archaeological research. As said above, Kongresni trg and Park Zvezda lay on top of Roman and medieval ruins. Excavations turned out to be one of the largest archaeological projects in the city centre of Ljubljana, lasting for almost two years. The rich history of settlement in the Kongresni trg was revealed from prehistoric times to today. Archaeological research has confirmed that the left bank of the Ljubljanica River was occupied by extensive cemeteries, but newly discovered burial ground in Kongresni trg has revealed a new type of burial that had previously not been recorded within the city area. The deceased were buried under round mounds surrounded by a ditch. The wooden box of the central tomb contained an urn with the remains of the deceased and clothing burned together with the deceased on the funeral pyre. Five mounds were discovered, the central graves of which with the grave goods can be dated to the early Iron Age (8th–7th century BC).

Excavation of Kongresni trg started in February 2009 and lasted until May 2011. Kongresni trg is one of the central city squares and by this a very important element in the everyday life of Ljubljana’s inhabitants, a place for social gatherings as well as a shortcut for pedestrians going to the

Figure 2. The information panels on the southern fence, sourrounding the excavation site. (photo Arhej d. o.o.). 33

Archaeological Heritage. Methods of Education and Popularization

Figure 3. The view over Špica park (photo Tica Sistem s.p.). various most important cultural, educational institutions located in the city centre. All these roles were interrupted by the excavations conducted in the square. Moreover, a high fence around the excavation area prevented viewing of what was going on inside. City residents and passers–were forced to look for other shortcuts to get to University, Philharmonic and libraries, while youngsters found another square to meet in. The concerts and book fair that traditionally took place in Kongresni trg had to find new temporary locations as well. To ease the inconvenience at least to some extent, the City Museum of Ljubljana, in cooperation with archaeologists and the construction company, inserted Plexiglas windows into the fence surrounding the site. Archaeologists prepared small exhibitions of tools used in excavations, and the finds made in the area, which could be viewed through these windows (Figure 1). Passers–by could also see the situation in the field and observe the work of archaeologists. On one side of the fence the same Museum prepared information boards (Figure 2) with texts and photos about the finds and the work of archaeologists. The Museum hosted a series of three exhibitions, dedicated to three periods, discovered in Kongresni trg. The first exhibition about the prehistoric cemetery and the second one about the suburbs of the Roman city Emona were presented, while the excavations were still in progress. The third one, about the Capuchin monastery started after the excavations had finished.

and to the east are the slopes of Golovec. South from Špica, two streams, Ižica and Mali Graben, join the Ljubljanica and even further to the south the Ljubljana Marshes open up. In the 19th century, the Špica area, which was a swampy meadow (called Brulla), was dried; it was built over in the 20th century. The biggest intervention locally was the construction of the Gruber Canal in 1771–1780, intended as overflow outlet for a flooding Ljubljanica (Klasinc et al. 2010, 14). Building the canal included the installation of a brick factory, which stood in the area between Špica and Karlovški Bridge (cf. Serše et al. 2005). Ljubljanica continued to flood despite the canal, so it had to be cleaned and deepened repeatedly in the 19th and in the first half of the 20th century. This work brought to light many artefacts. Archaeological finds, many prehistoric and Roman objects, from Špica and the surrounding area were first mentioned in the middle of the 19th century, when the riverbed between the Prule Bridge and Špica was deepened. At the end of 19th century, a prehistoric fishing trap made of branches was discovered near the Botanical Garden, and at the same time, pales were discovered on the beach of Mary at Špica (cf. Klasinc et al. 2010, 6). Archaeological research at the site of Špica was conducted within for a landscaping project, which also included the Gruber Canal embankment and port. A park was planned in this much degraded area and a promenade along the Ljubljanica and Gruber Canal was installed. The area is under protection as a cultural, historical and natural landmark (Ljubljana ESD 329 – Archaeological site of Ljubljana), and has been of interest to archaeologists for

Case II: Špica Špica is located on a pier where the Ljubljanica River and Gruber Canal join (Figure 3). This is where Špica got its name – Point. The castle hill rises to the north of the site 34

Dijana Cerovski and Irena Šinkovec: Communicating archaeology outside of museum walls.

Figure 4. The visitors on the excavations at Špica (photo by Tica Sistem s.p.). more than a hundred years, as well as being mentioned repeatedly in historical sources (Babič 2008, 12). Occasional finds, mainly from the Ljubljanica, have suggested the existence of a prehistoric village built on piles (Klasinc et al. 2010, 6).

Visitors were of various profiles: students, companies with their employees, senior citizens and journalists. The result in numbers: more than 1100 visitors in one month (City Museum’s statistical data). Conclusions

Archaeological research on the site of Špica in 2010 (from December 2009 to June 2010) confirmed the existence of a late Eneolithic settlement with architectural elements, remnants of piles, logs and beams. Very well preserved organic residue was found, usually preserved only in wet environments. Only small sections of the site could be opened at a time and a strict security system was imposed because of the fragility of the organic substances, which decompose very quickly once removed from the wet soil. Excavations were conducted in narrow bands and the depth of excavation was constantly adjusted according to the results of pre–excavation probes. The aim was primarily to preserve as much of the material in the soil for future generations. With the partial results obtained, it may be possible to supplement the understanding of pile dwelling settlements.

The two case studies presented above contribute to the image of modern Ljubljana urban development. The settlement of Špica, located in the immediate vicinity of the city centre, is significant not only because of its location. It should be understood in the context of a pile dwelling settlement from the third millennium BC, providing foundations for the subsequent proto–urban and urban development of Ljubljana. Ljubljansko barje lie in the southern part of the Ljubljana basin. Extensive excavations of pile dwelling settlements form the end of the 19th century, systematic research in the 20th century and primarily through nature sciences supported by the latest research, have identified more than 40 pile sites (cf. Velušček 2009). Over the past years, the efforts of both local and foreign experts, which have been directed towards the preservation of these valuable archaeological sites, have been at least partially compensated by the fact that, in 2011, Alpine pile dwellings were classified as cultural heritage on the UNESCO world heritage list.

The excavation sparked a huge response from both the professional and the lay public. In cooperation with the Ljubljana municipality, the Museum and Galleries of Ljubljana organized a campaign to present the findings to the public even as the excavations were in progress. The site could be visited by appointment on working days, from mid–April to late May 2010. The construction company, which supported the project, prepared safe access and installed a fence around the site allowing visitors to have a good view of the archaeologists at work and their working area, but without moving freely across the site (Figure 4).

If Špica represents the pre–urban origins of the city Ljubljana, Kongresni trg is a section through all the rich phases of urban development in the city centre, the most important contribution being knowledge about the late Iron period when a cemetery occupied the site and the Roman period when Kongresni trg was situated outside of the city gate and was used as a military cemetery.

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Archaeological Heritage. Methods of Education and Popularization Hooper–Greenhill, E. 1994. Museums and their visitors. Leicester. Klasinc, R., Ravnik, M., Kusetič, J. and Vučkovič, S. 2010. The Report of a Preventive Achaeological Excavations at Špica. Ljubljana. Maroević, I. 1993. Introduction to Museology. Zagreb. Mihelič, B. 2001. Congress Square with a star - a monument of urban art early 19th century. In Proceedings of Art History 37, 114–145. Ljubljana. Novakovič, P., Grosman, D., Masaryk, R. and Novšak, M. 2007. Minimal standards to archaeological field documentation: overview of the state and standards proposal. Ljubljana. Pitman–Gelles, B. 1981. Museums, Magic and Children: Youth Education in Museums. Washington. Potter, P.B. Jr. 1997. The Archaeological site as an Interpretive Environment. In: Presenting Archaeology to the Public: Digging for Thruths. 35-45. Altamira Press. White, N. M. and Weisman R. B. 2004. Academic Archaeology is public Archaeology. The SAA archaeological record. The Magazine of the Society for American Archaeology 4, no.2, 26–29. Willems, W. J. H. and Brandt, R. W. 2004. Dutch Arcaheology Quality Standard. Den Haag. Velušček, A. 2009. Stare gmajne. Pile – dwelling settlement and its era. The Ljubljansko barje in the 2nd half of the 4th millennium BC. Opera Instituti Archaeologici Sloveniae 16. Ljubljana. Serše, A., Juričič Č. D., Južnič, S. and Košir, S. 2005. Gabrijel I. Gruber S. J. 1740–1805, The catalogs 24. Ljubljana.

While both sites are very important in terms of cultural and archaeological meaning, there are also some differences between them. The most obvious is the fact that there are no physical remains left of the pile dwellers’ village on Špica, while at Kongresni trg some of the ancient structures can still be seen despite the fact that a parking garage was built underneath. On one hand we have a pre–urban city, a metropolis of its time, but no visible remains on the surface and on the other, remains of a suburban part of an important Roman city– colony. All in all, the museum approach to archaeology and promotion of it to the public during the excavation process confirms the idea of outreach programs and can be seen as an innovative approach in circumstances, in which the specificity of the material excludes implementation of a conservation program. Archaeological standards in the Netherlands, Italy, Great Britain and Slovenia, include interpretation and interaction in managing the heritage, but they state that the field archaeologist’s interpretation stops on the level of his report. The interpretation of archaeology according to archaeological standards is more the subject of international conventions and organizations such as ICOMOS, EAA, rather than national regulations (Novakovič et al. 2007, 27; Willems and Brandt 2004, 11). Nonetheless, we suggest for the future bigger involvement on the national level through the introduction of public archaeology in the academic curriculum and the interdisciplinary connection between academia, museums and archaeological companies. Sometimes it is not possible for visitors to see the entire site or the site may be in disarray because of building or landscape work. Rather than just accepting the situation, we should try to give visitors some explanation of what is happening, organize guided visits with lectures and possibly with some hands–on activity, like showing artefacts which can be touched. The two case studies from Slovenia confirm the changing and constant redefinition of the museum role and they prove that outreach programs, including ‘live’ archaeology (that is, excavation works) are short–lasting, but very successful, as numbers show.

Mrs Dijana Cerovski University of Ljubljana, Slovenia e-mail: [email protected] Mrs Irena Šinkovec Slovenia e-mail: [email protected]

Bibliography

Babič, P. J. 2008. Professional design of the

Protection of the Cultural heritage for the area of the Municipality of Ljubljana. Ljubljana. Carter, J. (ed) 2001. A Sense of Place. An Interpretive Planning Handbook (cf. http://www.jamescarter.cc/ files/place). Davis, P. 2008. New Museologies and the Ecomuseum. In: The Ashgate Research Companion to Heritage and Identity. Aldershot: Ashgate, 397-414. Desvalées, A. and Mairesse, F. 2010. Key Concepts to Museology. International Committee of ICOM for Museology.

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Archaeology on the Web. Educating children and youth though internet portals Roksana Chowaniec Abstract In spite of colossal changes in the past few decades, archaeologists still display a distrustful approach to presenting their work and discoveries to the wide public, thus underestimating the nature of the problem and the importance of popularising research. An aspect they fail or even neglect to take into consideration is that it is in their own best interest. It is common knowledge that the more people ‘know’ about archaeology and the work of researchers, and the more they appreciate cultural heritage, the more monuments and archaeological sites – objects studied by archaeologists and museum specialists – will be saved from destruction or robbing. Indirectly, promoting knowledge will preserve research material for archaeologists to come and save historical heritage for future generations. English-speaking countries offer the best example of this, with citizens treating archaeological remains with due respect thanks to centuries of education. If archaeologists do not emphasise the importance of the past and do not explain its meaning to the public, they cannot blame anyone but themselves for the lack of regard for archaeological remains. Keywords Archaeology, education, children, internet portal

Historical interests as well as forms of conveying knowledge about the past have undergone a process of evolution over time. Artefacts were first displayed for public viewing in temples, agorae and royal palaces. Next, highly specialised collections were created (e.g. studioli, cabinets des curieux, Wunderkammern, Kunstkammern), allowing viewers insight into narrow subjects. Later still, broad-scope exhibitions started being organised, with guided tours by curators, published educational packs, museum lessons, and finally elements of multimedia and interactivity in museum education (cf. Pomian 1990; Pomian 2001; Chowaniec 2010, earlier bibliography therein). These changes were brought about as much by civilisation and technological development processes as by consumer expectations. Modern audiences are accustomed to multi-sensory stimuli provided by television programmes, computer games, mobile phone applications, iphones, smartphones, e-books, etc. No wonder they rapidly lose interest and their concentration wanes when faced with having to read blocks of text on exhibition panels or to look from a distance at a collection of static artefacts secured in glass display cases, unapproachable because of anti-burglary alarms.

actively in the education process through observation, modification, shaping and touching (Blais 2004, 27). It is an exchange of information or experiences between two parties, which in our case means not only the opportunity to read and look at a website, but also the perspective of being able to modify educational materials available online (Chowaniec 2010, 145). It bears repetition that independent discovery and acquisition of knowledge not only does not bore the participants/users, but also offers a better chance of remembering what has been learned (Belanger 1998). This educational method is also respectful of young learners’ creativity, extending an invitation to explore the past on their own, like during interactive museum workshops or experimental archaeology. Website content can enhance school lessons in history, art and social studies, provide a diversion in coursework for students of archaeology and history, and stimulate processes of self-education by making it more attractive. It is of major significance in a situation in which Internet access in schools and universities is practically commonplace. Of additional value is a technicality of great importance also from a scientific viewpoint: the possibility to correct, modify and update online information (cf. Childs 2005, 230) even as new archaeological discoveries, concepts and interpretations emerge. The creation and maintenance of websites is definitely less expensive than building lifesize reconstructions in open-air archaeological museums or organising exhibitions, and it is certainly cheaper than printing a book or periodical. At the same time, this aspect is important from the users’ point of view, assuring not only repeated ‘browsing’ online of images of artefacts, archaeological sites, texts and activities, but also, for instance, making individual ‘virtual souvenirs’.

Changes in education and museum communication methods are also supported by the ubiquitous Internet, an easily accessible medium, unconstrained, fast, inexpensive, and as absorbing as the user wishes it to be. Websites have the advantage of widespread availability, unlimited number of language versions (both for creating and for using a website) and easy editing at any time of day or night. Websites also enable the construction of ‘virtual’ museums, housing virtual artefacts that exist only on the Web, where the problem of lack of storage or exhibition space does not exist as opposed to traditional museums (Bowen 2000; McKenzie 1997) and ‘visitors’ can create their own virtual tours (Bandelli 2010).

The abovementioned positive qualities of the Internet, as well as the fact that it is one of the fastest-developing media, make it an essential method of global communication. However, one should keep in mind that as a ‘tool’ the Internet also has a series of shortcomings. The anonymity

The most important trait, however, is the opportunity for interactive learning, giving users a chance to participate

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Archaeological Heritage. Methods of Education and Popularization it allows facilitates posting of information that, even if true, is for the most part shallow and banal. In addition, advertisements and pop-up windows, as well as selfinstalling applications hinder exploration and discourage users, often infecting computer hard drives with viruses.

and library catalogues, which are often supplemented with images of the described objects or themes taken from supplementary materials, such as guidebooks, periodicals, information booklets, educational leaflets; virtual museum tours (McDavid 2004, 169). The portals allow their authors to study user statistics, monitoring the number of visitors, the most frequently visited pages and the time spent on each page. It is even possible to have users fill out questionnaires, helping thus to profile visitors to reallife museums. Some museums offer virtual membership, thanks to which logged-in users can access material available exclusively online. An example is ‘Met Net’ at the Metropolitan Museum of Art in New York, where a fee is charged for membership, but in exchange members can visit the museum for free, have access to electronic catalogues, virtual visits, discounts on gift shop items, parking, audio-guide rental, etc. (Kotler and Kotler 1998, 210; cf. Metropolitan Museum of Art 2011).

Basic Web-based applications are also useful in teaching about the archaeological heritage. There are currently millions of archaeological websites that can be found using browsers such as ®Yahoo, ®Google, ®Altavista, ®Onet (McDavid 2004, 159). For instance, a search in ®Google for the word ‘archeologia’ yielded over 9.5 million results, ‘archaeology’ over 56 million results (in 2008 there were 26 million), ‘Archäologie’ 7.5 million (before, 5.15 million), ‘archaeological’ over 38 million (15.4 million), ‘wykopaliska’ 783 thousand (earlier 206 thousand), ‘excavation’ (in the archaeological context) over 2.2 million (earlier 355 thousand). Many websites are linked, which further facilitates search and use. Organisations, universities, museums, publishers and archaeological expeditions create their own portals, a practice which has become an expected standard.

Websites can also be directed at specific target groups. This is the advantage of the Internet over, for instance, an exhibition, which is hard to fine-tune to the needs of both children and adults. These are the possibilities offered by the Web. I am not certain all of them are indeed better, but they are certainly different. I agree at this point with Jonathan Bowen’s conclusion: The Web is a different medium with its own strengths and weaknesses, which should be exploited to enhance the virtual visitor experience (Bowen 2000, 4). Therefore, we should not try to adjust the traditional museum education tools to those used on the Web; instead, let us benefit from what this remarkable medium has to offer.

Nowadays, most museums take advantage of the Internet to popularise or give access to their collections to users by creating home pages. In this way, Andre Malraux’s 1967 project of a ‘museum without walls’ (Fr. le musée imaginaire) has been put into practice (cf. Collis 2008, 182; Malraux 1967). Museum websites are mostly used for posting information about opening hours, educational offer, ticket bookings for organised groups, the institution’s organisational structure, and entrance fees. However, their authors increasingly often provide a broader range of options: discussion forums with conservators, museum employees, archaeologists and historians about the most recent discoveries, conferences, and exhibitions; chatrooms for Web-based users; browsing through museum

One such possibility is the creation of interactive websites for children and adolescents. Portals that have greatly broadened popular knowledge of the past include: ‘Dig. The Archaeology Magazine for Kids’ (http://www.

Figure 1. Internet portals introducing children to archaeology (www.archeodzieciaki.pl). 38

Roksana Chowaniec: Archaeology on the Web. Educating children and youth though internet portals digonsite.com/) and ‘Mysteries of Çatalhöyük’ (http:// smm.org/catal/home.html). Many websites, like portals ‘BBC Education for Children’ (www.bbc.co.uk/schools/) and ‘Kids dig Reed’ (http://www.kidsdigreed.com/default. asp), have interactive elements, such as virtual tours, activities like puzzles and scrabble, as well as action, adventure and logic games, fill-in-the-blanks, crossword puzzles, discussion forums, ‘ask the expert’. Increasingly common are online presentations of results and methods of archaeological research. Well presented, ‘secret’ scientific knowledge can be an excellent educational source, as demonstrated by, for instance, ‘Virtually Ice Age’ (http:// www.creswell-crags.org.uk/Explore/virtually-the-ice-age/ discover-the-past.aspx). Some websites are the user’s only possibility to ‘visit’ an archaeological site, e.g. the Lascaux cave (http://www.lascaux.culture.fr/#/en/02_00.xml).

games, sliding tiles, puzzles and quizzes, wallpapers, crossword puzzles, ‘Klątwa Anubisa (The Curse of Anubis)’ arcade game, and ‘Antyk na Uniwersytecie Warszawskim (Antiquity at the University of Warsaw)’ outdoor game. All activities that deal with artefacts or archaeological terms are made to suit both younger and older children. The website is attractive, colourful, it has appealing graphics and, most importantly, it is easy to use. Besides fun and games, children will find advice on what to do, if they stumble upon something that might be an archaeological discovery, answers to questions what archaeology is and what an archaeologist does, as well as tips on museum visits (Figures 2 and 3). Parents and teachers receive no less attention. The website contains educational packs for download or print, which can be used during school lessons or at home (Figure 4). It includes the page ‘Archaeology in your neighbourhood’, providing a list of museums and archaeological sites throughout Poland, along with addresses and links. Interested teachers and parents can also find legislation on the protection of monuments and the functioning of museums. Archaeological wallpapers are available for download.

In Poland, the domain of Internet portals introducing children to archaeology and possibly giving tips or advice to adults is still largely no man’s land. The aim of such websites is not to provide children with textual information, but to create a hands-on educational portal for this target group. On Polish ground, such a website for interactive learning is www.archeodzieciaki.pl (Figure 1), which has been divided into three sections: ‘Dla najmłodszych (For kids)’, ‘Młody archeolog (Young archaeologist)’, and ‘Dla rodziców i nauczycieli (For parents and teachers)’. This pilot project is being developed continuously. The website’s aim is to encourage children to explore the past in a very accessible, customised and interactive way. Users of the first two sections find colouring pages, matching

Despite genuine enthusiasm for the dissemination of knowledge on the archaeological heritage via the Internet, I am aware of the many shortcomings of this medium. A website will never replace direct contact with archaeological monuments and the divide between reality and the virtual world can get blurred easily and deceive

Figure 2 and 3. An attractive and interactive games for children. 39

Archaeological Heritage. Methods of Education and Popularization

Figure 4. The educational packs for download or print, which can be used during school lessons or at home.

users. Such a case is superbly illustrated by the words of Umberto Eco’s reflections on the creation of hyperreal museums and replacement of the authentic with a perfect fictional reality illustrate this case perfectly: This is the reason for this journey into hyperreality, in search of instances where the American imagination demands the real thing and, to attain it, must fabricate the absolute fake; where the boundaries between game and illusion are blurred, the art museum is contaminated by the freak show, and falsehood is enjoyed in a situation of ‘fullness’ of horror vacui (Eco 1986, 8).

archaeological milieus (Meskell 1997). It is therefore very important for the archaeologists themselves to take part in creating such websites. In cooperation with computer experts, they can create a tool that is perfectly suited for educating children and adolescents of the 21st century. If archaeologists do not stress the importance of history and fail to demonstrate its significance to the general public, they will have no right to blame anyone but themselves for a generally careless treatment of archaeological relics. Bibliography

For this reason, the portal www.archeodzieciaki. pl organises various contests, which encourage the participants to visit an archaeological site or museum. One example is the recent-most contest, which asked children to describe or draw a recently visited site, monument or museum. Book prizes for participants not only boost the contest’s competitive character, but also add to its educational value. Such contests stimulate both children and parents, as well as local communities to develop an interest in archaeological puzzles also outside of the Internet; they also encourage teamwork and family trips.

Bandelli, A. 2010. Virtual Spaces and Museums. In R. Perry (ed.), Museums in a Digital Age. 148–152. London–New York. Belanger, M. L. 1998. L’interactivité au Musée. Québec. Blais, J.-M. 2004. Creating Exhibition for Learning. In H. Moffat and V. Woollard (eds.), Museum & Gallery Education. A Manual of Good Practice. 27–38. Walnut Ceek–Lanham–New York–Oxford. Bowen, J. 2000. The Virtual Museum, Museum International 205/52, No. 1, 4–7. Childs, S. T. 2005. The Web of Archaeology. In B. J. Little (ed.), Public Benefits of Archaeology. 228–238. Gainesville. Chowaniec, R. 2010. Dziedzictwo archeologiczne w Polsce. Formy edukacji i promocji. Warszawa.

Finally, it is worth noting that website authors often have only technical knowledge and make selective use of information provided by archaeologists. This is an obvious threat to the reliability of the posted data and grave errors sometimes found on such portals are an outrage to

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Roksana Chowaniec: Archaeology on the Web. Educating children and youth though internet portals Collis, G. P. 2008. Permitted Use and Users. The Fallout Shelter’s Sealed Environment. In L. Craven (ed.), What are Archives? Cultural and Theoretical Perspectives. 167–188. Burlington. Eco, U. 1986. Travels in Hyperreality. New York. Kotler, N. and Koltler, Ph. 1998. Museum Strategy and Marketing. Designing Missions. Building Audiences. Generating Revenue and Resources. San Francisco. Malraux, A. 1967. Museum Without Walls. London. McDavid, C. 2004. Towards more Democratic Archaeology? The Internet and Public Archaeological Practice. In N. Merriman (ed.), Public Archaeology. 159–187. London–New York. McKenzie, J. 1997. Building a Virtual Museum Community. From Now On. The Educational Technology Journal. On-line http://fno.org/museum/museweb.html. Meskell, L. 1997. Electronic Egypt: the Shape of Archaeological Knowledge on the Net. Antiquity 71/274, 1073–1076. Metropolitan Museum of Art 2011. Membership Categories. Metropolitan Museum of Art New York. On-line http://www.metmuseum.org/give-and-join/ membership/categories. Pomian, K. 1990. Collectors and Curiosities. Paris and Venice, 1500-1800. Cambridge. Pomian, K. 2001. Zbieracze i osobliwości, Paryż–Wenecja, XVI-XVIII wiek. Lublin. Dr Roksana Chowaniec Institute of Archaeology University of Warsaw Krakowskie Przedmieście 26/28 00–927 Warsaw, Poland e-mail: [email protected]

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Fostering education through virtual worlds: the learning and dissemination of ancient Biskupin Roksana Chowaniec and Assunta Tavernise Abstract This paper presents and analyses two advanced virtual worlds designed and realized to support traditional instruments for dissemination of cultural patrimonies, engaging a part of the population with little interest in the sector. These tools are the result of a Culture 2000 project, ‘Connecting European Culture through New Technology – NETConnect’, and have been realized in cooperation between cultural operators and technological experts from five different European countries.1 One of the effects is a DVD with a virtual interactive version of a presentation of Biskupin, an archaeological site in central Poland, which was distributed to school pupils, as well as to parents and teachers. A web-based version accessible from the portal http://www.netconnect-project.eu/, in section ‘3D Reconstruction’ was also used to present the historical environment. The DVD provides a virtual tour of the fortified settlement of Biskupin thanks to an avatar of a young girl introducing the different areas of the site to a visitor, following different educational paths. The arrival of a Greek merchant from Locri (Greek colony in Southern Italy) is the stimulus for the narration. In this I-vision, in which the stranger’s body is not visible, the user personifies this merchant and observes the virtual prehistoric world through his eyes. Moreover, the user explores the environment following an approach very similar to videogames, even if the use of the mouse or keyboard as well as joystick, or the modality of Wii™ wireless controller has still to be implemented. Keywords Archaeological heritage, multimedia presentation, Biskupin, Magna Graecia, Glauberg, UE project

Introduction1

learners’ own interests (de Freitas and Neumann 2009; Naccarato et al. 2011).

In recent decades, the dissemination of cultural heritage (CH) through information and communication technologies (ICT) has assumed great importance, involving different expertise and enhancing preservation and scholarship, providing tools for large collections to be preserved, catalogued and searched effectively (European Commission 2007). Moreover, high-quality digital representations of cultural remains for worldwide access and investigation have been produced. This kind of CH dissemination has been focused on the involvement of young people, offering ‘Edutainment’, the result of the combination of ‘education’ with ‘entertainment (Bertacchini et al. 2011; Chowaniec 2010, 179–183; Chowaniec 2011a; Pantano and Tavernise 2011). Furthermore, since many empirical studies confirm that the young generation tends to devote a great deal of time playing with software games and virtual worlds on personal computers, advanced virtual environments have been ideated and realized in order to constitute the principal way by which children and adolescents become acquainted with CH contents. In fact, virtual worlds incorporate information about culture in historical period and provide advanced learning opportunities through different paths of realization (Pantano and Tavernise 2009). In particular, technology-enhanced exploration supports unique and personalized experiences through the placement of activities and tasks that can support the

In view of the great potential of educational virtual worlds, a number of European projects have been devoted to their realization. ‘Connecting European Culture through New Technology – NETConnect’ (http://www. netconnect-project.eu/) was among the projects promoted by the Culture 2000 European Programme, aiming at customizing new technologies in order to support the fruition of cultural scenarios and increase CH scenario visibility. The effect has been the design and construction of worlds following three ancient scenarios: Magna Graecia in Italy, Glauberg in Germany, and Biskupin in Poland. These worlds fulfilled one of the main aims of the NetConnect project, which was to create a pan-European scientific and technological community dealing with Virtual Heritage that would define and adopt a common conceptual framework and language, ensuring progress in the complex interplay between technology and the cultural sector. Thus, from a multidisciplinary point of view, the merging of know-how and combined expertise of university groups and research centers specialized in archaeology and/or ICT technologies, as well as breaking traditional boundaries of the different scientific domains has broadened research perspectives (Pantano et al. 2011). The interdisciplinary field has encompassed topics such as 3D virtual reconstructions, open source WEB and Location Based Systems, 3D Objects Indexing, experimental computer archaeology, and satellite monitoring system for archaeological sites. With regard to the Biskupin archaeological site the NetConnect project has resulted in, among others, a 3D reconstruction of Biskupin and a DVD on the virtual meeting of a Greek merchant with a girl from the Lusatian culture in Biskupin (Bursche and Chowaniec 2007; Bursche and Chowaniec 2008).

  Römisch-Germanische Kommission (RGK), Frankfurt am Main, Germany; Università della Calabria, UNICAL, Cosenza, Italy; GraphiTech Center for Advanced Computer Graphics Technologies, Trento, Italy; Fraunhofer-Institut für Graphische Datenverarbeitung (IGD), Darmstadt, Germany; The Glasgow School of Art, Glasgow, England; VICOMTech (Visual Communication and Interaction Technologies Centre), San Sebastian, Spain and Institute of Archaeology, University of Warsaw, Poland. 1

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Archaeological Heritage. Methods of Education and Popularization 3D reconstruction of Biskupin

The DVD is designed for pupils of primary and grammar schools. It presents two ways of visiting the fortified settlement in Biskupin: educational, which is a 35-minute presentation to be shown during school lessons, and interactive, which is a personal tour around the site. The educational version is a kind of ‘movie’ comprising animations, short movies presenting experimental archaeology and archival excavations, 3D models of artifacts and photos. The interactive version permits an informal visit, allowing users to choose any active element of the presentation. At the beginning, when choosing the language, one is offered a short introduction about the history of excavations and structure of the prehistoric settlement; this is a mix of movies and pictures. The user can then choose to be transferred into the interior of the site and visit a virtual world environment chosen from a list of 22 points of interest presented on the left side of the screen. A multimedia section opens on each selected unit. At the same time the user can return directly to any point/ place of the settlement (by clicking on ‘Back’). Viewing the multimedia section, users can access videos, currentstatus pictures of the archaeological site, video texts, and additional contents. Moreover, the user can also choose to explore the city as if in real life, walking in the streets, using a map present on the right side of the screen, or following big arrows showing the location of points of

NetConnect scenarios represent an advanced learning opportunity related to CH: in these virtual worlds visitors are provided with access to a reconstruction of everyday life in the past, as well as a hands-on approach capable of supporting a deeper understanding of the cultural and artistic heritage in all of its components (Bilotta and Tavernise 2012). In fact, the learner can have unique and personalized experiences (Naccarato et al. 2011). In designing the environment, areas of the archaeological site were selected for reconstruction, different 3D reconstructions of the Biskupin archaeological site were monitored in collaboration with computer graphics experts, scenarios were written regarding the reconstructions, models and vegetation were positioned, 3D objects were selected, described and positioned, ‘points of interest’ were selected and described in writing, characters were selected, reconstructed and positioned, educational paths through menus were designed and a questionnaire for the evaluation of the virtual scenario was developed. Finally, the scenario was subjected to user evaluation through a Demonstrator Setup (on the web) and by visitors to the Open Air Museum in Biskupin.

Figure 1. The points of interest of the virtual scenario for Biskupin.

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Roksana Chowaniec and Assunta Tavernise: Fostering education through virtual worlds interest. Since the exploration of the environment follows an approach very similar to videogames, the user can use the mouse or keyboard, as well as a joystick to move about (Pantano and Tavernise 2011). The modality of Wii™ wireless controller based on gestures is also present and it has been designed to provide an experience educative and appealing at the same time, especially to young users (Pantano and Tavernise 2009).

(Figure 1). A small icon representing the settlement in the menu allows user to leave each point of interest at any time (Chowaniec 2011b). In certain places the user can also manipulate 3D objects (Figure 2) according to a technology-enhanced constructivist approach (Papert and Harel 1991). In this way, the user can acquaint himself with archaeological artifacts, as well as historical and artistic products and their relation to the settled area (Bilotta and Tavernise 2012). This user’s activity cannot be replicated in the real world, as most of the reconstructed structures do not exist on the ground or are poorly preserved, or are displayed in museums behind glass.

Regarding Biskupin, the points of interest are the following: breakwaters, defense rampart, entrance-gate with platform-bridge, roundabout and cross streets, square, house construction and classic house, as well as points of interest concerning prehistoric activities and craftsmen: weaver’s, potter’s, amber-maker’s, bronze-maker’s and jeweller’s, basket- and rope-maker’s, birch tar maker’s and wood-distiller’s, salter’s, horn- and bone-maker’s, fishing, hunting, food preparing, animal husbandry and farming

The environment is populated by avatars dressed in clothes similar to those worn in the Iron Age and working as people used to do in the past (Figure 3). Domestic animals

Figure 2. The 3D model of house interior in Lusatian settlement and 3D objects which could be navigated.

Figure 3. Reconstructed avatars of Biskupin inhabitants.

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Archaeological Heritage. Methods of Education and Popularization are also present (Bilotta et al. 2011). Typical everyday-life activities are reconstructed on the basis of archaeological documentation and paleobotanical and archaeozoological analyses (Niewiarowski 2009; Noryśkiewicz 1995). All 3D models have also been reconstructed on the basis of archaeological artifacts, maps and excavation descriptions (cf. Zajączkowski 2009).

and Lusatian. For example, the user as Xander can chose a house and see the interior, turn a full circle and zoom in on things. He is also able to choose additional products (movies, 3D models, pictures, lector). Apart from the two versions of the visits described above, the DVD also contains a gallery of 3D models with descriptions, a gallery of captioned photos, and a list of further reading. More importantly even, the user can change and choose the quality of the presentation, a useful function in cases of poor graphic software.

A Greek merchant meets a girl from the Lusatian culture: the DVD ‘Virtual trip to the Biskupin settlement’

Future developments

The story starts around 600 BC when a Greek merchant, Xander from Locri – the user impersonates this merchant – remembers how fifty years earlier he had travelled through ‘terra incognita’ to the southern coasts of the Baltic Sea to discover sources of amber, ‘gold of the North’, and had visited by accident the settlement in Biskupin. Xander’s trip had to take a place around 650 BC, when the fortified settlement of Lusatian culture was still operational. According to new dendrochronological data, building activity on the site can be dated between 750 and 708 BC (Ważny 2009, 63–74) and the settlement is believed to have existed for about 100 years after that (Zajączkowski 2009, 22).

A videogame, mobile-phone game and educational packages have been designed to supplement the initial NetConnect project. Other important scenarios have been chosen for this purpose, ranging from the Early to Middle Iron Age, between 800 and 300 BC. The videogame, for example, is centered on an expedition mounted by the merchant Pytheas of Massalia in order to provide the opportunity for educational travel focused on cultural links between the Mediterranean peoples and the Barbarian world during antiquity. Educational packages (including the videogame) will be distributed to schools. Moreover, experimental studies will be carried out in order to evaluate users’ learning.

His guide to the settlement is Ina, who speaks the local language and lives inside the settlement. This gives the visitor an opportunity to go inside houses, spend an exciting time, watch the preparation of local food, witness various crafts and farming methods, get acquainted with local traditions and everyday life of the villagers (Figure 4). The user is also able to compare two cultures: Greek

Conclusions The application of new technologies for the study, preservation and dissemination of Cultural Heritage plays an important role in current and ongoing societal

Figure. 4. Daily life showed by Ina to the Ksander. 46

Roksana Chowaniec and Assunta Tavernise: Fostering education through virtual worlds Heritage: Applications and Environments, 446–460. Hershey, PA – USA, IGI Global. Niewiarowski, W. 2009. Główne cechy środowiska geograficznego okolic Biskupina ze szczególnym uwzględnieniem półwyspu i Jeziora Biskupińskiego. In L. Babiński (ed.), Stan i perspektywy zachowania drewna biskupińskiego, Biskupińskie Prace Archeologiczne 7, 35–59. Biskupin, Muzeum Archeologiczne w Biskupinie. Noryśkiewicz, B. 1995. Zmiany szaty roślinnej okolic Jeziora Biskupińskiego w późnym glacjale i holocenie pod wpływem czynników naturalnych i antropogenicznych. In W. Niewiarowski (ed.), Zarys zmian środowiska geograficznego okolic Biskupina pod wpływem czynników naturalnych i antropogenicznych w późnym glacjale i holocenie, 147–179. Toruń, Oficyna Wydawnicza Turpress. Pantano, P. and Tavernise, A. 2011. Enhancing the educational experience of Calabrian Cultural Heritage: a technology-based approach. In S. Chhabra and H. Rahman (eds.), Human Development and Global Advancements through Information Communication Technologies: New Initiatives, 225–238. Hershey, PA – USA, IGI Global. Pantano, E. and Tavernise, A. 2009. Learning Cultural Heritage through Information and Communication Technologies: a case study. International Journal of Information Communication Technologies and Human Development 1 (3), July-September, 68–87. Pantano, E., Tavernise, A. and Viassone, M. 2010. Consumer perception of computer-mediated communication in a social network. 4th International Conference on New Trends in Information Science and Service Science – NISS, 609–614. Gyeongju. Papert, S. and Harel, I. 1991. Constructionism. New York, Ablex Publishing Corporation. Ważny, T. 2009. Dendrochronologia drewna biskupińskiego, czyli co drzewa zapisały w przyrostach rocznych. In L. Babiński (ed.), Stan i perspektywy zachowania drewna biskupińskiego, Biskupińskie Prace Archeologiczne 7, 63–74. Biskupin, Muzeum Archeologiczne w Biskupinie. Zajączkowski, W. 2009. Biskupin wczoraj i dziś. In L. Babiński (ed.), Stan i perspektywy zachowania drewna biskupińskiego, Biskupińskie Prace Archeologiczne 7, 11–32. Biskupin, Muzeum Archeologiczne w Biskupinie.

changes. Not only does it help to understand past cultures and civilizations, but it is of fundamental importance for preserving the past for future generations. NetConnect virtual worlds represent a new way of accessing Cultural Heritage information, developed as a result of analyses and discussions among specialists in archaeology and technology. Bibliography Bertacchini, F., Gabriele, L. and Tavernise, A. 2011. Bridging Educational Technologies and School Environment: implementations and findings from research studies. Educational Theory, Hauppauge, New York, Nova Science Publishers, Inc. In press. Bilotta, E., Bertacchini, F., Laria, G., Pantano, P., and Tavernise, A. 2011. Virtual Humans in Education: some implementations from research studies. In L. Gómez Chova, D. Martí Belenguer and A. López Martínez (eds.), Proceedings of the EduLearn2011 Conference – IATED, 6456–6464. Barcellona. Bilotta, E. and Tavernise, A. 2012. Designing of educational paths in virtual worlds for a successful hands-on learning: cultural scenarios in NetConnect project. In S. D’Agustino (ed.), Immersive Environments, Augmented Realities and Virtual Worlds: Assessing Future Trends in Education. USA: IGI Global. In press. Bursche, A. and Chowaniec, R. 2007. Biskupin – settlement of Lusatian Culture. Netconnect Newsletter 1. http://www.netconnect-project.eu/issue1-next5.htm. Bursche, A. and Chowaniec, R. 2008. Virtual animation of Biskupin settlement. Netconnect Newsletter 2. http:// www.netconnect-project.eu/issue1-next5.htm. Chowaniec, R. 2010. Dziedzictwo archeologiczne w Polsce. Formy edukacji i promocji. Warszawa. Chowaniec, R. 2011a. Rola animacji komputerowych i aplikacji na telefony komórkowe w procesie edukacji w zakresie dziedzictwa archeologicznego. Edukacja bez barier 1, 90–99. Chowaniec, R. 2011b. ‘Biskupin bez tajemnic. Interaktywny przewodnik po starożytnym grodzie’, czyli o animacjach komputerowych w edukacji i popularyzacji archeologii. In R. Zapłata (ed.), Digitalizacja dziedzictwa archeologicznego – wybrane zagadnienia, 76–90. Lublin. de Freitas, S. and Neumann, T. 2009. The use of ‘exploratory learning’ for supporting immersive learning in virtual environments. Computers and Education 52 (2), 343– 352. European Commission 2007. Access to and preservation of cultural heritage-Fact sheets of 25 research projects funded under the Sixth Framework Programme for Research and Technological Development (FP6). Luxemburg. Naccarato, G., Pantano, E., and Tavernise, A. 2011. Educational personalized contents in a Web environment: Virtual Museum Net of Magna Graecia. In G. Styliaras, D. Koukopoulos and F. Lazarinis (eds.). Handbook of Research on Technologies and Cultural

Dr Roksana Chowaniec Institute of Archaeology, University of Warsaw Krakowskie Przedmieście 26/28 00–927 Warsaw, Poland e-mail: [email protected] Dr Assunta Tavernise* Università della Calabria Via P. Bucci, cubo 17/B 87036 Arcavacata di Rende (Cosenza), Italy e-mail: [email protected] *corresponding author 47

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Discovering archaeology by residents of a small town, or on the promotion of archaeology in Mosina near Poznań1 Anna Cicha and Joanna Struwe Abstract Mosina is a small town located about 25 km south of Poznan, where a small museum (Museum Chamber) exists for about 20 years. In 2010 archaeological workshops accompanying celebration of the city holiday were held, museum lessons on archeology for students from local schools were organized, along with an ‘open day’ at the Museum, meeting with archaeologist and, in 2011 for the first time in the history of the town, – ‘Night at the Museum’, where the main theme was archeology. Keywords Mosina Museum Chamber, education, popularization, archaeology

Archeologists and the Chamber of Artifacts1

the small backyard of the Museum Chamber. Archeologists dressed in clothes referring to the Przeworsk culture and children could dress up in ancient style (Figure 1). Visitors could touch replicas of pots and flint tools, smell many kinds of herbs and taste meals made with an ancient recipe. Children could also play at archeologists by making an excavation in a small sandpit (where some ‘artifacts’ had been planted). At the end of their visit they could take part in a competition about archaeology (where the main award was a ‘Young Archaeologist’s Kit’). The second part of the event was a lecture presenting the history of this region through the lens of archaeology: from the late Paleolithic with the Swiderian culture to the late Middle Ages and early Modern Age, when Mosina was a local center of pottery production.

Mosina is a small town (with a population of 12,000) located in West-Central Poland, about 25km south of Poznań. It is one of the oldest towns in the region of Wielkopolska (Great Poland), it was first mentioned as a town in 1302 (Łojko and Stępień 1992, 9–22). The location is attractive from the geographical point of view: glacially formed hills on one side (forming the Wielkopolska National Park at present) and meanders of the Warta River on the other. There are also many archaeological sites in the area nearby. The most famous one is an early mediaeval cemetery located in the village of Sowinki on the outskirts of Mosina. Excavations in the late 1980s uncovered 158 burials with sets of grave goods, including four burials of the Scandinavian type (Krzyszowski 1992, 83‑102). The Museum Chamber in Mosina was established in a former synagogue in the town center in 1986. Archaeologists from the Archaeological Museum in Poznań created a small (two glass showcases) exhibition there, presenting some artifacts from archeological sites near Mosina. Unfortunately, local citizens are not really aware of their archaeological past and the exhibition itself is seldom visited. In 2010 two archaeologists, Anna Cicha and Joanna Struwe, decided to change this situation by cooperating with the staff of the Mosina Cultural Center (the Museum Chamber in Mosina is a department of the Mosina Cultural Center) and preparing some archaeological events in the Museum Chamber. These have included to date: in May 2010 ‑ archaeological workshops during the city feast, in November 2010 and in April 2011 – museum lessons on archaeology for students of local schools, in November 2010 – ‘Open Day at the Museum’ combined with meeting archeologists, and in May 2011 – ‘Night at the Museum’, where the main subject was archaeology.

The next event at the Museum Chamber in Mosina were museum lessons on archeology for students of local schools. Lessons took the form of lectures with elements of workshops. Students learned what archaeology and archaeological sites are and why it is important to protect our archaeological heritage. Nevertheless, the lessons focused on the prehistory of Wielkopolska, especially Mosina. Each archaeological period was presented by relevant archeological sites from the environs of Mosina and accompanied by workshop elements, e.g. cutting a piece of paper with a flint tool when talking of the Paleolithic and Mesolithic. At the end of each lesson students were acquainted with artifacts on display in the museum’s glasscases. The ‘Open Day at the Museum’ was organized on a Sundays in November 2010. The idea was to encourage people to visit the local museum, especially to see the archaeological exhibition with an archaeologist for a guide and with the opportunity to talk to professionals about the past of Mosina and archaeology in general.

The Fellowship of the Flint The first of the events, entitled ‘Prehistory of the Land of Mosina’ (Figure 1), included introduction to everyday life in Wielkopolska about 2000 years ago by presentation of clothes, pottery, tools and culinary practices, displayed in

The ‘Night at the Museum’ event was organized for the first time in Mosina history. The main theme was, as said, archaeology, hence the title ‘Evening with archaeology’ (Figure 2). Two exhibit stands were arranged in the hall of the museum, near the archaeological exhibition. The first one presented the workplace of an archaeologist with his tools and examples of archaeological documentation. The

  For help in editing the present article the authors would like to thank Mrs Ewa Józefowicz and professor Krystyna Sulkowska-Tuszyńska. 1

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Figure 1. The ‘Prehistory of the Land of Mosina’, May 2010 – A. Cicha helps one of the young visitors - Basia, to dress up in an ‘ancient’ costume (photo J. Struwe). second one contained copies of objects used in prehistory: clothing, pots and tools (Figure 3). Visitors were guided by archaeologists and had the opportunity to learn more about the museum’s archeological exhibition, realities of life in the past and the work of archaeologists. Lectures were held in the adjacent hall at the same time (the seat of the Town Art Gallery). There was a meeting with photographer Zygmunt Pniewski (Figure 4), an accomplished traveler and archaeology enthusiast from the region. In the 1950s, as a teenager, Pniewski discovered one of the archeological sites near Mosina, which resulted in his collaboration with one of the greatest Polish archaeologists, Professor Józef Kostrzewski. Pniewski never studied archaeology despite wanting to, but he remained a great admirer and protector of local heritage, also the archaeological one. During the ‘Night at the Museum’ he captured the visitors’ attention with stories of his work together with Professor Kostrzewski and with a famous Polish traveler, Arkady Fiedler. The second lecture of the evening concerned legal aspects of archaeology in everyday life, for example, what is to be done when finding an archaeological artifact while building a house. The last lecture was a repetition of the lecture on the prehistory of the Land of Mosina, presented during the event in 2010. The Residents of Mosina and the Pottery Goblet Interest in these events wavered, not quite meeting expectations. About 30 people came to the ‘Prehistory of the Land of Mosina’, not a big number, but almost

Figure 2. Poster of the ‘Night at the Museum’, May 2011 (design D. Cichy). 50

Anna Cicha and Joanna Struwe: Discovering archaeology by residents of a small town

Figure 3. The ‘Night at the Museum’, May 2011 – J. Struwe talks about flint tools with future archaeologists, Monika and Oskar (photo A. Cicha). all of the visitors were truly interested in learning about archaeology. It was encouraging for the organizers that these visitors chose the ‘archaeological spirit’ from all the attractions offered at the city feast of which the event was part. The same proved true of the ‘Open Day at the Museum’. Again, there were not many visitors, but those who came were really interested in the subject of archaeology and prehistory of Mosina. The most popular events were ‘archaeological lessons’ and the ‘Night at the Museum’. After the first edition of lessons in a museum, the Mosina Cultural Center received many requests from local teachers to continue this type of events. Concluding, the interest taken in these lessons by students is of the greatest importance. This was particularly evident during a discussion of the prehistory of Mosina and viewing artifacts collected in the museum. Students talked eagerly about their own ‘archeological experiences’, finds and family stories. In turn, during the ‘Night at the Museum’, the most popular attraction was the meeting with Zygmunt Pniewski, which assembled an audience of nearly 30 people, filling the whole gallery hall. The other lectures of that day were not so popular, but also gathered more than a dozen listeners. A few groups of children with parents and other adults visited the museum hall that evening. Children had a very good time, filling in archeological documentation, putting on ‘ancient’ dress and using flint tools. The adults also did not seem to be bored, eagerly asking questions and talking about the prehistory of their region. Although more had been expected in terms of local interest, still the evening event should be regarded as successful.

Figure 4. The ‘Night at the Museum’, May 2011 – Mr Z. Pniewski during his fascinating lecture (photo J. Cichy). car, the organizers had to have everything they needed packed in two bags and easily transportable by train to Mosina. Cooperation with the Mosina Cultural Center staff was crucial to the success of these events and it was good, well, but not flawless. First of all there was financial support with the Cultural Centre management purchasing materials for the costumes for children and contributing with a small fee for the archaeologists. Józefa Roszak– Rosić of the Museum Chamber was also instrumental in inviting Zygmunt Pniewski to the ‘Night at the Museum’. While the whole event was received with much kindness and support on the part of the Cultural Center, it seems that local authorities and cultural management have not perceived correctly the importance and potential of events popularizing archeology, knowledge about Mosina and the Mosina Museum Chamber. They are willing to cooperate with archaeologists when the latter propose new events, different from the ones organized so far, but with no own initiative, as if convinced that in a town with no great

Good Day, and Good Luck The chief organizational problem was commuting: the main organizers, who are the present authors, live in Toruń, while Mosina is more than 150 km away. Not having a 51

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Mrs Anna Cicha

tradition of archaeology and with a big center of culture and science like Poznań nearby projects of this kind could not attract a bigger audience. This may have resulted in little, if any proper promotion of the events by the Mosina Cultural Center’s staff. Suffice it to say that the only events missing from reports on the city feast in 2010 were the archaeological workshops and lecture at the Museum Chamber. Information about later events were not posted on the Mosina official website in proper time. Invitations were sent out to representatives of local authorities and the fields of culture and education, but there were no big posters informing about these events around town. Better promotion of these events could have attracted far more visitors. Those who came showed great interest and kindness, demonstrating that in this small town, which is sometimes said to be devoid of landmarks, people want to learn more about the past of their region. Hopefully with more good will on the part of the local authorities.

PhD student of Institute of Archaeology Nicholas Copernicus University in Toruń, Poland e-mail: [email protected] Mrs Joanna Struwe PhD student of Institute of Archaeology Nicholas Copernicus University in Toruń, Poland e-mail: [email protected]

Back to the Past in the Future Ideas for future archeological activity in Mosina include foremost a continuation of museum lessons. An event like ‘Night at the Museum’ also bears promise. Instead of an archaeological event, it could be, for example, a meeting with archeologists who have carried out excavations in Mosina and its environs. An archaeological dig was conducted in June and July 2011 on a site in the town center. It has been suggested, and preliminarily accepted by the Cultural Center, that the artifacts, following proper conservation (the Archaeological–Conservation Laboratory of Alina Jaszewska) be transferred to the Mosina Museum Chamber. It would provide an excellent opportunity to acquaint residents of Mosina with the history of their town, by organizing an exhibition, for example. These are naturally only plans at present. Meanwhile, in late 2011, a notice about the possibility of organizing museum lessons about the town’s history was posted on the official city website (www.mosina.pl). So far archaeologists have not been invited to cooperate. Nevertheless, it is an optimistic fact that local authorities have started to see the potential of this small town and its small museum. Let it be hoped that this understanding will not disappear in the next meeting with archaeologists. Bibliography Krzyszowki, A. 1992. Wstępne wyniki badań archeologicznych na wczesnośredniowiecznym cmentarzysku szkieletowym z X/XI wieku w miejscowości Sowinki, gm. Mosina, woj. poznańskie, stanowisko 23A. Wielkopolskie Sprawozdania Archeologiczne I, 83–102. Łojko, J. and Stępień, J. 1992. Zarys dziejów Mosiny i okolic (do 1945 r.). Mosina.

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Using social media and new technologies in the popularization and promotion of archaeology Karolina Ciejka Abstract Social media and new technologies are well known in the world of advert for promoting brands and making creative companies. They searching new technological solutions, what will initiative potential clients to products. Cultural institutions have started to participate in it. Social media can be used in the popularization and promotion of archaeology, spreading news through the Internet in an effort to reach enthusiasts and potential visitors. New technologies can improve ways of exploring museums and sites and make them even more attractive for new groups of visitors and easier to visit for the handicapped. Keywords Education, augmented reality, social media, QR codes, museum

A great deal of museums in the world use creative methods derived from marketing and advertising for promoting and popularizing archaeology. The biggest institutions employ the best advertising agencies to help them to create modern museums and attract potential visitors. Nowadays, visitors have become more demanding and conscious, having higher expectations, while considering science in general. Viewers use the Internet every day, actively participate in the social media, use new technological solutions, which science follows. There is enormous potential to expand knowledge about archaeology not only among those with access to interesting museums, but also among those who can embark on an adventure with archaeology through the use of the Internet. New technologies, on the other hand, can act as extra educational teaching aids for students, teachers and professors, and might actually be helpful in creating archaeological reconstructions and exhibitions.

to mobile technologies used in the Internet. Social media focuses on interactive dialog between users and different types of organizations, societies and other individual users. These are mostly websites, blogs, social networks, e.g. ‘Facebook’ and ‘Myspace’, ‘Twitter’, ‘Nasza–Klasa’ and Fan Pages created on ‘Facebook’. Blogs plays a major role in popularizing archaeology by many institutions and individuals. They should be well prepared in literary terms and describe the workings of a museum or educational institution. One can find there descriptions of cultural events with pictures and up-todate information. The State Ethnographical Museum in Warsaw is a good example of an institution that runs a professional blog (cf. http://ethnomuseum.pl/blog/). The blog is written by employees, interns, volunteers and friends of The State Ethnographical Museum in Warsaw (Figure 1). It won the ‘Business Blog Award’ in 2009 and 2010. It contains articles on events and scientific research, written in an interesting and light form. In blogs dedicated

The Internet and social media are used by millions of Internet users every day. The term ‘social media’ relates

Figure 1. Official blog of The State Ethnographical Museum in Warsaw, Poland (www.ethnomuseum.pl/blog/). 53

Archaeological Heritage. Methods of Education and Popularization

Figure 2. An example of the best fan pages on Facebook runs by Centrum Nauki ‘Kopernik’, Warsaw, Poland (http://www.facebook.com/pages/Centrum-Nauki-Kopernik/353030510177). to archaeology, you can often find the newest discoveries and many types of archaeological publications.

Running a fan page is not as simple as it might seem. It is not enough to update information and the multimedia, but it is also necessary to lead discussions and comment on fan’s opinions. It is crucial to engage the fans as much as possible (Figure 2). Once we manage to build an opinion society that is eager to participate in discussions on our fan page, we also become more interesting for future sponsors.

However, the main area that the social media operates in is mainly ‘Facebook’. This portal offers free pages called Fan Pages. Facebook is not only a social network, but also a great source of information, which is being used by more than 7,8 million Internet users only in Poland (cf. http:// www.socialbakers.com/facebook-statistics/poland). The amount of people using the network is constantly on the rise.

In the Internet one can promote cultural institutions, however the greatest success in promoting can be achieved with the use of new technologies which connect the Internet and the newest achievements of science with unlimited marketing potential. Anything that can attract a young viewer to museums and bring attention to archaeology.

‘Facebook’ has been used in advertising for many years. Nowadays, this social network enables cultural institutions like theatres, galleries and museums to develop. Almost every museum in the world has its own fan page, however not everyone knows how to handle it properly and how great it is for the popularization of archaeology.

New Technologies, another words High Tech is a term that is used in the media to describe advanced technological solutions and usage of the newest scientific achievements in practice. The potential of new technologies and social media has been noticed mainly in advertising. PR people’s experience and approach is used in the popularization of science, art and culture in general. New technologies are successful in promoting museums all over the world.

Fan pages can be owned by cultural institutions, for instance, the University of Warsaw Institute of Archaeology or can be dedicate only for specific expedition, like Fan Page of the Polish Archaeological Expedition to the Eastern Nile Delta – Tell el–Farkha. These pages offer information about new scientific research, new pictures, links to interesting articles. The Fan pages can be dedicated to archaeological portals and magazines, such as ‘Archeowieści’ or ‘Archeologia Żywa’; fan pages of educational interest, fan pages of different sites, e.g. ‘Novae IAUW’, fan pages of associations, e.g. ‘The Association of Enthusiasts of Egypt Herhor’, and finally fan pages promoting archaeology and its festivals, cultural picnics and exhibitions.

One of the most interesting High Tech techniques is Augmented Reality. It is a system that connects real view with a view created by means of a computer. The computer image connects with a real image, so that the viewer has the impression that the virtual image is part of a real image. In order to create an image in AR technology one needs a laptop with a camera, tablet, smartphone or specialist glasses. It is possible to input 3D or 2D graphics

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Karolina Ciejka: Using social media and new technologies in the popularization and promotion of archaeology Museums and artists all over the world often use the potential of AR. In London the Street Museum offers sightseeing of the city with buildings that used to exist in the past (they are projected on the city’s view), which gives the visitor an impression of travelling into the past. Places which you can see in the AR technology are placed on a map in our smartphone. The smartphone uses GPS to lead us into a place, in which we can see another visualization offered by the Street Museum (Stańska 2011a). AR has also been used in The Museum of Modern Art MOMA in New York, where projections have been created only in extended reality. While walking in the museum and watching a picture with the use of a smartphone, one could see pieces of art that were not present in the museum, in reality (Stańska 2011b).

Figure 3. Ray-Ban Virtual Mirror (http://open-tube.com/ ten-amazing-augmented-reality-applications/).

In Poland AR has also been used. The campaign ‘Stories behind the Paintings’ shows a connection between traditional forms of advertisement, new technologies and the promotion of museum in social media. The campaigners decided to use Augmented Reality technology. IPhones with an application enabling to watch views in AR have been used in museums. When the screen of an IPhone is placed on a specific track near a painting, the painted figures begin to move and they ‘walk out’ of the frames of the painting. Actors impersonating the painted figures or the artists tell stories ‘hidden in’ the paintings. This technology enables the visitor to get to know the life of Helena Modrzejewska painted by Tadeusz Ajdukiewicz, Wernyhora painted by Jan Matejko or Henryk Dębiński painted by Henryk Rodakowski (cf. Stańska 2011c and http://www.youtube.com/watch?v=tKgCzGgWKgc).

into an image as well as different types of films, texts or sounds. This effect might be induced by inputting specific markers which read our electric device and processes it to AR technology. The marker could be a tablet present by a painting in a museum (markerless tracking), view’s recognition system, for example a face becomes a marker (face tracking), motion (motion tracking) (cf. www. rozszerzona-rzeczywistosc.adv.pl/). AR could also be read by the GPS system. Augmented Reality is used worldwide not only in advertising, but also in education, culture, architecture (model visualization), medicine (educational aids) and even in the army (in creating simulators). ‘Time Magazine’ called AR one of the 10 most important technological trends in 2010 (Fletcher 2010). Its capabilities have been lately appreciated in advertising. A lot of firms use AR in their advertising campaigns in order to attract a potential customer in an unprecedented way. Ray–Ban offers virtual trying on glasses with the use of face tracking. The computer simply adjusts the glasses to the size of a human face and people can virtually try the glasses on (Figure 3). AR was also used in the Transformers campaign where one could try on a robot’s mask and become one of the main characters of the film.

The campaigners have also used outdoor advertising connected with advertising in social media. They have created fictitious profiles on Facebook for figures that are present in paintings from the Kraków Sukiennice. A viewer can write a message to a figure, call or text him/her. Posters of Helena Modrzejewska and General Debiński were distributed in Kraków. The posters stated Find me on Facebook or Text me (Figure 4), encouraging people to text the figures. It is a fantastic way of advertisement that is suitable for a young recipient.

This technique would be ideal for an archaeological museum, where the visitor could try on antique objects, like helmets, masks, antique jewellery or even costumes from different eras. This idea of visiting a museum was proposed by a museum in the United Arab Emirates.

Another opportunity for using new technologies is the usage of QR codes. QR codes (Quick Response) are codes which are read by smartphones, one can simply scan them from places where they have been placed (Waterfall mobile 2011). For scanning the codes a smartphone is needed with a camera and an easy application for scanning which can be downloaded for free from the Internet.

AR is used in architecture to visualize its projects while creating 3D models. One could use this way of visualization in creating archaeological parks. With the use of a smartphone a visitor could see 3D models showing how a specific place looked like in the past and compare it to today’s view. One could have separate visualizations for different ages of the settlement and for the development of a work station. Moreover, thanks to placing these reconstructions on a website, one could see it at home and even use it as a teaching aid.

QR codes can be place anywhere: outdoor advertisements, newspapers, business cards, souvenirs, Internet, fan pages, official websites and even ‘Youtube’. QR codes in Poland are currently used with descriptions in museums. In Królikarnia, a branch of the National Museum in Warsaw, there is an exhibition called ‘KoLekcja’. QR 55

Archaeological Heritage. Methods of Education and Popularization

Figure 4. Outdoor with general Dembiński – promotion of Museum Nowe Sukiennice in Krakow, Poland (http://www.facebook.com/photo.php?fbid=163840013626184&set=a.16 0232713986914.33553.125245160819003&type=3&theater). codes were used there with descriptions of paintings, they navigate users to the first Polish virtual base of objects – ‘dMuseion’, where all the objects can be seen virtually (Gazeta.pl. 2011).

their own programs, which one can download to one’s phone. These are usually museum guidebooks or simple games, the role of which is to promote specific content. One can use it in the museum as well as outdoors. They are adjusted to the needs and age of the visitors.

QR codes have an enormous potential which should not be limited to descriptions of a work of art. They have been used in an attractive way in Canada. In the Museum of Human Rights, still unfinished, one could tour with the use of QR codes placed everywhere. The museum has been very popular, although it has yet to be opened officially (Owen 2011).

Internet games were created mainly for entertainment. However, marketers noticed that games attract more and more users, and not only kids and teenagers, but also adults who spend time online extensively. Therefore, internet games are created not only for entertainment, but also to be used in marketing and the popularization of science and culture.

A museum in Cleveland used QR codes in promoting a new exhibition dedicated to the art of ancient Greece, Rome, Middle East, Egypt, Byzantium, African and medieval art. The museum wanted to attract young people who are exposed to new technologies on an everyday basis. A QR code transfers the spectator immediately to the museum’s website promoting the exhibition. Eleven billboards were placed all over the city and posters could be viewed in libraries, cafes etc. (Wheeler 2011).

Games connected with the archaeological theme can promote knowledge about archaeological cultures through the easiest way – creative fun (Marolf 2007). Cooperation with companies for product placement when producing such games can help lower production costs. Simple games can be downloaded with the help of QR codes from outdoor posters, websites, social networks. This would make the games more approachable.

In archaeology, QR codes, apart from offering the ability to sightsee or promote, could be used for educational purposes: downloading information brochures and folders, educational games for children. QR codes placed on museum advertisement could include information about exhibitions and accompanying events. The creation of QR codes is not very demanding financially, some of the easy codes can be generate individually with the use of internet services.

There are many ideas for applications starting from a simple quiz or creator (where the users learn history and clothing from the past) and finishing with detective applications which make the user operate within a given reality in order to solve a riddle present in the application and teach some basic knowledge about art maintenance in the process. A good idea is to connect an application with a competition mechanisms, rewarding the best users and users who invite (engage) more friends.

One should not forget about ‘Advertgaming’, which is one of the most popular ways of promoting in advertising. It uses applications and computer games in marketing, influencing large numbers of recipients with promotion of different products in an unconventional way. The applications are computer programs which engage the user interactively. A great deal of museums in the world create

Applications in museums are usually used as private guidebooks which guide the visitors through galleries. Almost all of the world’s most popular venues already have these applications: Louvre, British Museum, Capitoline Museums and many, many more. They are adjusted to 56

Karolina Ciejka: Using social media and new technologies in the popularization and promotion of archaeology Stańska, Z. 2011a. StreetMuseum. Posted 5 May. Cf. www. [email protected]. Stańska, Z. 2011b. Augmented Reality Art. Posted 25 September. Cf. [email protected]. Stańska, Z. 2011c. Jak promuje się muzea – Nowe Sukiennice. Posted 2 May. Cf. www.techno@museum. blogspot.com. Stańska, Z. 2011d. Jedno muzeum, dwie aplikacje – Luwr. Posted 16 October. Cf. www.techno@museum. blogspot.com. Waterfall mobile 2011. QR codes. 6 essential points to know – now and going forward – about integrating 2d codes into your mobile CRM strategy, 3. Cf. http:// www.waterfallmobile.com/docs/msgme_ebook_ qr.pdf. Wheeler, J. 2011. QR codes in museums. The Mobilists, 11 October.

visitor age and the needs of the disabled who can listen to the materials. Moreover, these applications can be used not only in the museums, but also at home Museums create special applications designed only for children which change a visit to a museum into an adventure where children look for hidden treasures. In a guidebook proposed by the Louvre, people are guided round by Paulette. When one answers her question correctly, one gets keys. Paulette shows the routes children have to follow to get to certain pieces of art or architectural elements figuring in the questions (Stańska 2011d). Fictitious characters tell interesting stories about certain objects. For example a sailor, who is in the middle of a battle and needs to bring a gift for the goddess of victory, tells a story about Nike from Samothrace. Another application designed for children, which can be downloaded for free, is called Museum Quest and one can play it after entering the museum’s code, assuming a given museum is participating in the game. An archaeologist similar to Indiana Jones helps the children to find important information in the museum, so that they can fulfil their mission. The game was created by Bear-Eco Technologies, LLC. Museum Quest is designed to appeal to children and their parents and stimulating them to visit museums.

Mrs Karolina Ciejka Institute of Archaeology University of Warsaw Krakowskie Przedmieście 26/28 00–927 Warsaw, Poland e-mail: [email protected]

Thanks to applications in the form of a simple quiz, an exhibition dedicated to the ‘Egyptian Book of the Dead’ was advertised in the British Museum. Users choose from three answers available to learn about the funereal practices of ancient Egypt. The application includes a short film about the exhibition and the Book of the Dead itself with additional information about it, an information not only for the outsiders. As we can observe, the possibilities of the Internet and new technologies can be crucial in the promotion of archaeology. The Internet and High Tech can improve the education process and attract more groups of visitors to museums, offering them unlimited access to information. Most of the techniques are very expensive and demand considerable commitment, however one can try to act on a small scale, step by step, following standards which open a huge number of possibilities. Bibliography Fletcher, D. 2010. 10 Tech Trends for 2010. Time Magazine, Monday, 22 March. Gazeta.pl 2011. Z magazynu na ekran komputera. Muzeum Narodowe już cyfrowe. Gazeta Wyborcza, 12 May. Marolf, G. 2007. Advergaming and In-Game Advertising: An Approach to the next Generation of Advertising. Saarbrücken. Owen, B. 2011. QR codes offer guided tour of new museum. Winnipeg Free Press, August 24.

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The ‘SiciliAntica’ Association and its activities in archeology education and popularization1 Marta Fituła Abstract The ‘SiciliAntica’ is an association acting to protect and valorize the cultural and natural heritage of Sicily. Society has office branches in all 9 provinces of Sicily. ‘SiciliAntica’ organizes regular conferences, courses and lectures in cooperation with the universities, museums, science institutions. Members of the association participate in excavation research, clean the archaeological site and many other. Keywords ‘SiciliAntica’, association, Sicily, archeology education, archeology, popularization, heritage

Sicily is the largest island in the Mediterranean Sea, further distinguished by the richness of its archeological heritage. Its strategic geographical location in the center of Mediterranean basin in between two continents and at the crossing of seaways and trade routes resulted in numerous migrations and outside cultural influences. Archaeological artifacts and sites in Sicily attest to the presence of numerous different population groups starting from the Paleolithic. Sicily was colonized, among others, by the Phoenicians, Greeks, Romans, Byzantines, Arabs, Normans, French and Spanish. About 700 archeological sites were discovered in Syracuse province only. The UNESCO world cultural and natural heritage lists contain many Sicilian localities: Syracuse, Pantalica, Old–Baroque Val di Noto cities (Scicli, Modica, Ragusa, Palazzolo Acreide, Militello Val di Catania, Caltagirone, Noto), Roman villa in Piazza Armerina and the Aeolian Islands.1

archeological and natural heritage, their historical identity and basic social values. Even the ‘SiciliAntica’ logo is symbolic: the plan of Federico II’s octagonal tower, built (says legend) right in the geographical center of Sicily, something that represents perfectly the whole island (Lo Cascio 1999a, 3). Initially, the association counted some 20 people. Currently, the list of members and sympathizers includes 1000 names, mainly inhabitants of Sicily, but also other regions of Italy and other countries like Spain, Netherlands and Poland.2 In the first years, the activity was limited only to a part of Sicily. Currently, ‘SiciliAntica’ has office branches in all 9 provinces of Sicily and its activity is versatile, offering a broad range of activities promoting the archeological heritage of Sicily. Excavation research

The activity of non–profit associations is of great importance in the popularization of Sicily’s archeological heritage. ‘SiciliAntica’ is distinguished among similar associations in this respect.

As one of the first volunteers in Italy, members of the ‘SiciliAntica’ Association, both archeologists and non–archeologists, took part under supervision of the Conservator’s Office in Syracuse in the excavation of the Greek colony Megara Hyblea, founded in 728 BC (Proietto 1999, 13). Prior to the excavations, a series of non–invasive surveys was undertaken with the use of archeological aerial prospection, including infrared photography. The same Conservator’s Office supervised several years of excavations by ‘SiciliAntica’ members in Casmene, close to Monte Casale, where a settlement of the Castellucio culture was discovered dating back to the Bronze Age (Musso 2000b, 16–17).

Introduction The ‘SiciliAntica’ is an association acting to protect and valorize the cultural and natural heritage of Sicily. It was established in 1996 by representatives of different professions (Lo Cascio 1999a, 3). Mr G. Lo Porto, one of the founders, is President of ‘SiciliAntica’. A group of enthusiasts of Sicilian culture and nature signed the charter of the newly established association, written in Gothic type on parchment, on 15 December 1996 at the St. John of Napolitano Church in Palermo. The choice of location was deeply symbolic. A church is not only an architectural structure with religious purpose, but also a public place open to all people, just like ‘SiciliAntica’. Back then, the founders of the association aimed not only at protecting heritage, making great discoveries and stocking museum stores with artifacts. They also aimed at making Sicilian society sensitive and respectful towards their cultural,

‘SiciliAntica’ took part in archeological research outside of Syracuse province in Randazzo, at a Classical–age burial–ground in Adrano and at the prehistoric sites in Bronte, Termini Imerese, Pietra Lunga/S. Marco near Paternò (Sottile 2000, 6–7), Sabucina (Modeo 2004, 3–7) and Polizzello, close to Mussumeli (Canalella 2000, 9). Since 2009 many of the association’s members have participated in archeological research in Centuripe. That excavations have been carried out also thanks to private

  I would like to thank Mr G. Lo Porto, Mr A Bellomo, Mr Armando Albanese and Mrs M. Imbiorkiewicz for their kind assistance in preparing this article. I am also grateful to Dr R. Chowaniec for inviting me to the conference. 1

  Data obtained from regional president Mr G. Lo Porto.

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Archaeological Heritage. Methods of Education and Popularization Lectures, conferences, courses One of the association’s objective is also to raise public awareness on issues related to archeological heritage. ‘SiciliAntica’ organizes regular conferences, courses and lectures in cooperation with the universities in Catania, Palermo, Rome, Paris, museums and science institutions, such as German Archaeological Institute in Rome and French School in Roma, and others. Their purpose is to promote knowledge of Sicily’s prehistory and protohistory, e.g. Sicily under Phoenician, Greek and Roman rule, Byzantine iconography, Christian archeology, Islamic art etc. (Amoroso 2000a, 10–11; Amoroso 2000b, 14; Amoroso 2001, 16; Amoroso 2002, 12; Cannata 1999, 7; Di Rosa 1999, 5; Giordano 1999, 14; Giordano 2000, 12; Giordano 2001, 14–15; La Cavera 1999b, 15; Minafra 1999b, 10; Pavone 2000, 8–9). During one such meeting at the Maniace castle in Syracuse association members had the opportunity to listen to fragments of Cicero’s speech ‘In Verrem’ recited by actor and lawyer Mr G. Reale, both in the original Latin version and the Italian translation. The special atmosphere of that meeting was enhanced not only by the unique setting with Caravaggio’s painting in the background, but also by the fact that the conference was taking place in the same castle that had been the location of a meeting of the G8 representatives just a few weeks earlier.

Figure 1. Poster promoting the excavations in Centuripe (G. Barbagiovanni). benefactors, brought to light among other things, remains of buildings from the Hellenistic period (Figure 1).

It should be noted that ‘SiciliAntica’ pays special attention not only to the choice of subject matter and the authors of the lectures, but also to the choice of location. Most often the meetings are held in highly suggestive castle rooms, picturesque church interiors or monumental convents. Visits to respective archeological locations are an integral part of lectures and courses.

Volunteers from ‘SiciliAntica’ discovered the remains of the Acropolis of the Greek city of Agyrion during the excavations. Older colleagues also get involved in all stages of the work, e.g. cleaning ceramics. Results of research are presented during conferences, published in magazines and posted on websites.

The educational initiatives of ‘SiciliAntica’ are very popular. It is worth mentioning here that our course on ‘Archeology of byzantine and medieval Catania’ attracted 418 participants (Cannata 1999, 7). Moreover, our association organized a course in artistic photography ‘SiciliAntica’ and the province monuments’, which was not limited to theoretical activities, but which involved participants in photo shooting of interesting monumental objects in Catania and its neighborhood.

Cleaning of archeological sites and objects On the initiative of the Sortino section of ‘SiciliAntica’, many archeological sites have been cleaned up annually and properly organized. New artifacts and sites are discovered in the course of this work, like the ones in the medieval part of the Sortino borough. In the 1990s our volunteers ‘freed’ from the accumulation of rubbish the interiors of the Aragon castle in Milazzo (Roselli 1999a, 12). For the last couple of years we have been cleaning from a bed of turf the prehistoric settlement and burial ground on Thapsos peninsula. Cleaning work by the Mascalucia section of ‘SiciliAntica’ revealed frescos in the Monpilieri Sanctuary. As part of the ‘La città bella’ project of the Termini Imerese branch of ‘SiciliAntica’, a group of over 60 children helped to clean up the area around the monumental churches of the 15th century. On the initiative of the Conservator’s Office in Catania, our volunteers had the opportunity to put in order and catalogue the collection of archeological artifacts at the castle in Adrano.

Exhibitions The Centuripe branch of ‘SiciliAntica’ organized an exhibition of reproductions of Sicily’s archeological artifacts at ‘The Boemi Prampolini’ Antiquarian Book Shop. Exact copies of artifacts were made using techniques used for the production of these artifacts in the past.3 Another interesting event was the conference popularizing castles and fortifications of Sicily’s seashore. Their presentation was supported with a documentary screening   Many copies of artefacts made by Sicilian counterfeiters have been sold to famous archaeological museums as originals. 3

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Marta Fituła: The ‘SiciliAntica’ Association and its activities in archeology education and popularization

Figure 2. SiciliAntica’s members visiting ‘Valley of the Temples’, Selinunte (photo G. Barbagiovanni). and the ‘Towers in aquarelles’ made by G. Compagno (Cassataro 2000, 11).

During the Festival of Classical Theatre in Syracuse, ‘SiciliAntica’ not only coordinated the arrival of event volunteers from other parts of Sicily, but also managed their time upon arrival in Syracuse. We showed our visitors the San Giovanni Catacombs and the Roman Villa by the Tellaro River with its Early Imperial mosaics, and took them on a trip on Ciane River with its banks overgrown with papyrus. Finally, we watched ‘Oedipus Rex’ by Sophocles, directed by Mr D. Salvo and ‘Medea’ directed by Mr K. Zanussi.

Another very successful venture of ‘SiciliAntica’ was ‘The Cinema in the Roman Theatre’ project. This important Catalan ancient structure, restored to public use after many years of renovation work, was used in promotion of Sicilian cinematography (Musso 2002, 5–9). Excursions ‘SiciliAntica’ organizes numerous excursions for its members in order to familiarize them with the history, customs and historical treasures of all regions of Sicily. Representatives of local branches of the association introduce members from outside of the area to local heritage (Figure 2). We have run trips to the Valley of Temples in Agrigento and Selinunt, to the Roman Villa in Piazza Armerina, to the ancient theatre in Morgantina (Milazzo 2004, 19) and to the Addura Caves (Di Rosa 1999, 5, Giordano 2000, 13). We have admired the burial site of Pantalica with its 5000 graves cut in the rock. We have visited a Bronze Age settlement on Panarea Island, the homonymous archaeological site of Castellucio culture, the medieval castle in Brolo and many more (Cannata 1999, 8; Giordano 1999, 14).

Underwater archeology ‘SiciliAntica’ Association takes an interest in the underwater archeological heritage of Sicily as well. A diving course was organized for enthusiasts of underwater archeology (Figure 3). Certificates of successful completion of the diving course were officially handed out to its participants during ‘Franco Papò International Awards in Underwater Archeology’ (Musso 2000a, 8). This event marked the beginning of the Underwater Archeology Group of ‘SiciliAntica’, which from that time has been cooperating closely with the Sea Conservator’s Office (La Cavera 1999a, 6; Minafra 1999a, 8). Under close supervision of diving instructors and medical staff of the ‘SiciliAntica’ Association, 65 high school students from Paternò gained insight into the field of underwater archeology (Barbagiovanni 2003, 14–15). Students were lectured on the merits of underwater

Within the frame of the ‘Following in St. Peter’s steps’ project, members of the association have visited in the Holy Land (Palestine and Jordan) and Malta.

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Figure 3. Diving course dedicated to the enthusiasts of underwater archeology (photo G. Barbagiovanni).

Figure 4. Pupils visit to the archeological laboratories in Catania (photo G. Barbagiovanni). archeology and took practical diving classes at the school swimming pool in order to witness the simulation of real underwater archeological research with full archeological awareness. Students had the opportunity to observe all the stages of work by qualified archeological divers, fully supplied with specialized underwater archeology equipment, during the process of retrieving amphora replicas from the sea bottom. The main objective of this project was not to train young archeologists, but to raise

student awareness of the importance of the archeological heritage of Sicily, including the artifacts lying at the bottom of the sea. Education of the young generation ‘SiciliAntica’ Association created ‘SiciliAntica’ Ragazzi Branch in order to involve the young generation in conscious participation in heritage preservation and

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Marta Fituła: The ‘SiciliAntica’ Association and its activities in archeology education and popularization

Figure 6. Dr Anna Raudino during workshops involves school children in preparing simple dishes according to culinary tradition of ancient Romans (photo M. Fitula). their feeling of being responsible for the protection of Sicilian heritage. The book under the title ‘Le pietre di Federico e Ruggero’ was written to convey the experiences of students of the Capizzi High School in Bronte who, acting within the frame of the ‘I castelli dell’area etnea’ project, visited numerous medieval castles and sites, and gathered written sources dedicated to them (Pappalardo 2001, 5–8).

Figure 5. Children during a school trip organized by the association SiciliAntica to Pietralunga, archaeological site explored by its members (photo G. Barbagiovanni).

Among specifically teenage–oriented educational projects of ‘SiciliAntica’ one finds: ‘Mussomeli at the crossroads of civilizations’ (Canalella 2001, 13), ‘Old land’ (Cavallaro 1999, 12), ‘The castles of Etna region’, ‘From stories to history’ (Capone 1999, 12), ‘Life of lives’ (Piazzese 1999, 19).

popularization. For the youngest ones, ‘SiciliAntica’ organizes numerous trips, rallies, and sightseeing tours to archeological sites and museums, as well as visits to archeological conservation laboratories of mosaic and other relics (Figure 4 and 5). One of the most interesting forms of popularization of the archeological heritage of Sicily are Experimental Archeology Workshops. Such workshops involve school children in different archeology–related activities, like making pottery or gaining insight into the depths of the culinary tradition of ancient Rome. In cooperation with Dr A. Raudino from the ‘Sogni differenti’ foundation, we have involved school children in preparing simple dishes according to recipes found in historical sources (Figure 6).

However, children are not the only educational targets of actions popularizing the archeological heritage of Sicily. As part of the project ‘The museum and …….. new age, the array of new possibilities’, we showed to the elderly people the Hypogeum in Syracuse, the archeological park in Neapolis and the Roman villa on the Tellaro River. Publications The ‘SiciliAntica’s’ educational and popularization activities concerning archeological heritage issues cover numerous publications in the form of articles, books, magazines. Starting from 1999 the association has issued a free bimonthly under the title ‘SiciliAntica’. The magazine covers articles on the associations’ activities, projects, researches, cultural events, as well as retrospectives of their participants. The articles, in clear and intelligible way, picture Sicily as a region with a rich cultural heritage, indicating the need to draw special attention to the so called ‘minor archeological sites’ (e.g. Azzarello 1999, 9; Roselli 2000a, 15–17; Scarpignato 1999, 11; Testa 1999, 18–19). Many articles are dedicated to different aspects and problems of protection and management of cultural

‘SiciliAntica’, together with students of the M. Rapisardi Classical High School in Paternò, carried out excavation research at the S. Marco site (Coppone 2000, 5–7; Galvani 2000, 8–11). Students cleaned, listed and catalogued artifacts. During theoretical lessons on archeological heritage preservation, archeologists from the Conservator’s Office, representatives of ‘SiciliAntica’ and local policemen explained the harm caused by ‘robber excavation’ and the illicit sale of objects of Sicily’s heritage. ‘SiciliAntica’ school–related projects resulted in numerous photograph–supported didactic materials, in which students are promoted as active partakers, building in turn 63

Archaeological Heritage. Methods of Education and Popularization sites (e.g. Lo Cascio 1999b, 3; Lo Iacono 1999, 5; Tusa 1999, 6–7 and many others).

Amoroso, E. 2000b. Immagini di un Riparo. In A. Lo Cascio (ed.), Milazzo/Discutibili restauri. Il Duomo della discordia, 14. Palermo. Amoroso, E. 2001. La Sicilia nella storia dell’Arte. In A. Lo Cascio (ed.), Scula/Castelli dell’Etna. Alla scoperta del Medioevo, 16–17. Palermo. Amoroso, E. 2002. Dalla tradizione greca all’arte romana. In A. Lo Cascio (ed.), Catania/ Iniziative. Il Cinema nell’antico Teatro, 12–13. Palermo. Azzarello, G. 1999. Lezioni di storia. In A. Lo Cascio (ed.), Due anni di storia, 9. Palermo. Barbagiovanni, G. 2003. A scuola di Archeologia subacquea. In A. Lo Cascio (ed.), Termini Imerese/ Iniziative. Operazione ‘Spiaggia pulita’. 14–15. Palermo. Canalella, G. 2000. Proposta per un parco archeologico. In A. Lo Cascio (ed.), I pionieri del mare, 9. Palermo. Canalella, G. 2001. La Scuola scopre il territorio. In A. Lo Cascio (ed.), Scula/Castelli dell’Etna. Alla scoperta del Medioevo, 13. Palermo. Cannata, M. 1999. Catania: la carica dei quattrocento. In A. Lo Cascio (ed.), Due anni di storia, 7–8. Palermo. Capone, A. G. 1999. Dalle storie alla storia: un progetto didattico. In A. Lo Cascio (ed.), Operazione ‘Mare Pulito’, 12–13. Palermo. Cassataro, G. 2000. Castelli e torri della costa. In A. Lo Cascio (ed.), I pionieri del mare, 11. Palermo. Cavallaro, G. 1999. Il Parco di Occhiolà. In A. Lo Cascio (ed.), Palermo/Centro Storico. Tra restauri e degrado, 12. Palermo. Chisari, M. and Ciccia, A. 2002. La Sicilia preistorica e le zone archeologiche di Paternò. Nicolosi. Coppone, C. 2000. A scuola di Archeologia. In A. Lo Cascio (ed.), A scuola di Archeologia, 5–7. Palermo. Di Rosa, M. 1999. Palermo: Archeologia e Divulgazione. In A. Lo Cascio (ed.), Due anni di storia, 5–6. Palermo. Galvani, V. 2000. Un progetto di formazione. In A. Lo Cascio (ed.), A scuola di Archeologia, 8–11. Palermo. Giordano, C. 1999. Alla scoperta dei Fenici. (in:) A. Lo Cascio (ed.), Palermo/Centro Storico. Tra restauri e degrado, 14. Palermo. Giordano, C. 2000. L’isola dei Greci. In A. Lo Cascio (ed.), I pionieri del mare, 12–13. Palermo. Giordano, C. 2001. Baluardi di pietra. In A. Lo Cascio (ed.), Scula/Castelli dell’Etna. Alla scoperta del Medioevo. 14–15. Palermo. La Cavera, S. 1999a. Termini Imerese: Corso di Archeologia Subacquea. In A. Lo Cascio (ed.), Due anni di storia, 6. Palermo. La Cavera, S. 1999b. Dall’antica Himera alla città ottocentesca. In A. Lo Cascio (ed.), Palermo/Centro Storico. Tra restauri e degrado, 15. Palermo. Lo Cascio, A. 1999a. Un giorno, intorno ad un altare. In A. Lo Cascio (ed.), Due anni di storia, 3. Palermo. Lo Cascio, A. 1999b. L’isola della memoria. In A. Lo Cascio (ed.), Beni Culturali tra realtà e futuro, 3. Palermo.

Moreover, the magazine carries the column ‘Libri and libri’, where new book releases on archeology are reviewed in short and highly informative form. Many publications reviewed in the magazine were written as a summary of educational projects undertaken and successfully finalized by ‘SiciliAntica’, like for example, ‘Prehistoric Sicily and archaeological sites of Paternò’ written by Mr. M. Chisari and Mr A. Ciccia (Chisari and Ciccia 2002). The subject of this publication, directed mainly to the young reader, is not limited to a description of the prehistory of Paternò (Roselli 2004, 8–9). The authors explain in a clear way the basic merits of archeology: definition, methods, objectives and standards of archeology, legal norms referring to archeological heritage, as well as how and why to preserve archeological heritage. Multimedia Internet is an essential multimedia tool popularizing the archeological heritage of Sicily used by ‘SiciliAntica’. The association crated its website in 1998. It is used not only to network its members, but also as an easily accessible source of information on current association activities (Roselli 1999c, 11; Roselli 2000b, 14). On www.siciliantica.it one can find some electronic archeological publications and educational materials in .pdf format as well as on–site documentaries. Those members of ‘SiciliAntica’ who possess a valid e–mail address or facebook account receive regular and up–to–date information on any new projects being undertaken. Sicily is undoubtedly distinguished by the richness of its archeological heritage, as well as by the helplessness of its public institutions when it comes to maintaining and popularization of this heritage. And here non–profit associations like ‘SiciliAntica’, uniting enthusiasts of archeology, prove to be valuable allies in the process of proper archeological education, preservation and popularization of Sicilian heritage. To sum up, I would like to add that 2011 was a year devoted to Archeological Volunteerism. We, the volunteers, aim not only at protecting the heritage, making great discoveries or contributing artifacts to museum stores. We also aim at making Sicilian society sensitive and respectful towards their cultural, archeological and natural heritage, their historical identity and basic social values according to the popular Sicilian saying: He who looks after his vineyard may anticipate fruitful grape picking. Bibliography Amoroso, E. 2000a. Dalla preistoria alla città settecentesca. In A. Lo Cascio (ed.), A scuola di Archeologia, 10–11. Palermo.

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Marta Fituła: The ‘SiciliAntica’ Association and its activities in archeology education and popularization Lo Iacono, G. 1999. Trasformare le Soprintendenze in Istituti culturali. In A. Lo Cascio (ed.), Beni Culturali tra realtà e futuro, 5. Palermo. Milazzo, A. 2004. Nei luoghi delle pietre che parlano. In A. Lo Cascio (ed.), Termini Caltanisette/Scavi archeologici. Volontari alla ricercha della Preistoria, 19. Palermo. Minafra, E. 1999a. Nasce il Gruppo Subacqueo. In A. Lo Cascio (ed.), Due anni di storia, 8. Palermo. Minafra, E. 1999b. Un viaggio tra passato e presente. In A. Lo Cascio (ed.), Due anni di storia, 10–11. Palermo. Modeo, S. 2004. Volontari alla ricerca della Preistoria. In A. Lo Cascio (ed.), Termini Caltanisette/Scavi archeologici. Volontari alla ricercha della Preistoria, 5–7. Palermo. Musso, S. 2000a. I pionieri del mare. In A. Lo Cascio (ed.), I pionieri del mare, 5–8. Palermo. Musso, S. 2000b. Lezioni di scavo. In A. Lo Cascio (ed.), I pionieri del mare, 16–17. Palermo. Musso, S. 2002. Il cinema nell’antico teatro. In A. Lo Cascio (ed.), Catania/Iniziative. Il Cinema nell’antico Teatro, 5–9. Palermo. Pappalardo, V. 2001. Alla scoperta del Medioevo. In A. Lo Cascio (ed.), Scula/Castelli dell’Etna. Alla scoperta del Medioevo, 5–8. Palermo. Pavone, C. 2000. La città in età romana. In A. Lo Cascio (ed.), A scuola di Archeologia, 7–9. Palermo. Piazzese, G. 1999. Alla ricerca delle radici contadine. In A. Lo Cascio (ed.), Operazione ‘Mare Pulito’, 19. Palermo. Proietto, M. 1999. Cantiere di scavo a Megara Hyblea. In A. Lo Cascio (ed.), Due anni di storia, 13. Palermo. Roselli, B. 1999a. Volontari nel Castello. In A. Lo Cascio (ed.), Due anni di storia, 12–13. Palermo. Roselli, B. 1999b. Un edificio termale. In A. Lo Cascio (ed.), Beni Culturali tra realtà e futuro, 12–14. Palermo. Roselli, B. 1999c. Il sito Web di SiciliAntica. In A. Lo Cascio (ed.), Due anni di storia, 11. Palermo. Roselli, B. 2000a. I nebrodi occidentali in epoca classica (I). In A. Lo Cascio (ed.), A scuola di Archeologia, 13–15. Palermo. Roselli, B. 2000b. I nebrodi occidentali in epoca classica (II). In A. Lo Cascio (ed.), Milazzo/Discutibili restauri, Il Duomo della discordia, 15–17. Palermo. Roselli, B. 2004. Una antica presenza dell’uomo. In A. Lo Cascio (ed.), Termini Caltanisette/Scavi archeologici. Volontari alla ricercha della Preistoria, 8–9. Palermo. Scarpignato, G. 1999. A spasso tra le antiche mura. In A. Lo Cascio (ed.), Palermo/Centro Storico. Tra restauri e degrado, 11. Palermo. Sottile, M. 2000. Le salinelle di Paterno. In A. Lo Cascio (ed.), A scuola di Archeologia, 6–7. Palermo. Testa, A. 1999. I monumeti in pietra del monte Palmeto. In A. Lo Cascio (ed.), Beni Culturali tra realtà e futuro, 18–19. Palermo. Tusa, S. 1999. Nessun cambiamento all’orizzonte. In A. Lo Cascio (ed.), Beni Culturali tra realtà e futuro, 6–7. Palermo.

Mrs Marta Fituła ‘SiciliAntica’ Association e-mail: [email protected]

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The Viminacium Archaeological Park and Scientific and Research Centre Snežana Golubović and Milica Tapavički-Ilić Abstract Large numbers of finds and features discovered over almost forty years of archaeological excavations at the Roman city of Viminacium have led to the establishment in 2006 of an archaeological reserve. Since the opening, several attractions have been made available to the public and others are in preparation. Current archaeological excavations have also led to the establishment of a special scientific and research centre called Domvs Scientiarvm. Keywords archaeological heritage, Viminacium, archaeological park

The modern village of Kostolac is situated at the mouth of the river Mlava, where it flows into the Danube in northeast Serbia (Figure 1). This picturesque settlement lies upon the remains of several prehistoric cultures ranging from the Neolithic period to the turn of eras. The place has been known to adventurers and travelers from the 17th century on. The first excavations were conducted by Mr MihailoValtrović and after him by Mr MilojeVasić, who discovered several ancient architectural features, tombstones and a street. Several campaigns took place in the 1980s. Excavations were interrupted in the end of the 1990s, but were resumed in 2000 and continue to be conducted.

archaeological remains. Since every day the machinery operates so close to the site, this feature specifies the nature of excavations and also presenting the archaeological remains to the visitors. The Nadlugom site excavated during the late 1980s offered material ranging from the Neolithic (Starčevo culture), through the Eneolithic (Kostolac culture), Bronze age (Vatin culture) and early Iron Age, to the late La Tène period. All the periods except the last one have been recorded only by pottery finds. The La Tène phase included several finds of graves and rubbish pits, indicating the existence of architectural remains nearby. The Iron Age remains are concentrated only on the slope and on the part of the plateau close to this slope, descending toward the Mlava river. They were found on the Nadlugom and Pećine sites. Although the rubbish pits from the Nadlugom site and the material

The prehistoric remains at Kostolac are situated to the southwest of the ancient Roman settlement and necropolises, which constitute most of the present–day excavations (Figure 2). The site lies in the vicinity of the Drmno open cast, which is situated to the east from the

Figure 1. The location of Viminacium and other sites in Serbia (map V. Ilić). 67

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Figure 2. Map of Viminacium with all of the archaeological sites (Archaeological Institute Belgrade, project Viminacium).

Figure 3. Ideal reconstruction of grave moulds at the Pećine site (drawing D. Tapavički). 68

Snežana Golubović and Milica Tapavički-Ilić: The Viminacium Archaeological Park found in them belong to the very last period of the Late Iron Age and partly coincide with the Roman material, the grave finds from Pećine represent the oldest Celtic graves in the Balkans.

The presentation ideas appeared plausible, but plans are often changed by reality and this was no exception. In 2007, a big Roman amphitheatre was discovered and its excavation began. Piles of earth had to be removed and this is how the idea was born to reconstruct a Celtic settlement complete with rampart and palisades. The chosen position of this hypothetical settlement, measuring approximately 36m by 39m, was in the eastern part of the site. Apart from the rampart and the palisade, the reconstruction idea included a gate to serve as the entrance and, inside the fortification, two cottages, a potter’s workshop, a blacksmith’s, a granary and a stable.

The Pećine necropolis offers a unique possibility for studying the development and changes of Scordiscian burial rites. Out of 43 graves found, nine belong to the Early Iron Age and 34 to the Late Iron Age. Of these graves, 17 are extended supine burials and the other 17 cremation burials (Jovanović 1985, 13). Most of them date to the 3rd century BC. The chronology of the burials is confirmed not only by the burial rite, but also by grave accompaniments, like jewelry, weapons and pottery, which all represent Celtic material culture (Figure 3).

Ever since its official opening in 2006, the archaeological park of Viminacium has had a growing stream of visitors every year. The reason for this is not only intensive promotion and media coverage, but also special ways of presenting new features and the introduction of new presentation content at this Roman site (Figure 4).

This necropolis is characterized by graves concentrated in several groups, each containing two to eight burials. These grave groups have been interpreted as family graves. The division into groups offered unique presentation possibilities and the author considered two convenient ways of presenting these graves to the public. One way was to show them as they appeared at the time of burial, giving an idea of the two different burial rites practiced next to one another on the same necropolis. Although some of the graves contained skeleton burials and some were cremations, it is possible to show their contemporaneity and their belonging to the same group of people through the grave goods that were common to both, like pottery, weapons, jewelry and offerings of food and drink. At least one group of graves could be presented in this way, offering visitors insight into the picture that relatives visiting the cemetery had 23 centuries ago.

The fact that the ancient city of Viminacium, capital of the Roman province of Moesia Superior (Prima in the late Empire), is situated approximately 95km southeast of Belgrade and only 12km from Požarevac increased the number of potential visitors. The site itself, an ancient Roman city together with military camp (castrum), lies in cultivated land and Roman–age artifacts and features are brought up in the plowing. The first excavations of the camp and city were conducted at the end of the 19th century, while the largest exploration of the cemeteries of the town of Viminacium was undertaken at the time of the construction of the Kostolac thermoelectric power plant and the opening of the Drmno strip mine in the 1970s and 1980s. About 14,500 graves with more than 40,000 finds were discovered (Korać and Golubović 2009; Zotović et al. 1990). These salvage archaeological excavations lasted for several decades, but the first regular research began at the beginning of the 21st century and comprised a multidisciplinary team of young researchers headed by Dr Miomir Korać from the Archaeological Institute in Belgrade. State– of–the–art research techniques have been applied in Viminacium since 2002, e.g. remote sensing, geoelectrical and georadar prospection, 3D video scanning. It means that the Viminacium project employs also geophysicists, geologists, mathematicians and electrical engineers beside archaeologists and anthropologists. Moreover, GPS (Global Positioning System) satellite navigation has been used since 2003 to establish the precise position of structures and features in space, as well as for recording the findspots of all archaeologically identified artifacts.

The other possible way of presenting the Pećine necropolis was to rebuild the grave mounds, once again showing them in groups. Since no overlapping of grave pits had been determined during the excavations, it is certain that the graves were marked in some clearly visible way. This made it easy to determine the place of the next burial and avoid disturbing existing graves. Wooden poles, like the image of a deer from Fellbach-Schmieden (Schröder 1998, 36) could be considered a possible marker. Nicely carved pieces of wood, maybe even painted in different colours, could have been used to mark the Pećine graves. The motifs, if any, were probably inspired by Celtic mythology. An inspiring image of how such a graveyard could have looked like exists in Germany, in Ostheim v. d. Rhön (Klein 2004, 48–50). The fact remains that there are very few reconstructed Celtic cemeteries in modern Europe. Therefore, it is very important to reconstruct and present the Celtic remains from Pećine to the public. The individuals buried there are ancestors of the great warriors who attempted to conquer Delphi and, failing that, scattered across southeastern Europe. One group of these defeated warriors returned to the Danubian valley and gave rise to the Scordisci tribe. A second group settled in modern Bulgaria, while a third crossed the Dardanelle and settled in Asia Minor.

In time, a combination of these methods and aerial photos has given a reliable image of the former encampment along with its bulwark, towers and walls, as well as many new structures in the territory of the ancient city and its surroundings. For example, the application of these methods for the first time in 2003 led to the detection of an amphitheater; excavations, which started in 2007, 69

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Figure 4. All of the covered objects at the Viminacium and the strip–mine behind them (Archaeological Institute Belgrade, project Viminacium). have uncovered the first and only amphitheater in Moesia Superior. Other features identified using the same methodology included public baths (termae), the north gate of the legionary camp (porta praetoria), the east gate (porta principalis sinistra) and the headquarters of the camp commander (principia), a mausoleum, hippodrome and aqueduct approximately 10km long.

heating (hypocaust systems), while the fifth was a cold bath, i.e. frigidarium. The luxurious baths characterized by painted walls and mosaic floors, built on a unique architectural plan, were in use from the 1st through the 4th century.

Baths

The first great success of georadar prospection was the detection of an aqueduct in the spring of 2003. Archaeological excavations verified about 1.5km and remote detection imaged another 1350 meters. According to the finds the aqueduct was built during the 1st century AD and was destroyed in the first half of the 5th century AD during a raid by the Huns. It was built of stone bonded in lime mortar, which also covered the sides, while the bottom was made of waterproof mortar. Baked bricks with stamps of the Roman legions engaged in the construction of the aqueduct, Legio IIII Flavia Felix and Legio VII Claudia Pia Fidelis, were used for the bottom. The aqueduct was covered on top with massive floor tiles.

Aqueduct

In order to have a complete archaeological park, it was necessary to have all of the objects protected, covered and presented. One should bear in mind that the first archaeological exploration of Viminacium had taken place in the end of the 19th century and that many Roman graves were discovered in the course of the 20th century, but that practically nothing of these archaeological features could still be seen at the site. For this reason, the city baths were re–excavated between 1973 and 1975. For the first time the Viminacium project introduced a protective measure to be used on all archaeological monuments and sites in the future (Kujundžić 2004). Features that have been excavated and investigated, like the baths, are covered with a kind of roof and presented as objects of interest for tourists. The roofing consists of a light lamellar structure and a special covering sheet which enables spanning large distances without additional supports inside the monument. More importantly, no harm is done to archaeological layers by the mounting of such a roofing structure. Five apses were excavated and of these, four were tepidaria with floor-

The total estimated length of the installation was approximately 10km. Its purpose was to bring potable water from springs in the surrounding mountains. The aqueduct is considered an exceptional building and engineering undertaking with a gradient from the water source to the Roman town and military camp of 1 to 2 percentage.

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Snežana Golubović and Milica Tapavički-Ilić: The Viminacium Archaeological Park The aqueduct had been endangered by the strip coal mine, so it had to be moved to a safe location inside the archaeological park. Cut segments were transported in specially constructed steel crates and the aqueduct was reconstructed at the site together with the castelum aquae, another feature excavated in the course of 2008.

The settlement obtained municipal status in the first half of the 2nd century, during the reign of the emperor Hadrian, most probably in AD 117, when it was proclaimed a municipio and received the name Viminacium Aelium Hadrianum. Remnants of an entrance gate with roadway, sewage channel (cloaka) and decorated architectural elements discovered during the excavations confirmed the existence of a fort constituting part of a strong defense system on the northern frontier of the Empire. Both the military camp and the civil settlement were destroyed in the Hunnic raid of AD 441 and never regained importance (Korać et al. 2009, 71).

Porta praetoria The second feature opened to the public is the north gate of the camp, the Porta Praetoria. It was excavated regularly in 2002 and 2003 in collaboration with the State University of New York at Albany, which sent from ten to fifteen American students to participate in work on the site as members of a Field School every summer from 2002 to 2007.

Mausoleum

It is known from historical sources that the Roman encampment in Viminacium was built in the early decades of the 1st century AD. The approximate dimensions of the camp were 443 × 387 meters. Historical sources state that the legion VII Claudia came to Moesia from Dalmatia during the 60s or 70s AD. Previous to this undertaking, there appear to have existed wreath fortifications built by one of the first Moesian legions, the IV Scythica or the V Macedonica. A civil settlement mentioned in epigraphic sources sprang up next to the military camp. It was evidenced archaeologically at a location to the west of the military camp.

The third feature to be presented and the most attractive one for tourists is a part of the Viminacium cemetery excavated from 1997 to 2002 (Korać et al. 2009, 98). In the middle, there is a mausoleum, which most likely belonged to someone of considerable importance (Figure 5). The shelter over the mausoleum, which takes on pyramidal form, is square in plan. The central part of the mausoleum (5 × 5m), which contains the tomb proper, is built of green schist bonded with mortar. The deceased had apparently been laid out on a wooden bed or carriage and cremated with all accessories. The form of burial, known as bustum, is generally very rare. At Viminacium, bodies were burned on pyres and the cremated remains were

Figure 5. Mausoleum (Archaeological Institute Belgrade, project Viminacium) 71

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Figure 6. Domus Scientiarum – Main Atrium (Archaeological Institute Belgrade, project Viminacium). Amphitheater

deposited in pits with burned sides (Golubović 1998, 250). This only underscores the importance of the mausoleum and especially the person which was cremated and buried on the spot. Around the central grave, next to and around the wall, more than 300 graves were discovered, either cremated or buried. Seventeen golden objects found in graves around the central one testify to the wealth of the dead buried in this part of the Viminacium cemetery. Just as in the case of other features presented in the Viminacium archaeological park, roofing above the mausoleum consists of supports made of lamellar wood. The solid wood elements which form the pyramidal apex of the structure are joined by metal connecters (Figure 5).

The amphitheater was first explored with georadar in the winter of 2003. Its dimensions were estimated even before excavations commenced in the end of 2007. In the course of the past five years of explorations, the wall around the arena was fully unearthed, along with passages on its northern, western, southern and eastern sides. The youngest cultural layer can be dated from the middle of the 3rd through the end of the 4th century, while the oldest one dates to the beginning and first half of the 2nd century. Apart from architectural elements and cultural layers, 52 graves from the late antique period were discovered in the western part of the amphitheater. The excavation is planned for 2013, with the intention of reconstructing the feature in part to turn it into a place to be visited by tourists and one where concerts, drama, festivals etc. can be held.

One of the brick masonry tombs from the beginning of the 4th century was found to be decorated with wall paintings. The appearance of these frescoes suggested a special form of presentation. Two other graves, excavated already in the 1980s, were reconstructed next to the one preserved in situ to give a highly unique picture of the underworld (Korać 2007, 90 and 129). This part of the Viminacium site has proved to hold the greatest appeal for visitors, who are thus introduced to burial rites in Roman times and to some of the most beautiful painted tombs of late antiquity on the same spot (Anđelković 2012).

Mammoth discovery Ever since a mammoth skeleton was discovered on one of the terraces of the strip mine, this paleonthological find has attracted the attention of both the media and visitors to the archaeological park of Viminacium. This female mammoth, 60 years at the moment of death, 4.5m tall, over 5m long, and weighing 10 tons, has become a kind of Viminacium pet. In 2009, in order to protect and preserve this special find, a construction similar to those erected over other archaeological features was raised over the skeleton (Korać 2010, 23). Unstable ground under the skeleton has necessitated, unfortunately, its transfer to

Being a very important part of the archaeological park, the souvenir-shop was also given much attention. It is separated from the taverna by a glass wall. It offers more than 600 items, like replicas of vessels and jewelry from the Roman period discovered at the site.

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Snežana Golubović and Milica Tapavički-Ilić: The Viminacium Archaeological Park another location inside the archaeological park. The good side of this transport is that the mammoth will be closer to other presented features and easily accessible.

Kujundžić, V., Tekić, Ž., and Djordjević, S. 2004. Savremeni sistemi drvenih konstrukcija. Beograd, Arhitektonski fakultet Univerziteta u Beogradu. Schröder, H. 1998. (ed.), Kunst im Alten Schloss. Stuttgart. Zotović, Lj. and Jordović, Č. 1990. Viminacivm I, nekropola Više Grobalja. Beograd, Arheološki institut – Republički zavod za zaštitu spomenika kulture.

Domus scientiarum The building of the Viminacium Scientific Research Center (Domvs Scientiarvm) began in 2007 (Figure 6). Already during the next year, even though the building had not been finished completely, it greeted the world famous opera diva Emma Shapplin, and in December 2008, the so called ‘Scienza per tutti (Laboratories for everybody)’, organized in cooperation with the universities of Ancona and Bologna. Several other similar events followed, like Festival of Vine, Concert by ‘Studio Alektik’ which was broadcast directly on the Internet, International Conference on Roman Pottery (RCRF) and finally, in September 2011, the IXth International UNESCO summit, attended by numerous presidents and ministers (Korać 2011, 24).

Dr Snežana Golubović Arheološki institut Knez Mihailova 35/IV 11000 Belgrade, Serbia e-mail: [email protected] Dr Milica Tapavički-Ilić Arheološki institut Knez Mihailova 35/IV 11000 Belgrade, Serbia e-mail: [email protected]

What is Domvs Scientiarvm? Designed as a Roman villa rustica, it was built for scientists from Serbia and around the world to provide premises, workshops and atria for research, workshops with students, summer schools, as well as congresses and meetings. One part of it is already ready to accept tourists, who can live there as part of a special program and also participate in archaeological excavations. The domus is surely one of the most ambitious actions, including not only a presentation of archaeological heritage, but also a successful combination of stylized forms of a Roman building with modern content. Bibliography Anđelković, J. 2012. Painted tombs from Viminacium and their presentation to the public. In this volume. Golubović, S. 1998. Graves of the Mala Kopašnica-Sase Type at the Viminacium Cemetery from an Aspect of their Ethnic Origin. In P. Roman (ed.) The Thracian World at the Crossroads of Civilizations II, 247–260. Bucharest. Jovanović, B. 1985. Nekropola na Pećinama i starije gvozdeno doba Podunavlja. Starinar n.s. XXXVI, 13–17. Beograd. Klein, T. F. 2004. Wege zu den Kelten. Stuttgart. Korać, M. and Golubović, S. 2009. Viminacium – Više Grobalja 281–530 (kremacija) 268–560 (inhumacija) II. Beograd, Arheološki institut – Centar za nove tehnologije. Korać, M., Golubović, S., and Mrđić, N. 2009. Itinerarium Romanum Serbiae. Road of Roman Emperors in Serbia. Beograd, Center for New Technologies Viminacium. Korać, M. 2007. Slikarstvo Viminacijuma. Beograd, Centar za nove tehnologije – Viminacium. Korać, M. 2011. Viminacium: Fasti Romanae 2012/2013. Beograd, Centar za nove tehnologije – Viminacium.

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Museum education. Exhibitions and outdoor events as forms of integrated presentation and popularisation of archaeological heritage in Biskupin Anna Grossman and Paweł Hildebrant Abstract Intensive popularisation and educational activities have accompanied research into the Iron Age fortified settlement in Biskupin since the first excavation season. The aims and forms of these activities have evolved over more than 70 years, along with changes taking place across the country. The two main tasks of the museum, i.e., popularisation of knowledge about Biskupin archaeological research and its relevance for Polish archaeology, as well as promotion of national heritage conservation, were, towards the late 1990s, complemented by the task of popularisation of the results of archaeological research by other Polish and foreign museums and scholarly institutions. The aforementioned tasks have been fulfilled by means of temporary exhibitions that accompanied events such as archaeological festivals. The exhibitions varied as to their form, which has always been customised to the presented subject. Keywords Biskupin, education, popularization, archaeological heritage

The beginning. From table to showcases

gave start to spontaneous, though informal, activities of the future museum. These activities have always focused on obtaining collections of relics, subsequent examining and cataloguing, and finally presenting to the public. During the second excavation season, the exhibits were displayed in a barrack that also served as a conservation laboratory and was specially built for the occasion (Figure 1). However, other forms of exhibitions presenting the life of inhabitants of the fortified settlement in Biskupin were also employed. Reconstructions were of high importance as they went beyond the limitations of spoken word and had a strong effect on visitors, regardless of age or educational background. At that time, a number of reconstruction drawings of the settlement in Biskupin and various –sized models of some parts of its dwellings were made. The first full–scale reconstruction2 of a house was built in 1936. The reconstruction featured a display of the discovered relics. Another house, where the interior was recreated and fully furnished and equipped, was built alongside next year. Alleys and a fortified rampart were also partly built. This extraordinary field museum with uncovered authentic wooden constructions exerted a strong influence on visitors’ imagination.

The Archaeological Museum in Biskupin was established under its current official name as late as in 2000 (Grossman 2005, 268); however, informal activities of the future museum commenced as early as in 1934, when archaeological research began at the site of the remains of the early Iron Age fortified settlement (Kostrzewski 1936; Kostrzewski 1938). If we look into the work of archaeologists from Biskupin, we need to emphasise that from the very beginning excavations have been accompanied by extensive promotion, popularisation and educational activities that are ongoing even today. The aims and forms of these activities have changed over more than 75 years that have elapsed since excavations on the peninsula of Lake Biskupin began, along with changes taking place across the country. The purpose of major educational activities has been not only research work but also: popularisation of knowledge about archaeological research in Biskupin with emphasis on its relevance for Polish archaeology, and promotion of Polish and international heritage conservation. Owing to numerous archaeological publications and extensive promotion of research, growing numbers of Polish and foreign visitors have visited Biskupin repeatedly, starting from the first excavation season (Rajewski 1938, 1–2 and 5–7). Guests were treated to extensive commentaries on the uncovered wooden constructions of the fortified settlement by members of the research team, as well as by Prof. Józef Kostrzewski, head of the excavations, and his assistant, Dr Zdzisław Rajewski. In order to illustrate the everyday life of ancient inhabitants, the relics were presented on tables placed alongside the excavation site.1 This field ‘exhibition’

Beyond Biskupin. How to present other places After the war an exhibition on the findings of the research into the Iron Age fortified settlement was restored in a house reconstruction rebuilt on the peninsula. It is common knowledge that the informative and didactic purpose of an exhibition is served by the selection of adequate means of expression; means that gradually evolved3 in his students, who found it helpful and who successfully developed it in many areas, among which popularisation played an important role. 2   The first full-scale reconstructions of archaeological objects were built in Germany as early as in the 19th century. In the first half of the 19th century, at the time of growing nationalistic tendencies, reconstructions were used to evoke nationalist feelings by means of providing lectures, organising party rallies, and arranging demonstrations depicting everyday life of ancient inhabitants of pile-house settlements (Schőbel 1997). 3   In order to understand the evolution of Biskupin exhibitions it should be emphasised that for 40 years the evaluation process was always supervised by the same person, Prof. Z. Rajewski. He participated in the first-season excavations as an assistant of Prof. Kostrzewski, and already as the head

  J. Kostrzewski familiarised himself with reports on excavations carried out on wetlands during his studies in Germany. He learned popularisation methods that were employed already during ongoing excavations. The methods comprised tour guiding and providing descriptions of finds, as well as ad-hoc displays of finds on tables specially set up for this purpose (Schőbel 1997). Prof. Kostrzewski made excellent use of his experience when conducting research in Poland in compliance with the highest standards of that time. He also ably passed his experience on to 1

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Should be Figure 1. Biskupin 1935. The first exhibition of relics was placed in a wooden shed in the camp of the excavation. Photograph from the private collection of Mr P. Novotny. Biskupin. In the early years after the war a ‘display’ of relics and documentation of Biskupin excavations was presented in one of the former camp barracks located at the base of the peninsula. The barracks were donated by the Military District Command in Poznań. In 1957 a new display planned by Prof. Rajewski and Dr Bogdan Kostrzewski, entitled ‘Biskupin i jego okolice. 10 tysięcy lat historii (Biskupin and the Surrounding Areas. Ten Thousand Years of History)’, was shown in the barracks (Rajewski 1958, 169). The characteristic design of this display, i.e., modest flat showcases filled with relics and accompanied by illustrations of archaeological objects and schematically presented motifs found on pottery, was partly implemented in a permanent exhibition entitled ‘10,000 lat Biskupina i okolic (Ten Thousand Years of Biskupin and the Surrounding Areas)’. The exhibition has been open to visitors since 1974 in the museum pavilion erected on reserve grounds. The smaller pavilion room featured an exhibition on the findings of research into the Iron Age fortified settlement on the peninsula of Lake Biskupin. This exhibition made Biskupin famous (Zajączkowski 1991, 236 and 244–245). The exhibition resembled a carefully written and substantively

comprehensive overview of the archaeological knowledge of the earliest history of the Biskupin region, though it was presented with rather modest means and a limited colour scheme. It consisted of flat, same –size showcases featuring relics and illustrations. The showcases had a chronological layout and were mounted on the walls at one height forming a single line running around the entire room. A decorative border above them comprised ornamental motifs typical of pottery decoration from a given period. Pedestals which carried single pottery pieces and which divided the showcases into lines of equal length were the only elements breaking the monotonous layout. Life-size reconstructions of various forms of inhumation and cremation graves placed in the centre of the room were unquestionably interesting, especially to younger visitors. Exhibition reception varied among visitors. One of the reasons was excessively frequent usage of names and expressions typical of archaeological academic publications.4 This professional jargon made information on many objects or processes, so remarkably identified by archaeologists, difficult to grasp or totally inaccessible for a wider public. Retaining a hermetic professional vocabulary not only prevented unprepared visitors from comprehending the information, but also discouraged them from making further efforts to gain greater knowledge of a given subject. For archaeologists the exhibition was a consistent collection of relics, information, and detailed

of the research team in the fieldwork after the war. In the following years, as director of the State Archaeological Museum in Warsaw (PMA), he played an important role in establishing the Archaeological Museum in Biskupin, which became a branch of PMA in 1956 (Smoliński 1957, 277). Prof. Rajewski was the originator and the coordinator of almost all research initiatives as well as popularisation and exhibition events in Biskupin until 1974. Some of the projects were finished after Rajewski died (Piotrowski 1991), others are in realisation even now. One of the projects aims at creating a reserve that would feature reconstructions of culturally and chronologically varied objects uncovered and examined in Biskupin (Grossman and Piotrowski 2011, 211–212; Fig. 4). The project is supervised by the current director of the museum, W. Zajączkowski, who joined the museum in the 1960s as an assistant of Prof. Rajewski.

4   Archaeologists occasionally fail to understand how unclear some information in academic and popular publications can appear to an average visitor with rudimentary knowledge. To mention just a few examples: names of archaeological cultures (e.g. the Trzciniec culture, the culture of radial-ornamented pottery or stroke-ornamented pottery), names of periods or ways of dating (e.g. Bronze A, the Hallstatt period C, or the period of Roman influence B2/C1).

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Anna Grossman and Paweł Hildebrant: Museum education illustrations of a given subject. It was like reading a meticulously written textbook for students. To a guide showing a group round, the exhibition was a standard archaeological display that required relevant commentary suited to the age of a group and its knowledge of the subject. And what was the exhibition for individual visitors? Unfortunately, even for those who showed more interest in it, a lengthy walk along the line of similar showcases soon proved to be tiresome. There were also other signs of a significant waning of interest in the exhibition. In the 1980s (Piotrowski 1991, 99–100) Biskupin became the grounds for extremely popular demonstrations of experimental reconstruction of ancient craftsmanship techniques and everyday life of ancient inhabitants of the region (Borkowski and Brzeziński 2001, 81; Zajączkowski 1991, 243). These demonstration events were repeated in Biskupin every season and eventually evolved into the Biskupin Archaeological Festivals hosted here since 1995.

museum (Zajączkowski 2009, 26). Presentation and conservation of archaeological heritage of not only the Biskupin region, but also that of other regions of Poland and of other countries and nationalities, has become a new and highly important aspect of educational and popularisation activities. Temporary exhibitions presented in Biskupin since the late 1990s, organised by the museum as well as by other museums, have significantly enhanced what Biskupin has to offer and have become an important part of the popularisation and educational effort. These exhibitions accompanied regular and occasional archaeological conferences, both Polish and international, and presented the accomplishments of other Polish and foreign archaeological scholarly and museum institutions. The exhibitions focused on matters that are of high importance to the fields of archaeology and culture, such as research and conservation methods, and the necessity and ways of archaeological heritage preservation,6 or they served as illustrations of major themes of the archaeological festivals taking place in Biskupin every year. Putting up exhibitions has always activated the museum’s scholarly and research team and technical support staff, who would strive to find the best and the most interesting solutions with great enthusiasm, often going beyond their ordinary day–to–day duties.

From permanent to temporary exhibitions. In search of solutions. In 1997 the exhibition layout in the museum pavilion was reorganised. The main room was set aside for a permanent exhibition on the earliest history of Biskupin’s surrounding areas, whereas the smaller room held temporary exhibits organised by Biskupin Museum or in collaboration with other museums or scholarly institutions. The new permanent exhibition was entitled ‘The Dawn of History at Lake Biskupin’ (Nowe Przemiany 1997, 17). Exhibition layout, colours, arrangement of showcases, and label texts5 were changed entirely. A division into three periods of highest relevance for the history of the Biskupin area, i.e., the Stone Age, the Metal Ages, and the Middle Ages, was introduced. The descriptions were customised by means of implementing three modes of narration to suit various age groups. The entire exhibition was enriched with numerous illustrations, reconstruction drawings, reconstructions depicting how the exhibits were employed in ancient times, as well as a variety of models of former dwellings and grave forms of various historical periods (Zajączkowski 2008, 30–39). However, this form of exhibition also seems to be losing its appeal and a new exhibition project, in which the most recent technological solutions will be applicable, is already underway.

In an age of fast–paced development of means of communication, new aesthetic standards suited to the perceptual capabilities of the recipients are established constantly, of inconspicuously. It becomes increasingly harder to meet society’s growing expectations in the face of fast–paced changes, especially economic and cultural ones. The increasingly varied interests and educational, aesthetic, and even emotional needs observed among visitors urge attempts to implement forms of communications based on modern technologies. However, it is common knowledge that even the most sophisticated projects may be prevented by lack of technical or financial resources. The Archaeological Museum in Biskupin is an institution where grants of the founding body account for as little as 40 percentages of a year’s budget and where the remaining sources are earned by the museum itself (Zajączkowski 2009, 26). Temporary exhibitions are financed by the museum. As the financial sources of the museum are limited, sums spent on such exhibitions cannot burden the budget to a great extent, which usually means inability to fully realise the projects. As the resources are limited and they fail to make it possible to build a different exhibition on every single occasion,7 the main focus has

The scope of museum activity, which used to centre around research, conservation and educational and popularisation activities, has been enlarged. There is a number of reasons behind that: a substantial number of visitors coming to Biskupin (more than 200,000 every year since the mid1990s), commencement of collaboration with various museums as well as cultural and scholarly institutions, and last but not least, obtaining the status of an independent

  Exhibitions that accompanied reporting conferences: From Flint to Silk. Archaeological Research in the Kujawy-Pomerania Province in the years 2003–2007 (2007). Exhibitions that accompanied international conferences and which were organised in collaboration with IAE PAN and the Archaeological Committee, Wrocław branch of PAN: Constructions and Reconstructions. Archaeological Reserves (2004), Silesia. The Province of the Hallstatt Culture (2008). Exhibitions on the matters of preservation of archaeological heritage: Explorers and Plunderers (2002). Guest exhibitions: Elbląg. The Hanse and its Heritage (2011). 7   Since the late 1990s an aluminium framing system SIMA has been used 6

  D. Piotrowska, W. Piotrowski and A. Grossman, who worked at Biskupin Museum at that time, were the authors of texts, descriptions and the entire display concept. Other people involved in the realisation of the exhibition included J. Żabko–Potopowicz, author of the visual project, and a team of visual artists, archaeologists and conservationists (Grossman 2005, 272–272). 5

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the nine festival days. Substantial organising skills were needed to prepare a festival programme which allowed for daily presentations of all reconstructions and stagings of known and unknown aspects of ancient Egyptian life. Extraordinary mummification demonstrations with mystical rituals and transportation of a stone block prepared for ‘pyramid construction’ were extremely popular with visitors. The ‘Craftsmanship of Ancient Egypt’ exhibition, which accompanied the festival, was devoted to aspects of everyday ancient life. One of the co-authors of the scenario and the author of the texts, Dr A. Ćwiek, then a staff member of the National Museum in Warsaw and the Archaeological Museum in Poznań (which loaned the exhibits), helped to create an exhibition which provided a clear commentary on everyday subjects as well as the more extraordinary ones, such as techniques of sarcophagus ornamentation, which used to be performed by highly skilled craftsmen, and not, as some would presume, by artists (Ćwiek and Grossman 2001). The exhibition with its clear message was accomplished by means of simple colour manipulations and an ‘architectural’ symmetrical cascade composition of showcases (Figure 2).

Archaeological festivals. Purpose and forms of exhibitions Archaeological festivals in Biskupin have been organised regularly since 1995 and each has had a unique theme. The attractive form of festival presentations of experimental archaeology accompanied by educational activities immediately gained widespread acclaim. Exhibitions that accompany every festival and that further explore the essence of every festival’s leading theme, bridge the gap between an entertaining form of archaeological heritage popularisation and science (Piotrowski 2005, 25). Changing themes have necessitated intensive staff searches for relevant exhibitions.8 However, in most cases it was essential to prepare, based on acquired resources, a new exhibition that would meet visitors’ expectations concerning illustration of a given subject. Teams working on these projects would carry out several essential tasks, such as: collection and presentation of archaeological materials illustrating festival themes and complementing their content, popularisation of archaeological findings of Polish and foreign museums and scholarly institutions, linking the exhibitions with festival events by means of outdoor visualisation.

Another difficult, although undeniably appealing10 theme was that of the 2003 festival, ‘Indian Summer’. The organisers’ aim was especially to repudiate the Hollywood image of native inhabitants of North America, promoted by film productions for a few dozen years, and to show the rich and long history of this native culture to a wider public. Blackfeet and Dakota Indians who are lecturers on Indian tradition-related subjects in the USA visited Biskupin. They presented myths and stories on the essence of Indian life and the sense of honouring the memory of ancestors, family and nature. A large group of Polish indianists, who presented craft, rites, and ritual dances, encouraged an elevated and positive mood by staging a pow-wow ceremony every day (Piotrowski 2003, 182–184). The ‘World of American Indians’ exhibition showed a concise history of Paleo-Indians: their arrival in North America and the subsequent deepening gap between everyday rites of American Indians from the North and the rites of those from the South. Dr J. Wołoszyn from the University of Warsaw was the author of the scenario11 and texts. The exhibition featured various aspects of material culture as well as of the American Indians’ spiritual life. The latter was introduced to the public by katchina dolls, which were used by witch-doctors in rituals of communicating with gods and spirits of ancestors. Magnificent relics from a number of Polish museums were presented.12 Some of

Biskupin staff members, who contributed to the organisation of the exhibitions, have always exerted an effort to make every single exhibition unique in some way. Experts on a given period, mainly from scholarly institutions but also from other museums, were invited as authors or co –authors of scenarios, texts and displays, which later proved to be of exceptional substantive quality. One of the first exhibitions that required a special approach was the one in 2001 during the festival entitled ‘In the Shadows of Pyramids’. The subject itself, which in Poland seemed rather exotic at that time, was difficult to work on, especially considering that Biskupin was visited by tens of thousands of visitors9 over when putting on exhibitions. This framing allows for construction of units of showcases and other exhibition elements of any size. However, as several exhibitions have been organised every year (Piotrowski 2005, 25), one could at some point observe an increasingly dull repetitiveness of exhibition units, which made the specified subject difficult to convey. Over time this initially appealing way of building exhibitions started to dwarf the exhibitions themselves. Attempts have been made, therefore, to design arrangements that would draw visitors’ attention to the subject matter of an exhibition rather than the aluminium frames. 8   Over the 17 years when exhibitions accompanied festivals a readymade exhibition that only needed to be adjusted to the size of the room was presented only once, i.e. in 2007. The title of the exhibition was: ‘Treasures of Ancient Latvia’ and it accompanied the festival ‘The Balts–Slav’s Northern Neighbors’. Some of the exhibitions needed to be supplemented by means of, for example, boards with illustrations or relevant arrangement, like the exhibition from Debrecen, Hungary, entitled Inhabitants of the Starry Sky. The exhibition accompanied the 2009 festival ‘Pole and Hungarian–Two Good Friends’. The remaining exhibitions required a new scenario that would refer to the theme of a given festival and necessitated search for relevant relics that would often come from a number of museums. 9   The number of festival visitors through 2011 was estimated between 38

thousand (minimum) during the first festival in 1995 and 92 thousands (maximum) in 2004 (Piotrowski and Zajączkowski 2010, 32). 10   The 2003 festival noted the second highest number of visitors: 89 thousands (Piotrowski and Zajączkowski 2010, 28, 32). 11   A. Grossman was the co-author of the scenario and the part of the exhibition devoted to Sat-Okh, as well as author of the boards and graphic design. 12   It was planned initially to borrow artifacts from the Ethnological Museum of the Dahlem Museum Complex in West Berlin, Germany. However, last-minute obstacles forced the exhibition organizers to search for exhibits in the collections of Polish institutions, which were extremely obliging to these last-minute loan requests. Exhibits were loaned by the Ethnographical Museum in Warsaw, Ethnographical Museum in Kraków,

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Figure 2. Biskupin 2001. The 7th Archaeological Festival in Biskupin ‘W cieniu piramid (In the Shadows of Pyramids)’ – reconstruction of a pyramid stone block transportation (photo J. Mielcarzewicz) and a part of the exhibition ‘Rzemiosło starożytnego Egiptu (The Craftsmanship of Ancient Egypt)’ (photo Biskupin Museum Archives). the relics were displayed in separate showcases around the central showcase with a chief’s attire, the arrangement designed to emphasise their importance. The exhibition was devoted in part to the interesting life of Sath-Okh, a writer and patron of the Polish Society of Indian Friends, and the son of a Pole and a chief of a Canadian Indian tribe.13 The writer was to visit Biskupin and he was awaited by Polish indianists invited to take part in the festival, for whom he was a great authority. However, in July, almost on the eve of the festival, Sath-Okh ‘departed to the great hunting land’. Showcases accompanied by large-format boards with descriptions and illustrations offered a highly vivid story of Indian life and traditions. In order to make visitors aware that the exhibition in the museum pavilion

also concerned the festival theme, a big teepee, easily seen from afar, was placed at the entrance to the museum (Figure 3). The entrance to the museum pavilion was arranged in a similar way in 2004, when the exhibition ‘Celts–the People of Europe’ accompanied a festival bearing the same theme. A part of the Celtic temple in Roquepertuse, France, was reconstructed at the entrance. The exhibition, which was co-planned with M. Rudnicki from the Institute of Archaeology of the University of Warsaw, presented the greatest accomplishments of Celtic civilization. Among the exceptional finds on display there was a bronze enamel bowl of exceptional beauty and high archaeological value. The bowl is the only piece of pottery of this kind to have ever been found outside the territory of the Roman Empire (Andrzejowski 2001, 99). The exhibition was also presented in the State Archaeological Museum in Warsaw and in the Archaeological Museum of the Middle Oder Region in Zielona Góra with a seat in Świdnica.

Archaeological Museum in Poznań, Museum of Musical Instruments in Poznań, a branch of the National Museum in Poznań, and Sath-Okh Museum in Wymysłowo near Tuchola. 13   Sath-Okh was the son of a Pole exiled to Siberia who escaped to Canada and married Great Eagle, chief of the Shawnee tribe. Soon after Poland regained its independence, she came back to Poland with her son. She tried to conceal her son’s identity by registering him as S. Supłatowicz. The name was a combination of her first husband’s name and a male equivalent of her own Christian name. Sath-Okh, who served in the Home Army, a Polish underground resistance military organization, during Second World War, settled in Gdańsk after the war. There, as an employee of Polish Ocean Lines, he took part in ocean voyages, which made it possible for him to visit the land of his origin. Sath-Okh would bring many souvenirs and cultural memorabilia linked with his Canadian fellow countrymen. The collected exhibits gave start to the Sath-Okh Museum in Wymysłowo near Tuchola.

One of the exhibition ideas in preparation for the 2005 festival entitled ‘Vikings and their Neighbours’ was a presentation of the immensely rich Danish archaeological finds, but in the end it was decided to present Polish finds and scholarly accomplishments on the subject. The discovery in 1982 of Truso on Lake Drużno in

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Figure 3. Biskupin 2003. The 9th Archaeological Festival in Biskupin ‘Indian Summer’ – the exhibition ‘Świat Indian (The World of American Indians)’ in the museum pavilion (photo A. Grossman) and teepee installation at the entrance to the museum (photo A. Grossman).

Figure 4. Biskupin 2006. The 12th Archaeological Festival in Biskupin ‘Rzymianie i barbarzyńcy (The Romans and the Barbarians)’ and the exhibition ‘Ab Urbe usque ad Mare Svebicum’ – reconstruction of a part of a room in a Roman house (photo A. Grossman) and reconstruction of a part of Hadrian’s Wall accompanied by the view of the wall in situ (photo A. Grossman). 80

Anna Grossman and Paweł Hildebrant: Museum education northern Poland by Dr M. Jagodziński had electrified the archaeological community. The exhibition entitled ‘Truso – a Viking Emporium’14 featured exceptional exhibits from the Archeological and Historical Museum in Elbląg and excellent reconstruction drawings depicting the life of the community. Furthermore, models of the port and settlement15 were presented, as well as a full –scale reconstruction of a part of a Viking house, which proved to be very popular with visitors. The house featured a hearth, bed, vertical loom as well as tools and equipment of all sorts.16 Visitors from places like Białystok, Ostrołęka, Poznań, and Warszawa were thus given the opportunity to appreciate this important archaeological discovery. A comprehensive work on Truso was published in 2010 (Jagodziński 2010).

Visitors to the exhibition could ‘travel’ from Rome, the capital of the Roman Empire, through regions closer and closer to the North, occupied by the so-called barbaric tribes, up to the sandy beaches of the Baltic Sea, where scattered pieces of amber were washed up by the waves and where the sound of the waves could surprisingly be heard. On the way, on the Roman limes, one could see a reconstruction of a trading scene between a Roman tradesman and a Sarmatian woman dressed in beautifully reconstructed attire, richly embroidered and adorned with beads.20 In the background one could see a Germanic house and a maker of drinking horns at work. The reconstruction of a Baltic burial mound with relics from Szwajcaria near Suwałki familiarised a wider public with hitherto unknown relics (Chowaniec 2010, 204–205).21 An opportunity also offered itself to present the exhibition in other localities (Suwałki, Wrocław, and Poznań), where it was enriched by objects from local collections, which despite efforts could not be loaned out for various conservation reasons. The exhibition ‘exported’ from Biskupin thus gave local communities the chance to appreciate exhibits not previously presented on the spot, even though they came from local collections or were of local origin (e.g. Wrocław or Suwałki).

In 2006 the ‘Romans and the Barbarians’ festival was accompanied by an extensive exhibition ‘Ab Urbe usque ad Mare Svebicum. From Rome to the Baltic Sea’. Its authors and co-authors17 were staff members of the Institute of Archaeology of the University of Warsaw: prof. A. Bursche and Dr R. Chowaniec, who supervised experimental reconstructions performed by Institute of Archaeology of the University of Warsaw students during the festivals. The exhibition presented various aspects of the lives of two different cultures: the Romans and the peoples of the Barbaricum outside the Roman Empire. Continuity of narration was achieved with large-format boards containing extensive illustrations and important factual information. The latter were enriched by details which often aroused a great deal of interest among visitors (e.g. recipe for garum sauce including among the ingredients fermented fish, an ancient equivalent of modern maggi seasoning sauce). In this part the exhibition interplayed with festival demonstrations.18 Relics were often incorporated into reconstructions, e.g. a Roman marble urn in the reconstruction of a catacomb grave. The reconstruction of a room in a Roman house was also very interesting. The walls were adorned with frescoes and original marble architectural pieces. There was also a replica of a bed in the room and other furnishings, among which there were replicas and original relics that had never been on display before.19 Another form of partial presentation was employed in the reconstruction of Hadrian’s Wall from Britain; its size was underscored by a picture ‘extended’ by a piece of stonewall (Figure 4).

Whenever possible ready-made exhibitions would be searched out for a given festival. In 2008, the Museum of Archaeology and Ethnography in Łódź offered its exhibition ‘Beauty Every Day. Japanese Functional Objects, Clothing and Weapons’, which had originally been planned by B. Chlebowska, for the festival ‘Japan –Land not only of the Samurai’. The exhibition offered a variety of exhibits from the 19th and 20th centuries, but did not cover all the planned points. A further intensive search for prospective materials across the country began and, as a result, exceptionally interesting objects from a number of Polish state museums and private collections were obtained.22 Thorough discussions with experts and   Excellent reconstructions of clothing and decorative elements were made by employees of the Archaeological Museum in Biskupin in collaboration with W. Gawrysiak, who has been the museum’s consultant for many years. 21   A unique collection of bronze wine vessels and glass cups was featured at the exhibition. The collection was described in detail by its discoverer, M. Natuniewicz from the Institute of Archaeology and Ethnology of the Polish Academy of Sciences in Warsaw, who agreed to its loaning, with conservation guarantees, shortly after its discovery and before it had been fully examined and catalogued. 22   Intensive efforts on the part of exhibition coordinators, that is, A. Grossman from the Archaeological Museum in Biskupin, exhibition curator, Professor A. Bursche and Dr R. Chowaniec from the Institute of Archaeology of the University of Warsaw, led to the following institutions and private collectors offering their exhibits: Museum of Archaeology and Ethnography in Łódź, L. Wyczółkowski District Museum in Bydgoszcz, National Museum in Kielce, National Museum in Kraków in collaboration with the Manggha Museum of Japanese Art and Technology in Kraków, Asia and Pacific Museum in Warsaw, NonEuropean Cultures Department of the District Museum in Toruń, and B. Romanowicz, curator of the Far East Art Department of the National Museum in Kraków, M. Płotkowiak from Poznań, a former martial arts practitioner, expert on and recreator of armour and Japanese white arms, K. Paczuska from the Non-European Cultures Department of the District Museum in Toruń, U. Imamura from Kraków, founder and for many years president of the Akira Kurosawa Polish-Japanese Society in Katowice, expert on Japanese art, most notably on the art of the ikebana 20

  Dr M. Jagodziński was the author of the exhibition and texts, whereas Anna Grossman co-authoredr the scenario, visual concept, and illustration boards. 15   Model was made by Dr W. Borkowski. 16   The furnishings, tools and other equipment presented in the Viking house were made by Biskupin Museum employees. 17   A. Grossman from the Archaeological Museum in Biskupin was the co-author of the scenario as well as the author of the arrangement and the visual design. 18   During demonstrations open to the public in the museum pavilion students would act out a scene where a slave girl combed and did her lady’s hair. Beautiful hairdo styles were presented on marble head sculptures and in drawings. Garum sauce, for which the recipe was displayed as well, was added to food prepared during presentations in a Roman kitchen (Grossman 2006). 19   For example, a valuable tripod from Déri Museum in Debrecen, Hungary. 14

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Figure 5. Biskupin 2008. The 14th Archaeological Festival in Biskupin ‘Japonia – kraj nie tylko samurajów (Japan – the Land of not Only Samurai)’ and the exhibition ‘Japonia – piękno tradycji (Japan – the Beauty of Tradition)’ – a part of the reconstruction of a traditional Japanese house interior with students acting out a scene of everyday life (photo A. Grossman) and reconstruction of the temple gate, tori, at the entrance to the museum (photo A. Grossman).

Figure 6. Biskupin 2001. The 17th Archaeological Festival in Biskupin ‘Grecja. Narodziny Europy (Greece. The Emergence of Europe) and the exhibition under the same title – the exhibition (photo P. Hildebrant) and a piece of a Greek column against the background of a Greek theatre’s photograph, where visitors could listen to Old Greek declamations coming from the loudspeakers (photo P. Hildebrant). 82

Anna Grossman and Paweł Hildebrant: Museum education enthusiasts of the subject resulted in a multi –thematic and rich exhibition of functional objects of exceptional beauty, unique clothing and weapons collections, which were additionally displayed on big –format, graphically varied boards.23 Must-see exhibits included a collection of impressive wood engravings depicting the life of the Japanese24 and finely decorated chinaware and lacquer objects. A temple gate, the so-called tori, reconstructed at the entrance to the museum, and a full-scale reconstruction of a traditional Japanese house interior25 in the vestibule attracted visitors to the exhibition. Inside, students of the Secondary School of Visual Arts in Supraśl, dressed up in colourful kimonos, acted out scenes of everyday life and encouraged visitors to see a reenactment of a tea drinking ritual prepared in an adjacent room by staff from the Manggha Museum of Japanese Art and Technology in Kraków, Poland (Figure 5).

mass media, reach a recipient’s consciousness but also primarily his subconsciousness. This process contributes to rapidly changing attitudes and activities, in turn giving rise to, among others, a growing demand for new, often non –institutional, forms of leisure that would be not only educational or cultural in nature, but also recreational. One form of museum activity would be an example of excellent education or even entertainment for some, whereas for others the same activity would hardly be within the scope of their interest. The reception is dependent not only on what we have to offer, but also on how well prepared the recipient is. Those who might feel ‘punished’ by a pre-organised and imposed trip to a museum may find themselves in the same visiting group as those who would consider themselves ‘rewarded’. Biskupin Museum does not drive guests away by so-called slippers and bans. It is the obligation to fulfill a prescribed programme supplementing school curricula that is the impediment, though fortunately an increasingly smaller one. This impediment is more and more effectively eliminated by the non –mandatory nature of the museum and its free choice of forms of activity and ways of their realisation.

The museum’s team had an entirely different tasks to perform when organising the 2011 festival ‘Greece. The Emergence of Europe’ and adapting the exhibition which had the same title and had been loaned by the National Museum in Warsaw. As access to photographs of original material was limited, museum employees developed together with the author of the exhibition, Dr A. Twardecki, a visual concept based on simple style adjustments and colour manipulations achieved by modest means.26 The altered exhibition differed from the original one in that it offered new narrative boards which accentuated the most relevant aspects of life in ancient Greece. The employment of large-size architectural elements27 was another new feature, which gave the exhibition a uniform style and helped to obscure metal framing joinings. Another attraction for visitors was a recording of Old Greek poetry being read, heard upon approaching a column standing alongside a big-format photograph of a Greek theater, where plays would be staged in the past28 (Figure 6).

Translated by Agnieszka Ilnicka–Sikora Bibliography Andrzejowski, J. 2001. Dzik łężański. Z Otchłani Wieków 56/3, 99–100. Borkowski, W. and Brzeziński, W. 2001. Prezentacje dziedzictwa archeologicznego. Z Otchłani Wieków 56/3, 80–86. Ćwiek, A. and Grossman, A. 2001. Rzemiosło starożytnego Egiptu. Bydgoszcz. Grossman, A. 2005. Dokumentaliści Biskupina. In A. Grossman and W. Piotrowski (eds.), Badacze Biskupina, Biskupińskie Prace Archeologiczne 4, 223– 288. Biskupin. Grossman, A. 2011. Społeczne oczekiwania a rzeczywiste potrzeby ochrony dziedzictwa kulturowego w Biskupinie. In A. Marciniak, D. Minta–Tworzowska and M. Paleta (eds.), Współczesne oblicza przeszłości, 187–203. Poznań. Jagodziński, M. F. 2010. Truso. Między Weonodlandem a Witlandem. Bydgoszcz. Kostrzewski, J. 1936. Osada bagienna w Biskupinie w pow. Żnińskim. In J. Kostrzewski, E. Lubicz–Niezabitowski and B. Jaroń (eds.), Osada bagienna w Biskupinie w pow. Żnińskim. Tymczasowe sprawozdanie z prac wykopaliskowych Instytutu Prahistorycznego U.P. w latach 1934 i 1935, 1–20. Poznań. Kostrzewski, J. 1938. Ślady osadnictwa z okresu rzymskiego i wędrówek ludów na półwyspie biskupińskim. In J. Kostrzewski (ed.), Gród prasłowiański w Biskupinie w powiecie żnińskim. Sprawozdanie z prac wykopaliskowych w latach 1936 i 1937 z uwzględnieniem wyników z lat 1934–1935, 65–68. Poznań.

The described variety of museum projects undertaken in Biskupin demonstrates the challenges faced by educational institutions, even developed ones, in meeting growing social expectations in a situation of fastpaced cultural, economic and political transformation. Multifaceted access to mass media and external stimuli from both local and world communities, sent through the and gardening, as well as Buddhist stone sculpture. 23   Photographs by P. Hildebrant, graphic design of the boards by A. Grossman and P. Hildebrant. 24   Firm conservation restrictions on exhibition lighting and duration limited the display of wooden engravings, which had to be presented in a separate ‘gallery’ specially designated for this purpose, in two groups. 25   Reconstructions designed by A. Grossman in collaboration with W. Gawrysiak were made by a group of carpenters supervised by J. Koczorowski and the assembly group supervised by J. Szymański. 26   Drawings by M. Zawol, A. Grossman and Ż. Pankowska, which were graphically reprocessed by P. Hildebrant and juxtaposed with photographs from private collections on white and blue boards in compliance with regular standards, served, for the most part, as the basis for the visual design. 27   Full-size architectural elements were also used as decor for the exhibition areas of the festival on the peninsula of Lake Biskupin. 28   The declamation was recorded by Dr I. Żółtowska from the Institute of Classical Studies of the University of Warsaw.

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Archaeological Heritage. Methods of Education and Popularization Nowe Przemiany 1997. Świt historii nad Jeziorem Biskupińskim. Nowa wystawa w muzeum w Biskupinie. Nowe Przemiany 5, 17. Gniezno. Piotrowska, D. 2004. Biskupin–ideologie–kultura. In B. Gediga and W. Piotrowski (eds.), Archeologia– kultura–ideologie, Biskupińskie Prace Archeologiczne 3, 91 –155. Biskupin– Wrocław. Piotrowski, W. 1991. 50 lat badań Biskupina. In J. Jaskanis (ed.), Prahistoryczny gród w Biskupinie. Problematyka osiedli obronnych na początku epoki żelaza, 81 –105. Warszawa. Piotrowski, W. 2005. Doświadczenia z rezerwatem archeologicznym w Biskupinie – między nauką a komercją. In E. Urbańczyk (ed.), Poszerzenie Unii. Szansa dla miast Europy. Samorząd, rozwój, integracja europejska, Prace Naukowe Instytutu Zarządzania, Zeszyt Naukowy 6, 21 –32. Kalisz. Piotrowski, W. 2006. Rezerwat archeologiczny w Biskupinie na tle archeologicznych rezerwatów Europy. In B. Gediga and W. Piotrowski (eds.), Architektura i budownictwo epoki brązu i wczesnych okresów epoki żelaza w Europie środkowej, Biskupińskie Prace Archeologiczne 5, 327 –365. Biskupin–Wrocław. Piotrowski, W. and Zajączkowski, W. 2010. Archaeological Festivals at Biskupin. In G. Schőbel (ed.), Living history in archaeological open air museums, 25–33. Markdorf. Rajewski, Z. 1958. Nowa wystawa w Biskupinie. Wiadomości Archeologiczne XXV/1–2, 169. Schőbel, G. 1997. Pfahlbaumuseum und Pfahlbausammlungen. In H. Schlichtherle (ed.), Pfahlbauten rund um die Alpen, 115 –126. Stuttgart. Smoliński, W. 1957. Działalność Państwowego Muzeum Archeologicznego w Warszawie. Wiadomości Archeologiczne 24/3, 277–281. Zajączkowski, W. 1991. Stan i perspektywy rozwoju Oddziału PMA w Biskupinie. In J. Jaskanis (ed.), Prahistoryczny gród w Biskupinie. Problematyka osiedli obronnych na początku epoki żelaza, 235–246. Warszawa. Zajączkowski, W. 2008. Biskupin. Rezerwat archeologiczny. Wrocław. Zajączkowski, W. 2009. Biskupin wczoraj i dziś. In L. Babiński (ed.), Stan i perspektywy zachowania drewna Biskupińskiego, Biskupińskie Prace Archeologiczne 7, 11 –34. Biskupin. Mrs Anna Grossman Archaeological Museum in Biskupin, Poland e-mail: [email protected] Mr Paweł Hildebrant Archaeological Museum in Biskupin, Poland e-mail: [email protected]

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Multifarious transmission of museum lessons in Biskupin in education and popularizing of archaeological heritage Anna Grossman, Paweł Hildebrant and Małgorzata Starak-Juchniewicz Abstract Educational activity in Biskupin dates back almost to the first day of excavations initiated in 1934. Intensified field-training courses for archaeology students (Archaeological Training Camps) were organized after World War II, supplemented with archaeological experiments, then given up for some years and renewed later as public presentations in cooperation with Museumsdorf Düppel in West Berlin. The Biskupin Archaeological Festivals, a major event on a European scale, have been organized since 1995, and this entertainment has instituted museum lessons as a regular part of the institution’s program. The most important among the many subjects of Biskupin museum lessons are issues of archaeological research and presentations of everyday life at the Iron Age fortified settlement. Keywords Biskupin, educational programs, museum lessons, festival

a great attraction for visitors (Kostrzewski 1936, 19). Numerous groups visited Biskupin, interested in finding out about ‘Preslavonic’ ancestors. Educational activities by the Biskupin researchers varied from simple visits to the excavations through lectures on site (Figure 1), in schools and at universities, to the said scientific and popular scientific presentations, radio programmes, documentary films and exhibitions. Reconstructions played an important role in popularization and education activity. Small models of the Biskupin huts were soon presented to the public (Kostrzewski 1936, 123) along with a natural-size replica of a fragment of hut wall to show the building technique, as well as other reconstructions of parts of the settlement and of the everyday life of the inhabitants. A natural-size hut reconstruction was erected in 1936 together with a fragment of transverse street, the ring road, rampart and breakwater on the eastern shore of the peninsula (Rajewski 1938, 8). A second hut reconstruction with another part of the rampart and breakwater was accomplished in 1938 (Rajewski 1950, 1). These reconstructions were useful in educating about prehistoric building techniques and were of great interest for tourists.

The first to teach archaeology at Biskupin was a local teacher, Walenty Szwajcer. He organized trips to the countryside for his pupils, walking through nearby fields and meadows. On one such trip the group found themselves on the Biskupin peninsula, looking at wooden structures rising above water and finding potsherds as well as bone and timber remains in a peat-extraction ditch (Zajączkowski 1997, 10‑11). Unable to interest local authorities in his finding, Szwajcer contacted Prof. J. Kostrzewski from Poznań University who reconnoitred the site in the fall of 1933. Kostrzewski was astounded by the discovery and immediately made plans to start archaeological excavations of the remains, which he identified as an Iron Age fortified settlement (Kostrzewski 1936, 121). For more than seven decades of excavations of this site now so well known in Poland and abroad, and the operation of an informal museum initially and later a proper museum institution, research goals and other entertainment at the site have been shaped by various, successive political and organizational transformations. These can be divided into three periods. From 1934 to 1939

From 1946 to the 1990s

In this difficult period of young Polish statehood Biskupin excavations played an important role in national propaganda and education. From the first archaeological season in 1934, popularization was one of the main tasks realized by an excavation team from the Institute of Prehistory of Poznań University, directed by Prof. J. Kostrzewski and his assistant Dr Z. Rajewski. Together with other team members, they published not only scientific proceedings and studies (Kostrzewski et al. 1936; Kostrzewski 1938), but also numerous articles in the press and notes for the Polish Telegraphic Agency, a forerunner of the Polish Press Agency (Rajewski 1938, 1‑2). Popularization of archaeological heritage was at the time considered an important, patriotic duty. From the beginning of the project there was talk of protecting the well preserved wooden remains of the Iron Age fortified settlement for future generations: We ought to strive to protect for the future the unearthed part of the settlement in as big part as possible, to create an archaeological reserve, to be

Biskupin excavations were continued after World War II, when the hut reconstructions were restored together with the expedition’s base. There was an important change in organizational status with the Biskupin Museum being established in 1950 (Grossman 2005, 261‑263) by Z. Rajewski, director of the State Archaeological Museum in Warsaw from 1949 to 1974. The statute of a museum institution called for protection, obtaining and processing of ancient records, as well as activities in the field of disseminating knowledge, including a complementary role in school education projects. Education activities carried out by the Biskupin Museum were based from the start on popularization of the results of Biskupin excavations, popularization of knowledge about the environs of Biskupin, the ancient history of the region, as well as of other regions of Poland, propagating protection of national heritage.

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Figure 1. Biskupin 1935. Dr Zdzisław Rajewski (with a pointer in hand) giving a lecture on the unearthed constructions for pupils of a local gymnasium. Photograph from the private album of Z. Klawiński from Żnin.

Figure 2. Biskupin 1951. The Archaeological Training Camps – experiments with pottery burning in the reconstructed pottery kiln (photo T. Biniewski). 86

Anna Grossman, Paweł Hildebrant and Małgorzata Starak-Juchniewicz: Multifarious transmission In the 1950s and 1960s Archaeological Training Camps (AOS) with an extensive didactic programme were instituted in Biskupin (Rajewski 1952a; 1952b). The idea was unique on an European scale. The site was turned into a testing ground for field research and experimental archaeology for first-semester students of archaeology (then called history of material culture) from all Polish universities. Many ranking future archaeologists passed through these camps. They learned exploration techniques, participated in the documentation and conservation processes, as well as in archaeological experiments carried out by invited specialists from different scientific disciplines. Experiments included food smoking, pottery making and firing (Figure 2), wood tar and pitch dry distillation, bronze casting by the lost-wax technique (Rajewski 1953; 1955, 110). A fascinating experiment that took place in 1956, for the first time in the history of experimental archaeology, was the burning of a full scale replica of a furnished hut. The burning of the hut was staged as an event: Scythians attacking and destroying the habitation of some ‘innocent’ girls (Rajewski 1957a, 8). The remains were subsequently recorded and preserved in order to monitor processes of deterioration, as well as sedimentation and layer movement. After half a century it is still a moot point when the monitoring should be completed as a research study.

staff to turn museum lessons into a regular part of the educational effort at Biskupin. Cooperation with guides from outside was stopped and instead the Museum employed qualified personnel to show visitors around the reserve and to carry out museum lessons in a proper way (Grossman and Piotrowski 2011, 65‑71). The first 30 museum lessons were devoted to pottery, weaving on a small loom and making ornaments with decorative motifs taken from objects of Lusatian Culture. Cooperation between schools and museums is one of the important conditions of a correct historic education and shaping the humanistic culture of children and adolescents. Museum institutions combine the different spheres of cognition and emotions thanks to the possibility of direct contact with relics of the past (Trempała 2003, 971). Being cultural institution with varied subject profile, museums create unique conditions for close viewing of original objects made by prehistoric craftsmen. In museum activities illustration and contact with artefacts take on a superior role with regard to the written and spoken word, and this creates visual value which is an additional strength of the lessons, together with the possibility of making hand replicas of artefacts. The profits of education outside the school perimeter, on school trips and visiting ordinary and open-air museums, for learning history are evident. The advantage of museums lies not only in rich and varied collections, but also in their preparation for presentation to visitors in the didactic sense. However, expert description and explanation is essential in view of the different meaning and reception, especially by school-age children, of particular artefacts (Chowaniec 2010, 128). This kind of focused observation and commentary are a crucial part of museum lessons and the key to educational success lies in a clear presentation of the subject by the teacher, which enables students to understand and solve the problem properly. It is very important to combine different ways of learning in a lesson, as well as different techniques of reception, discovery, operating and experience (Maternicki et al. 1993, 258). The application of activation methods is also important (Jąder 2009), when the teacher creates conditions for self-learning instead of imparting knowledge by lecturing. Talking about effective ways of learning it should be emphasized that learning strategies should be adapted to students’ varied perception possibilities. A teacher should also be conscious of the remembering process (so called Dale’s cone) (Taraszkiewicz 1999, 87).

The Polish State Millennium celebrations (in the 1950s and 1960s) involved Biskupin in early medieval research projects (Kaczmarek 1996, 173, 246). Simultaneously Rajewski succeeded in his efforts in government circles to make the Iron Age fortified settlement in Biskupin a permanent part of school history textbooks (Rajewski 1957b; Bukowski 1958, 144). This put the Biskupin Museum on the map, especially for organized school groups, which needed attractive forms of education. The Museum’s educational offer was further enlarged when the site became part of the tourist Piast Route in the early 1960s (with guides from the Polish Tourism Organization) (Dzianisz and Umiński 1966). Large-scale excavations on the Biskupin peninsula were restricted at this time in favour of preservation and conservation treatment of the uncovered wooden remains of the settlement. Work proceeded also on the development of an archaeological reserve and on building a museum pavilion with exhibition space, as well as on erecting new, full-scale reconstructions of the fortified settlement (Zajączkowski 1991, 236).

The combination of a learner’s visual reception and active participation is dependent not only on the topic of museum lessons, but also by the individual frequency of museum visits, the character of the display and student age. Organizers of educational events need to keep in mind that small children learn about the world through the senses, while 12-year-olds start to follow visual thinking based on conclusions deduced from acts on specific objects (Putkiewicz et al. 1984, 265). These factors are taken into consideration when preparing the Biskupin museum lessons.

In the 1980s Biskupin became the site again for archaeology by experiment and the resulting educational processes, initiated by contacts with researchers and archaeology enthusiasts from Museumsdorf Düppel in West Berlin. This included experimental cultivation of plants, stock breeding, making replicas of household objects and organizing ancient crafts presentations (Piotrowski 1991, 99‑100). Within the framework of these experiments students from a gymnasium in Supraśl (in north-eastern Poland) participated actively in carpentry and weaving projects (Grossman 2005, 259‑261). Experiences gathered during the presentations in the 1980s enabled the Museum 87

Archaeological Heritage. Methods of Education and Popularization In 1994, the Biskupin archaeological reserve was decreed a History Monument with the chief goal of preserving, because of the scientific and didactic value (…) the unique greatness of the archaeological remains discovered at Biskupin (Zajączkowski 2009, 23). The first Biskupin Archaeological Festival was organized in 1995, in cooperation with the Institute of Archaeology of the University of Warsaw and the State Archaeological Museum in Warsaw (Borkowski and Brzeziński 2001, 83). It has been a motto of all the Biskupin festivals to hold artefacts in your hands, make your own replicas, learn happily and be happy learning. Presentations and workshops carried out with young people in the course of the different festivals, which are always thematically and chronologically differentiated, have significantly enriched the programme and offer of Biskupin museum lessons (Zajączkowski 2009, 28‑29).

forms to be continued and increasing their effectiveness by gaining extra space for such activities. The Biskupin Museum educational program creates unique conditions for learning about original objects from a distant past in direct contact, which prevails over the written or spoken word, enhanced by the unique atmosphere of reconstructed hut interiors. The following museum lesson topics with the option of choosing different age categories have been on offer for a number of years now: ‘History of money’, ‘Oldest script’, ‘Ornaments’, ‘Beads’, ‘Textile weaving’, ‘Making clay pots’, ‘Prehistoric hunting’, ‘Everyday life of Biskupin settlement inhabitants’, ‘How Biskupin was built’, ‘The work of an archaeologist – a young archaeologist’s trench’. From spring through autumn classes are held in reconstructions of 8th century BC huts, which provide a stimulating and imaginative atmosphere for lesson participants. Some lessons follow themes initiated at the Biskupin festivals, which remain popular because they are part of the school curriculum, for example, ancient Egypt (‘Oldest script’ and ‘History of money’). Certain themes refer to a single chronological period, like the lesson on ‘Beads’ during which children make copies of beads from the Roman Influences period. Other lesson topics are connected with presentations of everyday life activities and making replicas of objects used universally in different

Transformation at the end of the 20th and beginning of the 21st century In September 2000 the Museum in Biskupin stopped being a branch of the State Archaeological Museum in Warsaw and was taken over by the local government of the Kujawsko-pomorskie voivodeship (Zajączkowski 2009, 23). In the next few years the reserve was reorganized and the museum pavilion was refurbished (Piotrowski 2006, 359), enabling existing education and popularization

Figure 3. Biskupin 2010. The participants of the lesson ‘Archaeologist’s work – the trench of young archaeologist’ discovering wooden constructions and measuring depth of the sediments and the Polish Army engineers showing the method of a ground protection when a misfired shell is found (photo P. Hildebrant). 88

Anna Grossman, Paweł Hildebrant and Małgorzata Starak-Juchniewicz: Multifarious transmission periods, e.g. ‘Making clay pots’, ‘Textile weaving and Prehistoric hunting’. Pottery lesson participants are taught how women of the Lusatian Culture in Biskupin shaped pots from clay by hand and how these pots were decorated and fired. Small children play at being prehistoric potters and are happy to take home the effect of his or her work. Slightly older children are taught more specific knowledge and more technological details, for example, the thickness of clay temper and the temperature range in the potteryfiring process.

in Inowrocław in the Kujawsko-pomorskie province. Soldiers demonstrate how to avoid danger in the case of finding unexploded shells. Young researchers working in a trench (Figure 3) discover that objects come from different cultural layers described by the Biskupin archaeologists. They measure differences in depth of deposition using proper instruments. The deepest layer is the oldest one and it is connected with the Lusatian Culture fortified settlement from the Iron Age. Children can find artefacts of Lusatian Culture in the form of pots and potsherds, as well as whole and fragmentary tools of bone and stone ‘planted’ among the wooden fragments of the reconstructed ring road and a part of a hut with a hearth in the centre. It is useful didactically that lesson participants can see the reconstructed dwellings and fortified features of the Lusatian Culture settlement on the spot. Young ‘researchers’ then discover younger objects in another part of the trench, not far and above the Lusatian Culture remains. These artefacts, coins of the Piast kings and potsherds as well as complete pots, come from a period connected with the origins of the Polish state, when an early medieval stronghold existed on the Lake Biskupin peninsula. The teacher explains differences between these objects and the older ones found in deeper levels. After the main presentation, lesson participants can also learn about conservation methods by applying them to excavated potsherds (reconstructing a vessel, for example) (Figure 4).

The lesson ‘The work of an archaeologist – a young archaeologist’s trench’ ranks high among Biskupin education priorities and it is offered seasonally, because it can be carried out only out in the open. The main goal of this lesson is to show young people how an archaeologist works and how to reconstruct properly excavated objects used by the ancient inhabitants of their land. Issues of heritage protection and related legal aspects are discussed (Kobyliński 1998), the listeners being told emphatically that all artefacts found in the ground, even on private property, belong to the state and that every discovery should be reported to the office of the local archaeological heritage conservator, because non-professional exploration can damage the original context. Children are also taught about the danger of unexploded shells found in the ground. The topic covers a presentation of non-invasive research techniques with specialist equipment used during Biskupin festivals by soldiers from the Polish Army Unit

Figure 4. Biskupin 2012. The museum lesson dedicated to pottery conservation methods (photo P. Hildebrant). 89

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Figure 5. Biskupin 2010. The participants of the lesson ‘Everyday life of Biskupin inhabitants’ (photo P. Hildebrant).

Figure 6. Biskupin 2011. The participants of the lesson ‘How Biskupin was built’ – creating a model of Biskupin hut and the settlement rampart (photo P. Hildebrant). 90

Anna Grossman, Paweł Hildebrant and Małgorzata Starak-Juchniewicz: Multifarious transmission Grossman, A. 2005. Dokumentaliści Biskupina. Z biskupińskich kronik. In A. Grossman and W. Piotrowski (eds.), Badacze Biskupina, Biskupińskie Prace Archeologiczne 4, 223–288. Biskupin. Grossman, A. and Piotrowski, W. 2011. Archaeology by experiment and education – the case of Archaeological Museum in Biskupin. Poland. Experimentelle Archäologie in Europa 10, 62–73. Jąder, M. 2009. Efektywne i atrakcyjne metody pracy z dziećmi. Kraków. Kaczmarek, J. E. 1996. Organizacja badań i ochrony zabytków archeologicznych w Poznaniu (1720–1958). Poznań. Kobyliński, Z. (ed.) 1998. Ochrona dziedzictwa archeologicznego w Europie. Warszawa. Kostrzewski, J. 1936. Osada bagienna w Biskupinie w pow. Żnińskim. Przegląd Archeologiczny 5/2/3, 121– 140. Maternicki, J., Majorek, C. and Suchoński, A. 1993. Dydaktyka historii. Warszawa. Piotrowski, W. 1991. 50 lat badań Biskupina. In J. Jaskanis (ed.), Prahistoryczny gród w Biskupinie. Problematyka osiedli obronnych na początku epoki żelaza, 81–105. Warszawa. Piotrowski, W. 2006. Rezerwat archeologiczny w Biskupinie na tle archeologicznych rezerwatów Europy. In B. Gediga and W. Piotrowski (eds.), Architektura i budownictwo epoki brązu i wczesnych okresów epoki żelaza w Europie środkowej, Biskupińskie Prace Archeologiczne 5, 327–365. Biskupin–Wrocław. Putkiewicz, Z., Dobrowolska, B. and Kukołowicz, T. 1984. Podstawy psychologii pedagogiki i socjologii. Warszawa. Rajewski, Z. 1938. Sprawozdanie z organizacji badań w latach 1936 i 1937. In J. Kostrzewski (ed.), Gród prasłowiański w Biskupinie w powiecie żnińskim. Sprawozdanie z badań w latach 1936 i 1937 z uwzględnieniem wyników z lat 1934-1935, 1–14. Poznań. Rajewski, Z. 1950. Sprawozdanie z organizacji prac w Biskupinie w pow. żnińskim w latach 1938-1939 i 1946-1948. In J. Kostrzewski (ed.), III Sprawozdanie z prac wykopaliskowych w grodzie kultury łużyckiej w Biskupinie w powiecie żnińskim za lata 1938-1939 i 1946-1948, 1–11. Poznań. Rajewski, Z. 1952a. Archeologiczny Obóz Szkoleniowy w Biskupinie. Z Otchłani Wieków 21, 4, 141–146. Rajewski, Z. 1952b. Wykaz wykładów i ćwiczeń Archeologicznego Obozu Szkoleniowego w Biskupinie. Z Otchłani Wieków 21, 5, 172–173. Rajewski, Z. 1953. III Archeologiczny Obóz Szkoleniowy w Biskupinie. Z Otchłani Wieków 22, 5, 199. Rajewski, Z. 1955. Archeologiczne Obozy Szkoleniowe w Biskupinie. Wiadomości Archeologiczne 22, 1, 109– 110. Rajewski, Z. 1957a. Metoda doświadczalna w badaniach archeologicznych. Z Otchłani Wieków 23, 1, 5–13.

Two museum lesson topics, ‘Everyday life of Biskupin inhabitants’ and ‘How Biskupin was built’, refer to Biskupin specifically and are of particular importance for showing and popularizing the results of scientific research at Biskupin. Each subject follows a detailed scenario and is supported by replicas of ancient tools used by lesson participants. The presentation of everyday life at the IronAge fortified settlement includes a demonstration of tools used for collecting and preparing food, the plant species that were grown and harvested and the animals that were bred and those that were hunted. Food preparation is especially exciting for younger participants (Figure 5). Milling corn by hand on stone querns is an unforgettable experience for most young children, and with the same goes for baking simple cakes (with only water and flour as ingredients) on a hearth of hot stones, while sitting on a big family bed or gathering around a fireplace. The lesson ‘How Biskupin was built’ benefits greatly from being held inside a reconstructed hut, providing children with the opportunity to observe and touch the different elements of construction and enabling an understanding of the building process as well as of architectural proportions. The lesson combines different methods of presentation, using a multimedia show to demonstrate the building sequence and building techniques, supported by replicas of prehistoric carpentry tools and life-size elements of the wooden construction. The most important part of the lesson is actually building a wooden model of a hut and part of the rampart of timber boxes in 1:10 scale (Figure 6). Both the children and accompanying adults tend to get very involved in the process of building a model independently, making for an excellent atmosphere of cooperation in approaching a common task. A growing interest in the Biskupin museum lesson program (17,000 participants in 2011) stimulates continuous progress and further development. High on the list of Biskupin Museum educational priorities are the different aspects of archaeological work, research on Biskupin monuments and the proper interpretation and protection of archaeological heritage. These subjects can be presented in attractive and understandable form to all. Translated by W. Piotrowski Bibliography Borkowski, W. and Brzeziński, W. 2001. Prezentacje dziedzictwa archeologicznego. Z Otchłani Wieków 56, 3, 80–86. Bukowski, Z. 1958. V Walne Zebranie Delegatów Polskiego Towarzystwa Archeologicznego. Z Otchłani Wieków 24, 2, 141–145. Chowaniec, R. 2010. Dziedzictwo archeologiczne w Polsce. Formy edukacji i popularyzacji. Warszawa. Dzianisz, P. and Umiński, J. 1966. Szlak Piastowski. Bydgoszcz.

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Archaeological Heritage. Methods of Education and Popularization Rajewski, Z. 1957b. Biskupin – osiedle obronne patriarchalnych wspólnot rodowych z lat 550-400 przed n.e. – tablica szkolna. Warszawa. Taraszkiewicz, M. 1999. Jak uczyć lepiej, czyli refleksyjny praktyk w działaniu. Warszawa. Trempała, E. 2003. Edukacja równoległa – nieszkolna. In T. Pilch (ed.) Encyklopedia pedagogiczna XXI wieku, 971–977. Warszawa. Zajączkowski, W. 1991. Stan i perspektywy rozwoju Oddziału PMA w Biskupinie. In J. Jaskanis (ed.), Prahistoryczny gród w Biskupinie. Problematyka osiedli obronnych na początku epoki żelaza, 235–246. Warszawa. Zajączkowski, W. 1997. Biskupin i jego odkrywca. Wrocław. Zajączkowski, W. 2009. Biskupin wczoraj i dziś. In L. Babiński (ed.), Stan i perspektywy zachowania drewna Biskupińskiego, Biskupińskie Prace Archeologiczne 7, 11 –34. Biskupin. Mrs Anna Grossman Archaeological Museum in Biskupin e-mail: [email protected] Mr Paweł Hildebrant Archaeological Museum in Biskupin e-mail: [email protected] Mrs Małgorzata Starak-Juchniewicz Archaeological Museum in Biskupin e-mail: [email protected]

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Educational activities, workshops, events ... or how an archaeological museum can present the past Sabina Hryniewiecka and Marta Kalisz–Zielińska Abstract This text describes some aspects of promotion and education of the archaeological heritage in the Poznań Archaeological Museum, and to the issue of reaching the greatest number of recipients while preserving scientific core intact. Keywords Museum education, educational activities, popularization, educational workshops, educational projects

History curriculum reforms and contemporary textbooks for teaching this subject are not conducive to promoting the achievements of archeology. Following from the conviction that education on archeology should be considered as an attribute of archaeology and where it is addressed in an appropriate manner, can enrich contemporary and future society (Smardz 1997, 24), it goes without saying that children and young people (adults, too) should be introduced to knowledge of a distant past also through extracurricular education. This text is devoted to selected aspects of teaching and promoting archaeological heritage on the example of the work carried out by the Poznań Archaeological Museum. The purpose here is to present different ways of promoting archaeological knowledge: educational projects, exhibitions (traditional and interactive), events, museum classes, activities for children (including Academy of the Youngest), interest groups for gymnasiums and secondary school students (Youth Club of Friends of Archaeology) and archaeological fun-events for families, which all take place seasonally during the winter and summer holidays, educational workshops for seniors (‘50 + Let’s meet in the Museum’) or cyclic lectures for youth and adults. The chosen examples comprise topics brought to life at the Poznań Archaeological Museum, which can be adapted by other establishments of this type. An important aspect touched on in this article is the Museum’s cooperation with cultural, promotional, tourist and educational institutions (including the Ministry of Culture and National Heritage, City Council of Poznań, Centre of Cultural Tourism ‘Trakt’ in Poznań, Empik Store and shopping centers: ‘Malta’ and ‘Stary Browar’).

Archaeological Museum has sought to influence attitudes, to popularize knowledge about the past and about archaeological heritage and to promote archaeological culture in the region. Undoubtedly, one of the first people to have started the popularization of archaeology among adolescents and adults was Prof. J. Kostrzewski. Initially, he focused on having prehistoric themes introduced in the school history curriculum in an effort to reach the widest possible audience and to make them aware of their origins in the most distant past. Subsequently, also his son B. Kostrzewski took up promotional activities. Early in his life, Prof. J. Kostrzewski worked as a conservator of the archaeological collection, but even then he considered it important to make the collections available to people in general, not just members of the scientific society (Kostrzewski 1957, 8). Before taking the position of director of the Museum of Prehistoric Times, Kostrzewski edited the ‘Z Otchłani Wieków’ journal (first issue in 1926) (Kostrzewski 1957, 13), informing about new archaeological discoveries and aiming at consolidating knowledge of the earliest history (Kostrzewski 1957, 22). It was also Kostrzewski’s initiative to edit a guide ‘Walk Through the Museum of the Mielżyński Family’, published in 1917 (Kostrzewski 1957, 9), and in 1918 ‘Guide to the Prehistoric Collection of the Mielżyński Museum’, containing among others an array of different monuments. In 1919, he edited a volume of ‘Przegląd Archeologiczny’ devoted to archaeology and numismatics (Kostrzewski 1957, 8–9). He also wrote articles for newspapres, ‘Dziennik Poznański’ and ‘Kurier Poznański,’ familiarizing readers with various issues related to archaeology (Kostrzewski 1957, 9). Believing popularization to be extremely important, he founded The Museum Society in 1916, designed to bring the museum closer to the public through the dissemination of the contents of the collections of the Poznań Society of Friends of Science (Kostrzewski 1957, 9). The archaeological heritage was promoted through permanent and temporary exhibitions, publications, courses and lectures, as well as visits to the museum guided by employees and symposia (Kostrzewski 1957, 13). Free courses for teachers of primary and secondary schools were also organized, including both lectures and excursions to archaeological sites (Kostrzewski 1957, 14). Five traveling educational exhibitions were also included in the 1940s and 1950s, including extremely popular displays ‘Prehistory of Pomerania’ and ‘Wielkopolska

An outline of the history of education at the Poznań Archaeological Museum Until recently, museums have been stagnant unattractive places unable to be anything but boring in the presentation of their collections and always complaining of low visitor numbers. In particular, they have been perceived as less accessible to children, especially the youngest. Currently, the aim of most of the activities undertaken by museums today is (...) to promote the fundamental values of, science and Polish and world culture, to shape cognitive and aesthetic sensitivity, which is to create an educational offer matching the needs of today’s visitors (Głowacz 2010, 87). Practically since its establishment, the Poznań 93

Archaeological Heritage. Methods of Education and Popularization in prehistoric times’ (Kostrzewski 1957, 22). The latter exhibition was accompanied by a projection of a short film about Biskupin, watched by close to 31,000 spectators (Kostrzewski 1957, 22).

to the temporary exhibition ‘Maya Fashion. Elite and court – Jaina – 600–900 AD’ which was on display at this time. A rich program of events was targeted traditionally at different age groups. Workshops for children were organized, but also, for the adult visitors, popular and scientific lectures, thematic exhibitions, dance shows, concerts, lessons of glyphic writing, etc. Another form of promoting the past, similar to the Night of Museums in nature, is the thematic weekend at the Museum, organized now for many years, e.g. ‘Weekend with rock art’, ‘African Weekend’, ‘Weekend of magic’ etc. They are held on average every one or two months throughout the year and are very popular with visitors of all ages, especially families with children. The aim is to popularize knowledge about the most distant cultural heritage. Archaeological workshops are prepared for children, while adults and adolescents have theatrical shows, musical performances, screenings of popular–scientific films and lectures to choose from.

In the 1950s and 1960s archaeology was popularized by extending exhibition opening hours (Kostrzewski 1957, 26). Working with the radio, press and school history interest groups was also an important element of the promotion of archaeological heritage (Kostrzewski 1957, 27). Apart from lectures and thematic chats organized by the museum, emphasis was placed on training teachers (Kostrzewski 1957, 27). Cooperation with the Regional Center for Educational Resources and the management of the Regional Vocational Training Office resulted in courses organized for teachers in the museum (Kostrzewski 1954, 168), as well as conducting lessons adapted to the new curriculum objectives in teaching history (Jasnosz 1963, 245). In the 1970s, 1980s and 1990s, educational practices continued to include mainly excavations, lectures and meetings in the museum. An interesting form of promotion of archaeology, intended mainly for young people, were events like ‘Archaeology Enthusiasts’ Club’ and ‘Library Fridays’, as well as competitions ‘On the trails of history’ and ‘Write your own literary piece on archaeology’ (Błaszczyk 1979, 132–144). Young children participated in art competitions: ‘Beliefs and magic of the Slavs’, ‘World of archaeology in the eyes of a child’, ‘Do you know the oldest musical instruments?’. Temporary exhibitions, for example, ‘Baby toys in prehistory’, were also organized for this audience. For adult visitors the museum offered ‘Sunday morning film’ events, screening sets of short films on archaeology, ancient history, art history and ethnography. ‘Museum Tuesdays’ were aimed at presenting the achievements of selected regions and museums. Interdisciplinary meetings with representatives of different disciplines aroused considerable interest among the adult public.

Since 2005 the Poznań Archaeological Museum has co-organized an important cultural event popularizing archaeological knowledge, ‘Festival of Slavonic and Cistercian Culture’, held in Ląd on the Warta River. The concept of the festival originated from the museum weekends, but thanks to the possibilities offered by an open-air location, the said idea of weekends has been greatly expanded and diversified with many additional attractions, which would not have been possible in the museum (warrior combat, ‘living chess’, leather tanning exhibitions, tournaments etc.). The program also includes a ‘Science Picnic’, during which interested visitors can gain theoretical and practical knowledge through interdisciplinary meetings with scientists and specialists from various fields. Thinking of its youngest visitors, the Poznań Archaeological Museum, prepared three educational programs for the winter and summer holidays, ‘Riddles of a Little Explorer’ for the winter and ‘Summer Academy of the Youngest’ and ‘Robinson Crusoe`s Riddles’ for the summer. The riddle projects took on the form of family game. Each group of participants received task cards, puzzles and riddles to solve within the space of three permanent exhibitions: ‘Death and Life in Ancient Egypt’, ‘Prehistory of Greater Poland’, ‘Here Poland was born’ and directly relating to them. An important aspect of the game was to invite in this way the youngest participants to active exploration of the museum collections, both referring to Greater Poland as a region and to areas outside Europe, like Africa. Family holidays had the form of a competition. Correctly solved puzzles and interesting answers were rewarded with books.

How an archaeological museum can present the past. Contemporary educational activities in the Poznań Archaeological Museum Currently, the Poznań Archaeological Museum is continuously looking for new inspirations and ideas to appeal to as many potential visitors as possible. In its educational and promotional offer it turns to visitors of all ages (from preschool children through older ones, adolescents, adults and seniors), offering both classes and events for schools, groups and individual customers. The presentation and promotion of archaeological heritage can take various forms. One of them, prepared by our institution, is ‘The Night of Museums’, organized annually within the framework of the European Night of Museums. This is an extremely important event, which attracts thousands of visitors. This year’s Night of Museums (2011) at the Poznań Archaeological Museum illustrated the theme ‘Fashion of the Mayas’, referring thematically

The Summer Academy of the Youngest at the Poznań Archaeological Museum was another important event, organized in July and August. The project included a series of classes for children, held every Monday, Wednesday and Friday of the month. During these meetings children were given the opportunity to learn about culture in different regions of the world, play games, as well as 94

Sabina Hryniewiecka and Marta Kalisz–Zielińska: Educational activities, workshops, events ... singlehandedly construct an object associated with a given culture following touching and seeing a specially prepared copy of the object. Participation in these classes is free and the Museum makes an effort to involve children from the poorest communities in Poznań.

Life in Ancient Egypt, and North African rock art. Museum lessons can be carried out at all the galleries, facilitated by the numerous multimedia. Visitors taking the interactive tour of the exhibition ‘Here Poland was born’, especially the youngest ones, find many attractions, including a game of chess, discovering the skeleton of a Viking merchant or trying on copies of medieval costumes. While visiting the exhibition ‘Rock art of North Africa’, they can take part in a quiz or do their own sketch of the rock carving, either on a multimedia screen, or using a copy of the stone representing a given petroglyph.

In accordance with the principle of ‘learning by playing’, the Poznań Archaeological Museum offers the youngest opportunities to hold birthday parties in the museum. The most popular themes of such events, associated with our exhibitions, concern Ancient Egypt and the Middle Ages. While having fun, children have an opportunity to see the exhibitions and to learn about the culture and customs of people living in the past. Through this offer the Poznań Archaeological Museum aims at encouraging the youngest to participate in culture and to develop in children the habit of attending museum and other cultural events, which need not be associated with silence and order, but can be seen through the lens of entertainment and acquiring new skills through having fun.

Another educational form, intended for gymnasium and secondary school students, in operation since 2004, is The Youth Club of Friends of Archaeology. During the course young people have an opportunity to learn about the theoretical and practical aspects of an archaeologist’s work. Topics discussed during classes are related primarily to the experience of archaeologists working on excavations in Africa, the Middle East and Poland. Invited scholars share their professional experiences from the fields of anthropology, art history and ethnography.

Beside organizing events, the Poznań Museum also provides a rich educational offer targeted at schools and kindergartens. Lessons which take place in the museum combine educational form with active workshop participation to enhance remembering of lesson content. The program of museum lessons is constantly modified to meet visitor expectations. It is worth noting that the lessons on offer concern topics from the current history curriculum at each stage of schooling, i.e. ‘Mieszko the First – First VIP’, ‘Legacy of Antiquity’, ‘Sumerians creators of civilization’, as well as topics not covered by the school program, which create the opportunity to acquire new knowledge. Exemplifying this group of classes are lessons like ‘Egyptian beauty parlor’, ‘Travels with the Vikings’, ‘Brain through nose – guide of a young embalmer’ or ‘Seven Wonders of the World’. These lessons teach children and adolescents an openness to other traditions. The Academy of the Youngest was prepared for kindergartens and integrated teaching, giving children the opportunity to learn about archaeology around the world. Presented topics include: ‘Deadly and dangerous Australia’, ‘Extraordinary world of the Americas’ and ‘Hospitality and courage are the hallmarks of a true Arab.’

Believing that ‘it is never too late to learn’, the Poznań Archaeological Museum has also prepared a program for senior citizens ‘50 +. Let’s meet in the museum’. The project includes a series of lectures and meetings with archaeologists specializing in various fields and with exhibition curators. Cooperation with several shopping centers in Poznań has been introduced into the Museum’s educational program. Educational workshops for children have been organized at the ‘Stary Browar’ and ‘Malta’ shopping centers). The biggest event of this type, which was simultaneously a competition with a trip to Egypt as the main prize (sponsored by the Embassy of Egypt), took place at the ‘Malta’ shopping center and was entitled ‘From Alexandria to Abu Simbel.’ There was considerable interest in this event, not only on the part of shopping center clients, but also on the part of the media. Involving university students and museum staff, the organizers managed an extremely spectacular Egyptian procession, which was good fun, but above all satisfied the objective of making the customers of the shopping center interested in the culture of Ancient Egypt and encouraging them to continue their explorations in the museum in the future.

Acting on the assumption that museum visitors should be inspired to more detailed analysis of individual monuments, the Museum is actively introducing more and more multimedia in the exhibition space. The chief objective is to liven up and facilitate understanding of frequently difficult subject matter, but it also helps to increase awareness of the history of various artifacts and appreciate the role they have played in the lives of people from the past. Everything that is done at the museum aims at making the visit to the museum as memorable as possible.

In 2008, in cooperation with the Ministry of Culture and National Heritage, the Poznań Archaeological Museum prepared an educational project entitled ‘Discovering the secrets of our ancestors.’ Its aim was to disseminate the cultural heritage by conducting educational activities for students of primary schools and gymnasiums on the prehistory of Greater Poland, the beginnings of the Polish state and the oldest European civilizations. Since September 2011, the Museum has also implemented a project called ‘This is your heritage’, which takes the form of an informational campaign designed to build regional identity. Another premise of this project is to

The Poznań Archaeological Museum offers its visitors five permanent exhibitions: Prehistory of Greater Poland ,Here Poland was born, Archaeology of the Sudan, Death and 95

Archaeological Heritage. Methods of Education and Popularization align intraregional disparities in availability to the history of the region, to create opportunities to gain knowledge about the historical and archaeological heritage of Greater Poland and to stimulate interest about the past of a given region. Through this project, the youngest inhabitants of Greater Poland have an opportunity to see the realities of life in the Middle Ages and in prehistoric times. The project is implemented by providing elementary schools and gymnasiums with unusual educational materials: chests with original copies of historical artifacts, referring to the museum’s permanent exhibitions: ‘Greater Poland’s Prehistory’ and ‘Here Poland was born’. To help to understand the content of the chests relating to the prehistory of Greater Poland and also to facilitate a trip in time to this period in the history of Poland, students are presented with an illustrated story about a goat traveling in time. It has the form of a guidebook that kids can hang around their necks. Teachers can watch multimedia presentations on how to prepare lessons based on the content of the chests.

Kostrzewski, B. 1955. Sprawozdanie z  działalności Muzeum Archeologicznego w Poznaniu w roku 1954. Fontes Archeologici Posnaniensis V, 162–171. Kostrzewski, B. 1957. Dzieje Muzeum Archeologicznego w Poznaniu. Fontes Archeologici Posnaniensis VII, 1–28. Smardz, E. K. 1997. The Past Trough Tomorrow: Interpreting Toronto’s Heritage to a Multicultural Public. In J. H. Jameson (ed.), Presenting Archaeology to the Public: Digging for Truths, 101–113. Walnut Creek. Tarnowska, M. 2010. Edukacja w Muzeum Łowiectwa i Jeździectwa w Warszawie. Teraźniejszość i perspektywy. Muzealnictwo 51, 97–103. Mrs Sabina Hryniewiecka Archaeological Museum in Poznań, Poland e-mail: [email protected] Mrs Marta Kalisz–Zielińska Archaeological Museum in Poznań, Poland e-mail: [email protected]

Educational activities at the Poznań Archaeological Museum have a long tradition, which must be maintained as well as expanded and diversified, if possible. Surely, this can be helped by the variety of exhibits and displays that this institution can offer to its visitors. The educational offer of the Poznań Archeological Museum constitutes an effective means of promoting museum and archaeological heritage. Changes taking place in recent years in education and promotion of archaeological heritage and changes in public awareness of culture and public expectations toward culture have forced museums to re-evaluate their goals (Tarnowska 2010, 97). Currently, museums are increasingly adopting a proactive stance towards reality, allowing visitors not only more direct contact with history or art, but also giving them the opportunity to develop skills and acquire knowledge (Tarnowska 2010, 97). The Poznań Archaeological Museum is taking steps to meet visitor expectations with particular emphasis on the presentation and dissemination of knowledge about the most ancient cultural heritage. Thanks to the variety of educational classes, it is hoped that the Museum today is no longer perceived as a series of showcases with exhibits ‘trapped’ inside them, but as a place where free time can be spent in an interesting and creative way. Bibliography Błaszczyk, W. 1979. 120 lat w służbie narodu. Muzeum Archeologiczne w Poznaniu (1857–1977). Poznań. Głowacz, A. 2010. Między oświeceniową misją muzeum a innowacyjną ofertą edukacyjną. Muzealnictwo 51, 87–96. Jasnosz, S. 1963. Sprawozdanie z działalności Muzeum Archeologicznego w Poznaniu w 1962 r. Fontes Archeologici Posnaniensis XIV, 241–246. 96

Who’s to blame for the tabloidization of archaeology or how to sell science cheap in the Polish press Katarzyna Jarosz Abstract The aim of this article is an analysis of techniques for the tabloidization of archaeology in the Polish press. Several specific writers’ strategies and lexical-stylistic techniques, the goal of which is to describe archaeology as sensational, shocking, and mysterious, can be observed. Readers’ attention is also garnered on occasion with false theories. It is not scientific archaeology, but a fairytale or fantastic version of the science that is the subject. Key elements of articles of this kind include archaeologists depicted in a particular manner as a detective, adventurer or brave explorer, wild nature in faraway, exotic or mysterious places, elements of danger, treasure, myths and mysterious rituals. Instead of being a profession, archaeology becomes a great adventure. Keywords Archaeology, tabloidization, mysterious science, science popularizing, techniques, strategies

Press articles have to be commercially attractive. In other words, their topics have to present a certain value to the media market. Several different ways of making press articles more attractive can be observed. One way is through exercising high scientific and professional standards and publishing articles written by professionals and specialists in relevant areas. Another way of making articles more readable and attractive to the reader is the use of paratext elements, such as photos, diagrams, and a range of infographics. Yet another form of attracting readers’ attention is through topic choice. All these techniques have been observed in popular science magazines and have been analyzed in the literature.

become crucial instead. Chief among these is the editorial policy of publishing houses, very often influenced by outside trade patterns and different commercial factors. For example, when an editor’s main target is increased journal circulation, ambitious but difficult articles will likely give way to easy reading. Science popularizing is a specific and sometimes very difficult task. M. Iłowiecki (1987) wrote that a good article which popularizes science: cannot be too difficult, talks about interesting problems, which may attract a reader, does not refer evident truth, does not have mistakes, does not have too much terminology and technical vocabulary, presents only these facts and hypothesis, which can be scientifically proved.

This article, however, aims to analyze specific language manipulation. This is the act of intensifying language expression by different techniques and strategies with the purpose of introducing entertainment into information and of constantly surprising the reader. Specific writers’ strategies and lexical-stylistic techniques will be analyzed in reference to the field of archaeology in particular. The goal of these techniques is not primarily to provide the reader with a measured, factual account, but instead to describe archaeology as sensational, shocking, mysterious, strange, sometimes even frightening science. This process is called herein the tabloidization of archaeology.

Five Polish monthly popular science magazines have been the object of my analysis: ‘Problemy’, ‘Wiedza i Życie’, ‘Świat Nauki’, ‘Wszechświat’ and ‘National Geographic’. ‘Problemy’ [Eng. Problems] was the main popular science magazine in Poland during the time that it was published (1945–1993). Articles covered a wide spectrum of topics in the field of science and art. ‘Wiedza i Życie’ [Eng. Science and Life], a renowned popular science magazine, has appeared since 1926. It features articles on a broad range of subjects, mostly dealing with the natural sciences, but not only. ‘Wszechświat’ [Eng. Universe] is the magazine of the Polish Nature Society, published since 1882, dealing with subjects related to the natural sciences, that is, biology, astronomy, anthropology, and geology. ‘Świat Nauki’ [Eng. World of Science] is the Polish version of ‘Scientific American’, a renown popular science magazine. The first issue came out in 1991. The Polish version of the American monthly ‘National Geographic’ was first published in Poland in 1999. All five journals bring long articles, essays, short notes, book reviews and reports. 762 articles on archaeological topics were published in the period analyzed (years 1945-2000) 344 of these in ‘Wiedza i Życie’, 251 in ‘Problemy’, 74 in ‘Wszechświat’, 51 in ‘Świat Nauki’ and 42 in ‘National Geographic’.

The wish to learn something new is only one of the reasons why people read articles. Other factors, such as spending time in a pleasant way or experiencing something extraordinary, are no less important. It is proper at this point to recall the uses and gratification theory (Blumer and Katz 1974) put forward in the 1970s to explain people’s purposes for the different media. It was shown that media users are guided by the following reasons: wanting to learn, wanting a pleasant moment, looking for companionship, wanting to relax, looking for emotions or sensation. In today’s world, there is much less influence of state policy on the quality and selection of topics in the popularization of science and non-political factors have 97

Archaeological Heritage. Methods of Education and Popularization There are many methods for tabloidization of archaeology. One way is intentional distorting of reality by presenting false theories designed to attract readers’ attention. Another way is using stylistic manipulation and underscoring at the same time the sensational and mysterious character of the story. A distinct dichotomy is observable in press articles. On the one hand, there are many articles which maintain very high intellectual standards, respecting the rules of solid and earnest popular science journalism. On the other hand, there is a tendency to oversimplify archaeology, concentrating only on the adventurous aspects of the archaeologist’s work, such as spectacular discoveries and searching for treasure. Mistakes in dating or in the names of sites are common. Many explanations are biased and/or simplistic. Various stylistic means are employed instead of giving precise names of archaeological cultures or the date of an the artefact, for instance. Commonly used adjectives and epithets include “prehistoric” “in the dusk of history” or simply “very old”. These expressions have a broad semantic field and cover everything from the beginning of anthropogenesis through the late Middle Ages.

simply states the facts instead, without any word games or without teasing the reader. In an article on the grabados on the Nazca plateau we can read that these mysterious drawings on the deserted arid plateau, like other treasures of the past, such as the pyramids or Baalbek terraces, are fascinating and tease the imagination of every subsequent generation (Rouze 1984, 49). For the author, the single element connecting these places is the fact that they are mysterious. It is enough to put them in one series and analyze them together. In another text, the author states that the most mysterious of the gods was Jesus Christ..., this fact was proven by T. Zajcev, who published a theory that Christ came to Earth from space (Łukasiewcz 1974). Very often, the dating of an artefact or site is omitted altogether, authors writing only that it is ‘very old’, ‘ancient’, ‘from the dusk of history’ or ‘dating back many years’. This creates the illusion of a fairy tale, where the story takes place ‘once upon a time’. R. Gore (2000), writing about the so called Mungo Lady, which is the name of a female skeleton discovered at Mungo Lake in Australia, states, that she was discovered in 1968 and the age of this discovery is ‘thousands of years’. Meanwhile this discovery took place in 1969. Ignoring or distorting dates is common practice among journalists and it is difficult to know whether it comes from their flippancy or their ignorance. There may be another reason. Archeology dressed in the clothes of a beautiful fairy or a brave treasure hunter should not be spoiled by dates, which will only take away from the friendly atmosphere. They would introduce a dissonance into a beautiful story about adventures and treasure.

A specific pattern or scheme of writing can be observed in many texts. There is a number of set elements that change a popular science archaeological article into a kind of contemporary fairytale. It is in fact no longer scientific archaeology, but fairytale, folk or fantastic archaeology. Key elements of articles of this kind include: archaeologists depicted in a particular way, wild nature in faraway, exotic or mysterious places, an element of danger, treasure-hunting, myths and mysterious rituals. The archaeologist is presented as a detective, adventurer or courageous explorer, like the 19th century counterparts.

From this perspective, archaeology is not a profession, but rather a great adventure. J. Reinhard (1999) writes about archaeological digs in the Andes. The crucial element of his story is the aspect of adventure. He describes in great detail, for example, the surroundings, climate, local weather conditions, problems with water and health issues connected with altitude. He writes about social relations during the digs and leisure activities. He recounts how the cold prevented the archaeologists from working in certain instances, concentrates on their emotions, describes how they reacted to every new artefact and writes about his own feelings when he was confronted face to face for the first time with a child mummy. At the same time there is a glaring lack of information on dating, there is no site description, no information of artefacts discovered and no archaeological context.

A very common technique which reflects this tendency to marry archaeology with adventure and detective work is the title for the article, which may suggest that the true aim of archaeological research is to follow and solve old crimes, intrigues and conspiracies. Here are some examples of such titles: ‘Prayer or crime. Mystery dating 2000 years back’ (Kowalski 1988), ‘Goths and strange burial rituals’ (Waliszewski 1999), ‘At 7600 m Incas sacrificed children enchanted in ice’ (Reinhard 1999), ‘Murderer’s crucifixes’ (anonymous 2000), ‘Mayas bloody rituals’ (Łukasiewicz 1969). These titles do not refer to the conducted research, but instead appeal to readers’ emotions. In this respect they remind us of titles of adventure or detective books, rather than of scientific articles. A further common technique is using emotive words like ‘mysterious’ and ‘unbelievable’ in order to create or arouse readers’ interest. These words are used to describe people, places, languages, or conducted research. In an article about the Incas, for example, we are told that this is a ‘mysterious people’ (Lerche 2000). For the sake of contrast, in her article ‘Mysteries of forgotten languages and scripts’ (Lerche 1974, 20) Jadwiga Lipińska writes about the Etruscans that they were a people of as yet unidentified ethnic and language provenience (Lipińska 1974). In this case, there are no mystery connotations, the author does not set things on an emotional level and

In the article ‘Angkor Wat temples still under fire’ (Preston 2000), the most important elements are again not the archaeological digs and the Khmer temples, but adventure. The author elaborates several times on the dangers he is exposed to whilst traveling alone in the jungle on his motorcycle, searching out mysterious and as yet undiscovered temples. Archaeological digs represented in this kind of account need special scenery. An important element is the natural 98

Katarzyna Jarosz: Who’s to blame for the tabloidization of archaeology or how to sell science cheap environment which, if possible, should be wild and inaccessible. Jungle fauna and flora are exuberant, and the treasures are hidden among wild, unbridled vegetation. Angkor Wat seems to be a very popular place among authors from the ‘kitch-output’ school. It is described as a mysterious lost city in the jungle. This interest in Cambodia may stem from the following factors. Firstly, it is a faraway place not on the charter-trip itinerary. Also, searching for temples in Cambodia does not evoke immediate associations with the meticulous and indispensable foundations of archaeological work, but with adventure.

on its material value, describing in particular a woman’s crown with eagles, decorated with emeralds, sapphires, pearls and garnet stones. When archaeologists cannot or do not want to be precise about material value, they will use terms like ‘priceless’ (Alexander 2000), ‘precious’ (Waliszewski 2000) or ‘very beautiful’ (Reinhard 1999, 60). The next technique involves underlining the spectacular aspect of a discovery. Artefacts, sites and processes are spectacular especially when they are the oldest, the biggest or the most precious. Authors of texts for ‘National Geographic’ excel in this respect, although the tendency is present in many other articles as well. The complex of Baalbek temples was described as the most interesting monument in the whole of West Asia and that we are paralyzed by the shocking scale of the monuments, emerging from the Libyan Massive (Łukasiewicz 1978, 78 and 81). In an article concerning the Etrurian language, readers were told that vain and unsuccessful attempts of its deciphering are a great defeat of contemporary science (Łukasiewicz 1974a, 32).

Additional ingredients for sexing up archaeology include forgotten languages and scripts. These are a fertile breeding ground and source of nourishment for adventures, which serve to demonstrate how mysterious and romantic the whole thing is. The point is to demonstrate that undeciphered writings and languages conceal mysterious messages from our ancestors. A good example in point is the ‘rongo rongo’ script (Romańska 1963; Romańska 1973) from Easter Island in the Pacific Ocean. It fills all the conditions essential to interest the reader. First, it has not been deciphered and gives the reader a feeling of great mystery. There have been many attempts to decipher this writing system since the discovery of tablets bearing texts in this script more than a century ago and still its meaning is considered a mystery. All attempts have so far proved futile and ineffective, which makes the whole history connected with this script even more mysterious for the reader. For the average reader, Easter Island sounds very exotic and is situated sufficiently far away for few people to have the opportunity to visit it. It is commonly associated with the mysterious statues popularized by Thor Heyerdahl’s expedition. It is enough to make this place mysterious, exotic and magical, and to associate it with adventure. The next element which makes the ‘rongo rongo’ writing system so interesting for the reader is its name. ‘Rongo-rongo’ sounds very different from any word in Polish or any Indo-European language. Taken together, these elements are the reason for which the reader, when thinking of the ‘rongo rongo’ script, may feel a thrill of emotion and experience the feeling of being brought closer to a mystery.

A very characteristic phenomenon is juggling with single facts, taken out of their archaeological context and presented in anecdotal form. The exact data, numbers and names are not presented to the reader as they are perhaps deemed unnecessary, or in some cases because the author is limited in his knowledge of the topic. Instead of giving actual names, the authors will sometimes write ‘scientists’ or ‘archaeologists’. The same rule applies to names of institutions or archaeological sites. Names can be changed or some characters can even be invented by the authors. Another common mistake is distorting the names of sites or the names of archaeologists. Łukasiewicz (1971) writes about a French archaeologist Anati, who discovered some petroglyphs in caves in the Swiss Alps, presenting figures in strange clothes, dating back thousands of years. Actually, Emmanuele Anati was Italian, not French, and he conducted research in 1956 in Val Camonica in the Oglio river Valley, in the Lombard Alps in Italy. His was the most extensive research on rock art ever conducted with every single glyph being analyzed and classified by category: human, animal, building and hut, vehicle, soil cultivation, danger, weapon and tool, net and trap, labyrinth, hand and foot, geometric figure and abstract figure, inscription and script (Anati 1960, 31). Łukasiewicz not only did not present the reader with any data, but he glossed over some archaeologist discovering in some place some mysterious things, probably aliens.

Another ‘kitsch-output’ technique used in many articles involves highlighting the material value of treasure. This mechanism invariably pushes to the front the material value of artefacts without negating the historical aspect. In the article ‘Angkor Wat temples still under fire’ (Preston 2000) the author repeatedly refers to the money value of artefacts stolen from Cambodian temples (apparently totaling 50,000 dollars), while at the same time making no mention of their historical value. When writing about treasures and artefacts from Mycenae, C. Alexander (2000) describes how valuable they are, describes in detail deathmasks made of precious metal, a wine vessel in the form of lion’s head, and a golden shroud for a child, discovered by Schliemann. T. Waliszewski (2000) describing the so called treasure from Środa Śląska, focuses particularly

Th. Heyerdahl’s 1972 voyage from Morocco to Barbados was a huge media event. In 1974, the first Polish edition of his book ‘Expedition Ra’ (Heyerdahl 1974) was published and had the effect of stimulating interest in Polish popular science periodicals containing theories of cultural diffusion. Łukasiewicz (1974b) also took part in a discussion about the origin of the first Americans, telling his readers about Eduardo Ameghino, who considered American Indians the autochthonous population of the 99

Archaeological Heritage. Methods of Education and Popularization Americas and the New World as a cradle of humanity. Not true and incomplete: Florentino (not Eduardo) Ameghino was an Argentinian paleontologist who lived in the 19th century. He had a great impact on the development of Argentinian science and in his work ‘Filogenia’ he described a huge number of extinct species previously living in Argentine. He described the rules of animal migration between continents. His assumptions were strictly theoretical and he changed and distorted facts to fit his theory, according to which the American continent was the cradle of all humanity. The theory was completely wrong and was discredited by the scientific community already in 1884 and there is no further need to write about it. Łukasiewicz’s article did not explain the obsoleteness of Ameghino’s theory leaving an uninformed reader to think that it may be a current theory. In another text, Łukasiewicz (1974) wrote, mistakenly, about archaeologists Clifford and Betty Evans who discovered the Valdivia culture. The archaeologists in question were in fact Clifford Evans and Betty Meggers. In order to support ideas about cultural diffusion, Łukasiewicz cited Alejandro Butenau from Mexico City University, who published a book on Precolumbian pottery in 1970, in which he claimed that the representations on pottery vessels portrayed four human races: yellow, white, red and black. This was not only a distortion of the facts, but an alternate reality as well. Professor Alejandro Butenau never existed, hence he could not have published a study of pre-Columbian pottery. In another article we read about an archaeological expedition and of the discovery by Gene Savoy of Inca cities in Peru. Gene Savoy without the slightest doubt was a very interesting person and in 1962 he discovered Gran Pajaten in Peru. However, he was not an archaeologist. He was an adventurer and traveler. In the 1960s he gained fame as an adventurer, but his activity has nothing to do with archaeology. In the context of attributing to archaeology overtly romantic imagery, it is worth considering an article by D. Stabrowska entitled ‘Is archaeology romantic?’ (1990). The author writes that the common perception of archaeology is of a very romantic profession or even an adventurous one. She states that the image of archaeology is associated mostly with 19th century research expeditions, despite the fact that today’s reality is totally different. Stabrowska explains what archaeology is really like and what the archaeologist’s real skills and tools are; she outlines the history of archaeology, techniques of work, ways of conducting digging, and explains the stages of archaeological work and their scope. In no way is this denial of the fascinating nature of archeology as a profession nor is it derogatory in any respect, but rather it tears away the layer of superficial romanticism.

Anonymous 2000. Krzyże morderców. National Geographic 12 (15), no pages. Blumer, J. G. and Katz, E. 1974. The uses of mass communication. Beverly Hills. Gore, R. 2000. Ludzie jak my. National Geographic 8, 45–76. Heyerdahl, T. 1974. Ekspedycja Ra. Warszawa. Iłowiecki, M. 1987. Trochę o pokłosiu konkursu. Problemy 2, 9–14. Kowalski, K. 1988. Modlitwa czy zbrodnia. Tajemnica sprzed 20000 lat. Problemy 3 (639), 63–75. Lerche, P. 2000. Groby ludzi z chmur. National Geographic 9 (12), 82–99. Lipińska, J. 1974. Zagadki nie znanych pism i języków. Problemy 10, 16–21. Łukasiewicz M.1969. Krwawe ofiary Majów. Wiedza i Życie 9, 40–45. Łukasiewicz, M. 1970. Z powrotem do gwiazd. Wiedza i Życie 7, 57–65. Łukasiewicz, M. 1971. Mity nie mity. Wiedza i Życie 2, 40–51. Łukasiewicz, M. 1974a. Czy Etruskowie byli uchodźcami z Troi? Wiedza i Życie 11, 32–36. Łukasiewicz, M. 1974b. Hipoteza hiszpańskiego mnicha. Wiedza i Życie 10, 1–7. Łukasiewicz, M. 1978. Kamień obrazy z Baalbek. Wiedza i Życie 7, 78–84. Preston, D. 2000. Świątynie Angkor wciąż pod ostrzałem. National Geographic 8 (11), 84–103. Reinhard, J. 1999. Na 7600metrach Inkowie złożyli ofiary z dzieci zaklęte w lodzie. National Geographic 2 (2), 61–75. Romańska, H. 1963. Kohau-Rongo-Rongo. Wiedza i Życie 5, 252–262. Romańska, H. 1973. Rongo rongo z Wyspy Wielkanocnej. Wiedza i Życie 8, 1–7. Rouze, M. 1984. Nazca uchyla rąbka tajemnicy. Problemy 7, 79–81. Stabrowska, D. 1990. Czy archeologia jest romantyczna. Wiedza i Życie 7, 44–56. Waliszewski, T. 1999. Niezwykłe obrzędy pogrzebowe Gotów. National Geographic 2 (2), non-paginated. Waliszewski, T. 2000. Skarb w Środzie Śląskiej. National Geographic 10 (13), non paginated Katarzyna Jarosz e-mail: [email protected]

Bibliography Alexander, C. 2000. Marsz ku chwale. National Geographic 2 (5), 78–109. Anati, E. 1960. La civilisation du Val Camonica. Paris. 100

Educational activities of the ‘Blue Lion’ archaeological education center present and future Monika Jodczyk Abstract The ‘Blue Lion’ Archaeological Education Centre is the newest branch of the Archaeological Museum in Gdańsk. Its office is located in a historic granary called the ‘Blue Lamb’ on Gdańsk’s Granary Island. The reconstructed interior houses a presentation of the results of ten years of excavations in Gdańsk. The Center educates children and adolescents about the medieval city, everyday life in olden times, as well as the work of archaeologists through museum lessons prepared for different age groups. Keywords archaeological education center, exhibitions, reconstructions of the past

The Archaeological Education Centre is the newest branch of the Archaeological Museum in Gdansk. Its office is located in a historic granary, the ‘Blue Lamb’, situated in 53 Chmielna Street on Gdańsk’s Granary Island (Figure 1). The ‘Blue Lamb’, as it is called, is the only granary in Gdańsk where the original wooden structure survived Word War II. The granary was raised probably in the 15th century as indicated by fragments of preserved Gothic walls, whereas in the 18th century it was reconstructed using small Dutch brick (Trawicka 2009, 1). Renovation and adaptation works lasted 13 years and the grand opening of the Archaeological Education Centre took place in June 2008. The exhibitions occupy two floors of the granary, covering a total area of 800m2. On the ground floor there is a large conference room, resembling an old inn. It is also used to hold festivals, workshops, children’s birthdays and museum lessons. More than ten years of intensive excavations in the historical part of Gdańsk have contributed to the opening of this new facility (Trawicka 2009, 2). The exhibition is devoted to the presentation of living conditions in the medieval city. It consists of four parts: ‘City under the city’, ‘Hanseatic Street’, ‘Gdańsk in the world of the Hansa’, ‘Granary Island in Gdańsk’. In the first two exhibition rooms, the history of archaeological sites in Gdańsk is presented from 1945 until 2005. Particular emphasis has been placed on the results of archaeological testing carried out on one of the most interesting sites discovered in the city in recent years: a settlement and sacral complex in Dominikańska Kępa. The foundations of a Romanesque church, the oldest sacral building in Gdańsk, were uncovered, together with a cemetery and early-medieval settlement. The skeletons discovered in the cemetery were used to reconstruct the average stature of the inhabitants of old Gdańsk. Visitors can find information about archaeology in Gdańsk on boards, including the said Romanesque church and cemetery, from where comes the skeleton of a woman presented in a glass case. Above the display case hangs a photo of a dummy presenting the reconstructed figure of a female Gdańsk inhabitant. Visitors, especially children and

Figure1. Archaeological Education Centre ‘Blue Lion’ (photo M. Jodczyk). adolescents, may become more familiar with the work of archaeologists, watching a movie: ‘City under the city’, an eight-minute story about excavations and artifacts found in historic Gdańsk. The second room is devoted to the work of experts reconstructing the appearance of old Gdańsk’s inhabitants. Facial reconstructions were made by the Department of Anthropology of the University of Wroclaw and the Department of Forensic Medicine at the Pomeranian

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Archaeological Heritage. Methods of Education and Popularization Medical University in Szczecin, while body shape reconstructions were prepared by anthropologists and artists collaborating with the Archaeological Museum in Gdańsk. The project lasted several years, concurrently with adaptive works at the granary, and resulted in the reconstruction of the appearance of approximately 20 individuals with an accuracy of up to 90 percentage (Trawicka 2009, 2). A film made by the Wroclaw School of Reconstruction collaborating with the Archaeological Museum in Gdańsk gives more information on methods used in the reconstruction of the appearance of Gdańsk’s citizens. Five plaster casts of the skull of an individual are presented in cases in the room, illustrating successive stages of softtissue reconstruction. This part of the exhibition also delivers information on the results of anthropological and paleopathological research and the diseases from which the people of old suffered. Colorful panels provide information on zooarchaeological and archaeobotanical research, the diet of Gdańsk inhabitants, the crops they cultivated, the animals they raised. Typical educational techniques are used for educational workshops, engaging children at all age levels not only mentally, but also physically. These include mini-archaeological sites, where children use a brush to find animal bones and pottery fragments hidden

in two sandboxes. Indeed, adults are known to have taken brushes themselves to play at being an archaeologist. A chart showing cultural layers from the 10th through the 20th century recorded in Gdańsk, at Rajska Street, also proves helpful in class, as well as the documentation of archaeological excavations, which every visitor can see. The room is also equipped with two computer stations. One of them presents information from the field of archeology, its methodology, cooperation with experts from numerous fields, helping to reconstruct the history of an artifact found by an archaeologist. The other shows the reconstruction of medieval Gdańsk inhabitants. The stations are designed primarily for individual visitors who want to broaden and systematize previously acquired knowledge. The next step on the tour is ‘Hanseatic Street’, an archaeological open–air museum where the Center’s staff has recreated a Gdańsk street of craftsmen from the turn of the 14th and 15th century. Opening the display is a merchant stall holding a variety of goods, such as spices, sweetmeats and fruits (Figure 2). This set was reconstructed based on the results of archaeobotanical research. Proceeding along the street, the visitor passes a pigsty with squeaking pigs, a laundress and her crying child, citizens bathing in a bath house, a dressmaker, a cooper. Along the way, right next to

Figure 2. Hanseatic Street – a merchant stall (photo M. Jodczyk). 102

Monika Jodczyk: Educational activities of the ‘Blue Lion’ archaeological education center - present and future tools from the 14th and 15th century, everyday objects made of leather, wood and fabric, well-preserved due to the specific marshy ground in which they were found. The exhibition presents many valuable artifacts such as 14th and 15th century children’s toys (tin dishes, checkers and dice, clay pigs), 14th century gilded silver clasp, coins and a collection of pilgrim badges brought by medieval pilgrims from cult places all over Europe. Replicas of these badges presented in an adjoining room permit studying them under special magnifying glasses. The original will return to their place on exhibition as soon as the process of their preservation is completed. Touch stations provide additional information about life in old Gdańsk, commerce, clothing and crafts. The last part of the tour is an exhibition of Granary Island. The story of the Granary Island, the granaries and the people working there are told in two films: ‘Fires on Granary Island’ and ‘Granary Island’, the latter a retro style movie. The tour ends with an display of the Motława river port, a story of past glory with pre-war photographs of the port arranged to allow viewing of videos of underwater exploration of sunken wrecks in the Baltic Sea during World War II. Figure 3. Exhibition Gdansk in the world of Hansa (photo M. Jodczyk).

a praying pilgrim, visitors can try on an old coat or pattens. At the door of the church there is a beggar, further an armorer’s workshop and an old pharmacy full of fragrant herbs. Just behind the pharmacy, there is a barber’s shop and a sick local female patient inside. Shoes and pattens can be seen in the shoemaker’s workshop and right next door, at an amber-maker’s workshop there are some beautiful amber ornaments and rosaries to be admired. The walk along the street ends in a medieval tavern full of tasty food and cheerful noises. The street is designed to stimulate the senses. First of all, sight and hearing when one listens to the sounds of a medieval street: dogs barking, children crying, horse hooves clicking, church bells, a pilgrim’s prayer. Secondly, smell: specific flavoring extracts made at the request of the Archaeological Museum in Gdańsk and so a merchant’s stall smells of spices, the inn smells of garlic, an acrid odor hovers in the cooper’s workshop. From the Hanseatic Street visitors climb stairs to the second floor, to a hall displaying large-format photographic images of the largest sites explored in Gdańsk. The fourth room presents the everyday life of the city’s inhabitants in the times of the Hansa, illustrated by archaeological artifacts acquired in the course of excavations in Gdansk (Figure 3). The exhibition is divided into several sections, related to trade, coins, crafts, entertainment, food, health and hygiene, clothing, pilgrimages. There are crafting

The exhibition has been organized in a way to benefit individual visitors, providing various forms of communication, traditional boards, display cases, multimedia and reconstruction techniques. There is no need for the help of an additional guide. The Centre’s task is to familiarize children and adolescents with the medieval city, the life of its ancient inhabitants and the work of archaeologists. This it does by organizing museum lessons, prepared for different age groups, from preschoolers to sixth graders. The meetings are held at the exhibitions and in the so-called ‘education room’ with wooden tables to work at. All meetings are supplemented with workshops requiring active participation from students. Preschoolers have the opportunity to participate in classes demonstrating ‘A day in the life of an archaeologist’ and ‘How it was like to live in medieval Gdańsk.’ Children learning about archaeological excavations ‘get acquainted’ with the skeleton of a woman from Gdańsk and find out from the ‘talk’ who she was. They watch a video showing the work of Gdańsk archaeologists. The guide shows them documentation from excavations and a chest full of archaeological tools: trowels, spades, brushes, pencils etc. In the second part of the course the children play at being archaeologists, each getting a brush and a plastic bag and digging in the sandbox. They dig up artifacts, like bones and pottery, clean sand from them and bag them; then they go to the education room, where at the tables they take out the objects, describe and draw them accurately. At the end of the classes there is a discussion of what items were found by the young archaeologists.

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Figure 4. Learning with objects (photo M. Jodczyk).

Figure 5. Puzzles- lesson for older children (photo M. Jodczyk). Older children (fourth-sixth primary school grades) have similar classes about the archeologist’s work (Figure 4). They document the finds by filling out a questionnaire asking for the color and odor of an item, is the damages and the decoration (Durbin et al. 1990). Answering questions as well as drawing objects stimulate the children to look carefully at the objects. According to the authors of ‘A Teacher’s Guide to Learning from Objects’: ‘Drawing is one of the best ways to learn about an object and record it’ (Durbin et al. 1990, 20). Direct contact with replicas of objects raises the incentive for further exploration, develops curiosity and creativity, the ability to ask questions, formulate hypotheses, and expand vocabulary. It teaches critical observation and evaluation skills. The objective is to fascinate these young explorers with objects

(artifacts) because, as J. Hennigar Shuh writes: A third major advantage of using objects in teaching is that they can help you and your students understand something about the lives of the ordinary people who were your ancestors (Shuh 1999, 84). A similar goal guides a lesson prepared for primary school pupils and entitled ‘Mysterious object.’ Children work in groups, each group receiving replicas of artifacts, whether patten, clasp, pilgrim’s badge or wooden stylus. Lesson participants are like detectives, examining a mysterious objects, answering questions related to their appearance, drawing them and guessing what they were, what purpose they had served. This task not only requires accuracy, but also imagination and ingenuity on the part of the young

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Monika Jodczyk: Educational activities of the ‘Blue Lion’ archaeological education center - present and future

Figure 6. Family workshops (photo M. Jodczyk). explorers. During these lessons children also learn what a museum is, what it contains, what an artifact is and how it makes its way from the excavations to the museum exhibition. Our educational offer also include activities related to the history of Gdańsk: ‘Life in medieval Gdańsk’ about the life of its inhabitants, ‘On the pilgrim’s trail’ about medieval pilgrims, ‘Childhood in old Gdańsk’ about children, ‘Granary Island – treasure island’ about Granary Island and its granaries. Hanseatic Street turns out to be particularly useful here with its stalls, figures of old Gdańsk citizens, the odours and sounds of the old city. Children have the opportunity to smell spices from a merchant’s stall, get to know the smell of a cooper’s workshop, try on pattens, look at medieval trousers, chain mail or amber products. These activities are complemented and fixed by repetition of newly gained information by worksheets which the children can fill in, crossword puzzles, coloring books or puzzles with images of museum relics (Figure 5). School children and students have the opportunity to learn about our exhibitions in the form of classical guided tours. Children of all ages are encouraged to participate in art competitions thematically related to the granary. The Centre’s most recent competition for children involved the making of drawings on the theme of ‘Everyday life of the inhabitants of medieval Gdańsk’. Hanseatic Street served as a source of inspiration. Children’s works are currently on display at the granary. An effort is being made to create a friendly and attractive atmosphere for families at the Centre, hence special Saturday workshops and classes during the summer and winter holidays and feasts (Figure 6). Saturday workshops

involve children together with their parents, taking trips in time to learn about the history of Gdańsk, playing at being Little Archaeologists, discovering the mysteries and nooks and crannies of the ‘Blue Lamb’ granary, solving worksheets specially prepared for them. On Children’s Day kids could come and learn how to dance the medieval way, observe dueling medieval knights, learn the secrets of old weapons. They also participated in art activities, such as reconstructing and painting pots and vases. Classes during winter break are usually devoted to selected aspects of the history of Gdańsk. Most recently, the theme was meeting inhabitants of old Gdańsk: Bartłomiej, the merchant who talked about his trade and the life of a Gdańsk merchant, and little Konrad and Dorotka, who talked about the customs, costumes, and children’s games in old Gdańsk. In the future it is planned to make the offer more complete, in particular to extend it to an adult audience, by preparing special workshops, meetings and lectures for adults. There are also plans to expand the offer to disabled visitors. From the very beginning the Archaeological Education Centre has been designed to be a friendly place for people with disabilities. The elevators between the different floors of the building are adapted to carry wheelchairs, there is a toilet for the disabled on the ground floor and passageways in the exhibition part of the building are organized to allow easy movement of people in wheelchairs. Classes have been organized at the Centre for people with various forms of disability, who are shown around our exhibition, participate in mini archaeological excavations and touch and see replicas of archaeological exhibits in Hanseatic Street. Ever since the information boards were replaced with full reconstructions, Hanseatic Street is more easily understood and a specially prepared soundtrack and the different smells enable visitors to experience time travel to the fullest.

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Archaeological Heritage. Methods of Education and Popularization The offer for these groups will be extended by the use of specialized equipment to facilitate reception of exhibition content. Exhibition guides will be prepared and showcase captions and teaching materials will be translated into Braille; there will also be a model of the granary on the ground floor. For visually impaired people, portable electronic magnifiers would facilitate their getting acquainted with materials from multimedia stations and information boards, and would enable accurate observation of exhibits in showcases. Our goal at the ‘Blue Lion’ Archaeological Education Centre is to create a visitor-friendly space that will turn our guests into frequent visitors. Bibliography Durbin, G., Morris, S. and Wilkinson S. 1990. A Teacher’s Guide to Learning from Objects. London. Lane, J. and Wallace A. 2007. Hands on, Learning from objects and paintings. A Teacher’s Guide. Edinburgh. Shuh, J. H. 1999. Teaching yourself to teach with objects. In E. Hooper–Greenhill (ed.) The Educational Role of the Museum, 80‑91. London Trawicka, E. 2009. Centrum Edukacji Archeologicznej „Błękitny Lew”. Unpublished article, Gdańsk. Mrs Monika Jodczyk Muzeum Archeologiczne w Gdańsku, Poland e-mail: [email protected]

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Reflections on popularizing Egyptology Agnieszka Kowalska and Kamil Kuraszkiewicz Abstract Based on their experience, the authors present some aspects of popularizing Egyptology in the context of interactions with the media. Good points, but also the dark side of contacts with journalists are discussed. Keywords Egyptology, popularization, exhibitions for children, journalism

The aim of the present paper is to highlight some aspects of interactions between archaeology and the media, which are crucial to popularization. Being both of them archaeologists, the authors have been excavating in Egypt for several years. At the same time they have undertaken the task of introducing Ancient Egyptian culture to the general public. This involves lectures and workshops for children, exhibitions and cultural events, translations of books and, last but not least, contacts with journalists. It may seem to be an easy task, to popularize egyptological knowledge, especially when one views the place of such films as Cleopatra, Stargate or the Indiana Jones cycle in pop-culture. Films not only generate a fascination with ancient Egypt, but they also create an image of the Egyptologist at work as romantic as it is untrue.

Figure 1. Pre- and school childresn as archaeologists (photo A. Kowalska).

By presenting successive stages of work carried out by excavators/archaeologists, anthropologists, ceramologists and conservators, to name but a few specialties, we can bring to popular attention the day-to-day reality of archaeological excavations which has little in common with the adventures of the whip-wielding man in a fedora and leather jacket. (Although the fedora has indeed become popular among explorers, performing quite well in conditions of dust and strong sun). Our presentations, which are always tailored to a specific audience in terms of age, background, special needs of the participants etc., aim to show how the excavation area is planned, how we cooperate with workers, how finds are documented and handled (e.g. protected or restored by conservators before being displayed in a museum). All these aspects of work are described and illustrated in detail by means of photographs taken during excavations in Egypt. Workshops for children, pre-school or slightly older (Figure 1, Figure 2), include various creative activities that may involve colouring pictures or making pop-up models with Egyptian motifs (like mummies etc.), making maps of Egypt with the Nile full of fish, hippos and crocodiles, but also with the most important monuments and archaeological sites. Children enjoy such activities and at the same time they learn to recognise some of the most characteristic examples of Ancient Egyptian art. Such activities are received with much interest and often supported by enthusiasts of Egyptology. A good example

Figure 2. After the object has been excavated, it should be cleaned and reconstructed (photo A. Kowalska). of such cooperation is a two-day symposium held in Świdnica in November 2000, with scholarly lectures, an ‘Egyptian’ fashion show prepared by pupils of one of the local schools and another one, of a collection inspired by Ancient Egypt, created by two fashion designers from Łódź. An exhibition of photographs from Egypt and a concert of antiquity-inspired music accompanied the event. Lectures for the general public were organised to 107

Archaeological Heritage. Methods of Education and Popularization accompany a 3D movie on mummies at the IMAX cinema. Although the movie was shown in only a few cinemas, the lectures and shows were attended by secondary school children, also from outside Warsaw. Another form of popularizing ancient Egypt was an exhibition (Figure 3, Figure 4, Figure 5) prepared by Park Miniatur, a company based in Łódź. The exhibition consisted of two parts. One of them was strictly educational and comprised copies of ancient Egyptian artefacts. Visitors were introduced to the historical and cultural background of the objects on display not only by labels with exhaustive descriptions, but also by an illustrated catalogue and trained staff to guide them through the exhibition. The second part was a kind of chamber of horrors, built as a ‘mysterious tomb’ with copies of paintings and reliefs, as well as replicas of funerary equipment from Egyptian tombs. To enhance the atmosphere of mystery, such features as electronically controlled spiders, moveable walls or mummies rising from their sarcophagi were provided. Both parts of the exhibition aroused considerable interest and both were intended to educate: the decoration of the tomb gave the opportunity to talk about Egyptian gods and afterlife beliefs. As an introduction to the second part, visitors were given a demonstration of the mummification ritual with an actor reciting appropriate Egyptian texts.

Figure 3. Objects for the ‘Pharaoh’s Curse’ exhibition are being made, based on the documentation collected by archaeologists (photo K. Kuraszkiewicz).

Figure 4. Some of the objects exhibited may not only be touched; children can even climb them (photo K. Kuraszkiewicz).

Figure 5. During the reconstructed mummification ritual, the ‘priest’ handled two mummies: one of them, the model of a naked body, was used to show the process of evisceration; the second one, wrapped in bandages, received amulets (photo A. Kowalska). 108

Agnieszka Kowalska and Kamil Kuraszkiewicz: Reflections on popularizing Egyptology During the exhibition, contacts with the press, radio and TV presented an opportunity to convey reliable information on ancient Egypt, but it was also a lesson in how to cooperate with journalists. Knowledge of ancient Egypt among attending journalists at such events is often rudimentary at best. It is limited usually to having heard about the pyramids (but only those in Giza), and knowing who was Tutankhamun, but not when he reigned or when his tomb was discovered. To quote another example, Nefertari is commonly confused with Nefertiti or associated randomly with the other queen’s husband, and it happens that we hear about ‘Nefertiti, the beautiful wife of Ramses, whose famous bust is kept in Berlin Museum’. Interviews on the occasion of the opening of an exhibition or symposium (which, as in the case of the Świdnica event, for example, are covered by the local press) provide an opportunity to draw attention to the most common misconceptions (e.g. those concerning Nefertiti and Nefertari, or the number of pyramids in Egypt) and to promote egyptological knowledge. Such meetings often lead to further cooperation with journalists who develop an interest in ancient Egypt, Polish excavations

and archaeology in general. A good example of such a partnership was a series of broadcasts for children, recorded for Polish Radio Channel III, as an aftermath of the ‘Pharaoh’s Curse’ exhibition. The first of them was devoted to children and family life in ancient Egypt; the subsequent ones were rather loosely related to the exhibition itself, nevertheless they also presented opportunities to raise the subject of archaeology. For example, when talking about the Arabian Nights, we could touch on the subject of medieval Cairo and the Polish mission working in the mosque of Amir Qurqumas. Interestingly, radio journalists are usually better prepared for discussions about antiquity than their colleagues representing other media; this permits even complex problems to be raised and explained during the talk shows. Moreover, live broadcasts give listeners, often archaeology enthusiasts with substantial knowledge and a lively interest in the topics being covered, to call in with their questions. All these factors turn such broadcasts into a perfect opportunity for introducing the audience to more detailed information, including the latest scientific theories and achievements. On the other hand, one should also be abreast of the current pseudo-scientific fads, as there will surely be questions regarding these theories and one should be able to deal with them convincingly, e.g. can the Sphinx really be ten thousand years old.

Figure 6. Visit of a TV team on Polish excavations at Saqqara (Egypt). The director of the mission, prof. Karol Myśliwiec explains details to the Secretary General of the Egyptian Supreme Council of Antiquities, Dr. Zahi Hawass (photo A. Kowalska). 109

Archaeological Heritage. Methods of Education and Popularization Interactions with TV journalists are an entirely different thing on the whole. They can take on various forms. Short interviews and comments on events, not necessarily related directly to archaeology, often turn out to be a trap; it is commonplace for such statements or opinions to be shortened to an absurd point and all requests for consulting cuts are usually ignored. This phenomenon seems to affect all fields of science and the humanities in particular. Even news concerning important archaeological discoveries with apparent potential to generate popular interest (for example, recent results of genetic tests made of members of Tutankhamun’s family or findings in the pyramid builders’ settlement in Giza) are regarded as short interludes between political commentaries and celebrity gossip. To be honest, there are TV journalists interested in archaeology and chatting with them about ancient Egypt and its monuments can be quite pleasant, but the final version of the interview seldom lasts longer than 15 seconds. (This, of course, does not concern specialised channels, like Discovery and National Geographic, for example.) Obviously, a programme devoted to archaeology is a rare and all the more precious opportunity to popularise knowledge about antiquity. However, it is desirable to discuss in advance the topics to be covered, to avoid touchy questions for example, which is of importance considering the crucial role of interactions with authorities and sponsors etc. in archaeological work, especially abroad.

releases, radio and TV broadcasts, lectures and workshops for children (but also for seniors and other interested persons) organised in schools, community centres or on the occasion of various cultural events – all these help to create among the general public a positive response to the activity of Polish archaeologists in Egypt. And it should be stressed that growing interest in Egyptology translates into increased interest in archaeology in general. Thus, by popularizing knowledge of ancient Egypt we are helping to attract potential students and sponsors who may well become fascinated in the archaeological heritage of Poland, for example. Mrs Agnieszka Kowalska Polish Archaeological Mission Saqqara e-mail: [email protected] Dr Kamil Kuraszkiewicz Institute of Archaeology University of Warsaw, Poland e-mail: [email protected]

Daily newspapers pose yet another challenge. Preparing an article, press journalists will usually quote comments and explanations verbatim, but they often have a tendency to cut and edit this or that statement, sometimes completely changing its sense. Fortunately, journalists are generally willing to cooperate and usually it is enough to proofread the article in question to avoid awkward situations. Another aspect of cooperation with journalists is hosting them at excavation sites in Egypt. An archaeologist should expect that visitors are not accustomed to ‘excavation behaviour’. A journalist does not necessarily know where a mummy to be unearthed lies or that it is not advisable to stand at the edge of a trench. A TV team should preferably be informed in advance about work conditions. They should be aware how too much light or too many persons inside a tomb could be harmful for the polychrome decoration or that the workflow does not depend on archaeologists’ whims but rather on numerous independent factors. Making things clear from the very beginning eliminates misunderstandings or even conflicts (Figure 6). It seems obvious that an archaeologist should consider it a duty to popularise his or her work. Since excavations are partly funded by the government, and thus from the taxpayers’ money, the results of archaeological work should be known to the general public. Moreover, it should be remembered that excavations would often be impossible without private and corporate sponsoring. Press

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Servizio Soprintendenza ai beni culturali ed ambientali – Siracusa. Education and activities in the promotion of archaeological heritage: selected examples* Rosa Lanteri Abstract The new Codice dei Beni Culturali, in force in Italy since 2004, sets down the objectives for the exploitation and promotion of cultural heritage by didactic means and popular activities. Presented here are selected examples of popularisation carried out in museums and at archaeological sites, like tragedies acted on the stage of the Greek theatres of Syracuse and Akrai, and the didactic activities (simulation of archaeological excavation, bronze casting etc.) in the Thapsos peninsula. Keywords Sicily, archaeological heritage, popularization, Syracuse

Sicily, the southernmost region of Italy, has an enormous archaeological heritage. In fact, the island, inhabited since the Upper Palaeolithic, was colonized by the Greeks beginning from the middle of the 8th century BC. The Greek colonies were located mostly on the eastern coast. Some of these colonies survived through Roman and medieval times and are still in existence today. Today, the territory is divided into nine provinces. Syracuse Province is the one with the highest number of archaeological sites. The Greek colonies are from north to south: Leontinoi (Lentini),1 Megara Hyblaea,2 Syracuse, Akrai (Palazzolo Acreide), Kasmenai (Monte Casale) and Helorus (Eloro).3 But there are also many important prehistoric sites: the fortified village of Petraro of the Early Bronze (Voza 1973, 23–24), the emporium of Thapsos (Middle Bronze) (Voza 1995, 339–349), the necropolis of Pantalica (Late Bronze) (Voza 1995, 267–281) etc. Only in the province of Syracuse, around 700 archaeological sites have been registered;4 of these, Syracuse, Pantalica, Noto, Palazzolo Acreide are all on the World Heritage List.5 There are three archaeological parks, established in September 2010: Archaeological Park of Syracuse (including ‘Neapolis’, one of the five quarters of ancient Syracuse, the circuit walls constructed by the tyrant Dionysius I at the end of the 5th century BC etc.), Archaeological Park of Eloro and the Villa of Tellaro (Voza 2008) and Archaeological Park of Leontinoi and Megara Hyblaea. Added to this are the archaeological museums of

* I am very grateful to Dr R. Chowaniec for the invitation to participate in this conference with the archaeologists of the Polish mission in Sicily, and I hope for a long and fruitful collaboration between the University of Warsaw and the Soprintendenza ai Beni Culturali of Siracusa. 1 According to Thucydides (VI, 3), Leontinoi was founded five years after the foundation of Syracuse, in 728 BC, by the Chalcideans of Naxos led by Theocles. 2   Megara Hyblaea (Thucydides, VI,4) was founded by the Megarians not long after Leontinoi (728/7 BC). 3   Syracuse was founded by the Corinthians around 733 BC; Akrai (664 BC) and Kasmenai (644 BC) are sub–colonies of Syracuse. 4   Sites were registered for the Provincial Landscape Plan. 5   The rebuilding of Val di Noto in the late Baroque Period (South-east Sicily), listed in 2002; Syracuse and the rocky Necropolis of Pantalica, listed in 2005.

Lentini and the ‘Paolo Orsi’ in Syracuse, inaugurated in January 1988, and containing over 20,000 finds. Legislation setting down the objectives for the exploitation and promotion of cultural heritage by didactic means and popular activities was introduced in 2004 (the new ‘Codice dei Beni Culturali’, replacing the previous one in force in Italy from 1939).6 Unlike the rest of Italy, Sicily with its autonomous status is divided into nine provinces with a provincial Soprintendenze office in each one and a tenth office, Soprintendenza of the Sea). Each office has its Operational Units, including an Archaeological Heritage Unit. The Soprintendenze are entrusted mainly, but not exclusively with the protection of archaeological sites, while exploitation and popular activities are in the domain of Archaeological Parks. Museums are the ideal venues for didactic and popular activity intended for the general public. Initiatives such as ‘Conosci il tuo Museo (Know your Museum)’ and ‘Fare Scuola al museo archeologico (Schooling at an Archaeological Museum)’ are promoted by the Regional Department of Cultural Heritage. The program ‘Know your Museum‘ allows young people to approach archaeology as a game, also connecting didactic activities with a competition for the best idea, which earns the winning school a prize. Initiatives such as ‘Schooling at an Archaeological Museum‘ are not just lessons conducted in the museum, but a didactic activity with strong joyful connotations, giving students a hands-on experience with the opportunity to experiment with ancient production techniques (pottery laboratories, restoration, flint chipping etc.). Last year the program also involved students in editing a tourist guidebook (GuidaGiovani). The book was written and illustrated by students, who described the monuments and related the histories and traditions connected with them. Annually, the Regional Department of Cultural Heritage organizes a ‘Culture Week‘. During this week admission   D.Lgs. 42/2004, art. 111–121.

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Figure 1. Tragedies acted on the stage of the Greek theatre of Siracusa (photo D. Marino).

Figure 2. Thapsos peninsula (photo G. Fragalà).

Figure 3. Thapsos: the didactic room (photo D. Aliffi). 112

Rosa Lanteri: Servizio Soprintendenza ai beni culturali ed ambientali – Siracusa to museums and archaeological sites is free and there are many events: concerts, guided visits and didactic activities. Many activities are developed at the individual archaeological sites. The Greek theatre of Syracuse is surely the best known site. It is here that the greatest Greek playwrights Aeschylus, Sophocles and Euripides of the 5th century BC, presented their tragedies (for example, the first of Aeschylus’ ‘Etnee’ was put on in 476 BC) and it is here that the magic of Greek tragedy is recreated from 1914 in productions by the National Institute of the Ancient Drama (INDA) (Figure 1). In recent years tragedies and satirical dramas have been performed on the stage of the smaller Greek theatre of Akrai (Palazzolo Acreide), produced by high school students for the International Youth Festival of Classical Theatre, which is the most important event of its kind in the world. Every year it gathers about 30,000 students from Europe and the Mediterranean area (France, Spain, Hungary, Lithuania, Tunisia etc.). The most successful experiment recently has been the popularization of Thapsos as a small archaeological site. Thapsos peninsula (Figure 2) was the most important trading center in the Western Mediterranean during the Middle Bronze Age (15th–14th century BC), but the remains, apart from the necropolis, are quite modest – huts and a ring of stones constituting fortifications. Not easy to perceive and comprehend by an untrained public used to more monumental remains, such as temples and theatres. The starting point of the presentation is an old rural building, restored and adapted to serve as a multimedia center, preparing visitors for a visit to the site and informing about possible didactic activities. In another room (Figure 3) reproductions of archaeological objects are displayed: vases, models of huts and burials, different color soils, flints and minerals. The exhibition is entirely ‘touchable‘

and suited to the needs of visitors, also the semi-blind and disabled. For example, exhibition stands are on a child’s eye-level, but are also made easily accessible to disabled visitors in wheelchairs. Graphics, colors, typographic fonts, have been carefully selected to offer the greatest contrast and to be easily perceptible, thus suitable for semiblind and elderly people, but also agreeable to children. Moreover, the engraved pottery of Thapsos is perfect for ‘reading’ by touch by the blind. Outside the building, the area has been organized to hold various didactic activities: simulated archaeological excavations (Figure 4), area for working clay, chipping flint, bronze casting etc. A prehistoric hut has been reconstructed experimentally, using material available at the site (Figure 5). The perishable nature of the materials used and the climatic conditions at the site7 demand regular maintenance and repairs; this task has been entrusted to students. Guided tours of the site are available for schools and tourist groups, to be booked through a call-centre operating in the Library of the nearby town of Priolo Gargallo.8 The tour also includes a visit to the neighboring Natural Reserve of Saltpans in Priolo Gargallo, in collaboration with LIPU (Italian League for Bird Protection). The local Soprintendenza is in charge of courses and training, which is done with student trainees (especially graduate students). For the general public a show has been organized at the site, using flat ground near a 19th-century tower in the center of the peninsula. It is a presentation of the ‘Aeneid’, a poem by the Latin poet Virgil, which mentions the Thapsos   Thapsos Peninsula is exposed to north–north/west winds, same as in ancient times. 8   All the activities are carried out thanks to the Municipality of Priolo Gargallo and sponsored by Isab Raffinery. 7

Figure 4. Thapsos: box for the simulation of archaeological excavation (photo R. Lanteri). 113

Archaeological Heritage. Methods of Education and Popularization Figure 5. Thapsos: the prehistoric hut experimentally reconstructed (photo R. Lanteri).

Figure 6. Thapsos: historical evocation by Lamba Doria Association (photo C. Baronessa).

Peninsula.9 The show is a multimedia performance which does not require a fixed stage and the actors freely interact with the public.

‘SiciliAntica’ is one of the most active, but on this, see the communication by Marta Fitula in this volume.

A successful activity has also been developed in collaboration with the Lamba Doria Association, specialist on military history of the First and the Second World War. The Peninsula has a military emplacement from the Second World War with well-kept anti-aircraft guns. The bunkers and emplacements have been cleaned by volunteers, who are also in charge of a historical presentation with figures in uniforms and original equipment (Figure 6).

Bibliography

Other activities on archaeological sites are conducted by non-profit cultural associations statutorily charged with guardianship, exploitation, and diffusion of knowledge about the cultural heritage.10 Among these Associations,   Virgilio, Aen., III, 689.   These non–profit cultural associations admit students, archaeologists and archaeology enthusiasts. 9

10

Voza, G. 1973. Villaggio fortificato in contrada Petraro. In G. Voza and P. Pelagatti (eds.) Archeologia nella Sicilia sud-orientale, 23–24. Siracusa. Voza, G. 1995. Thapsos, and Pantalica in Bietti–Sestieri. In Bietti–Sestieri, A. M., Lentini, M. C. and Voza, G. (eds.) 1995. Sicilia Orientale e Isole Eolie. Guide archeologiche. Preistoria e protostoria in Italia 12, 339–349 and 267–281. Forlì. Voza, G. 2008. La Villa del Tellaro, Siracusa. Dr Rosa Lanteri Beni Archeologici Servizio Soprintendenza BB.CC.AA. di Siracusa, Italy e-mail: [email protected] or soprisr.uo8@regione. sicilia.it

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Archery Tournament in Biskupin as an example of polygenic forms of implementing the promotion of archaeological heritage Marek Lewandowski and Piotr Dmochowski Abstract Tournament promotion is difficult because of the multifaceted character, encompassing both the archers and the level of their skills and the equipment they use. The form of the competition must be attractive to participanst as well as tourists. Exhibitions, lectures, workshops and experiments are also very important in showing archaeological heritage connected with archery. It is important that tourists can observe the action as well. It is not only a show; it is science and fun. The tournament is gaining recognition and it is a good example of a well-organized historical event connected with archery. Keywords Archery, tournament, archaeological festivals, fight reconstruction

The Archaeological Museum in Biskupin is continuously introducing new forms of disseminating archaeological heritage and living history. ‘Prehistoric hunting’ is a lesson organized by the Museum since 2008, which is run by archaeologist P. Dmochowski, longtime educator specializing in flint tool and weapon reconstruction, assisted by M. Lewandowski from the Museum. Archery is one of the elements of this lesson. It is connected with a whole range of arrows, replicas and copies, used by men not only in hunting for food, but also for fighting, in defense as well as in attack. Fire lighting techniques are also shown and participants have the chance to shoot a bow (Figure 1). Lessons are designed to develop students’ abilities to associate known facts with new elements, enhancing their knowledge of prehistoric archery. The bow is no longer an object of everyday use, but in public awareness it is still important and still arouses strong emotions. It is used in sports and recreation, and can be seen at various festivals and museum exhibitions.

For most of us the bow is associated with Robin Hood; typically, people also often say they used to have a bow in childhood. Archery continues to be interesting for tourists coming to Biskupin for festivals and other events. Shooting positions are always crowded and many tourists buy small fake bows that are treated as the most precious souvenir. Searching for new opportunities to present the archaeological heritage to the public, the museum organized the 1st Biskupin Archery Tournament in 2009. Archery tournaments have a long history in Poland. Dozens of such tournaments take place every year, for example, in Malbork, Gniezno, Lębork, Byczyna and Wolin. Each has its own character and local color, but they seldom go beyond the shooting itself and are organized usually to accompany another local event. In Biskupin the formula is a little different: it is important also to stimulate interest in prehistory. The Tournament in Biskupin presents the

Figure 1.The museum lesson ‘Prehistoric archery’ (photo M. Lewandowski). 115

Archaeological Heritage. Methods of Education and Popularization represent Turkish archery, Japanese archery, ancient Roman archery, early and late medieval archery and others. They come from all over Poland and include not only men, but also women. They also come from abroad, even as far away as New Zealand. This year there were participants from China, arousing considerable interest among tourists. And how did they learn about the Biskupin tournament? The Polish Traditional Archery Association was established in 2011. P. Gonet was elected president of this association. Four Poles were invited to a tournament in China in the spring and invited in return representatives of Chinese archers to Poland, not to Biskupin, but to a Horse Archery Tournament in Bochoniki near Białystok. They met traditional Polish archers and learned from them about the Biskupin Tournament. Their application came in late, but the exotic character of these guests and the special occasion persuaded the organizers to accept them. Their determination was so great that they decided to buy traditional arrows instead of the ‘new’ ones they had. The Chinese archers were very pleased with their visit in Biskupin. They were also impressed by the fact that in Poland historic archery is promoted in collaboration with museums. Moreover, the visitors preside over the China Association of Traditional Archery with over 40,000 members, while our Polish Association has only about 100 people. Figure 2. The poster of the IIIrd Biskupin Archery Tournament (project P. Hildebrant). history of archery as well as traditional history, at the same time making the visit more attractive. It is common knowledge that to attract tourists the show must be spectacular, but it should also attract archers to come and participate (Figure 2). The Tournament has its own rules; each participant must know and follow them. Although the Tournament is regarded by some as fun, participants tend to treat the matter very seriously. To participate in this event participants must meet requirements connected with ‘creativity’, concerning apparel, equipment and shooting skills. The scope of the reconstruction adopted in Biskupin is broad intentionally: only post Second World War archery is excluded. Applications must be sent not later than two weeks before the tournament so that the costumes, equipment and accomplishments of applicants can be examined.

The Biskupin Tournament consists of several main competitions, such as target shooting, practice, hunting and fighting. Shooting from a distance: 20m, 30m, 40m (Figure 3). This is shooting at animal silhouettes. The next category is shooting at silhouettes of Scythian warriors. This competition takes place on the defense wall of Biskupin reconstructions, and is very spectacular for observers and liked by archers. Another competition is shooting from a distance (40-80m) across the flooded archaeological trench to figures of Scythian warriors; 20 archers shoot at the same time, which is very impressive. After the shooting the ground is dotted with arrows. Each year the program is modified and diversified, as demonstrated by new disciplines like ‘along the street’

The realities of Polish traditional archery are such that bows made of fiberglass are allowed conditionally, but yew bows and natural reflex bows have also started to appear in the hands of our participants. Similarly, machine-tooled cedar arrows (the requirement is no plastic parts) are also permitted. Our tournament is open to many different historic schools and many interesting activities can be seen. Archers

Figure 3. Shooting activities, Third Tournament (photo J. Mielcarzewicz). 116

Marek Lewandowski and Piotr Dmochowski: Archery Tournament in Biskupin

Figure 4. Second Tournament (photo M. Leszczyński).

(Figure 4), the ‘turtle’ and the first high award competition, the ‘Biskupin Rooster’. Victory in this tournament is not prized financially, but the first three places are rewarded with medals that are specially designed and cast for the tournament. Winners receive prizes in the form of different replicas, including flint knives, bronze and iron knives, ceramic horns. A copy of a vessel from Łazy town with archers depicted on it is presented as a special prize. This scene is the only such image from the Bronze Age and its historical accuracy is recognized. Because there is no separate category for women who start in all competitions on an equal footing with men, there is also a special ‘ladies’ prize for the best female archer - a bronze replica of a mirror. There are other aspects of the Tournament in Biskupin which make it different from other meetings of this sort. Events organized in the reconstructed huts at the site teach about prehistoric archery; they are open also to interested tourists. Lectures are held regularly in one of the huts. This year the lectures included: Dr K. Pyżewicz from the Adam Mickiewicz University in Poznań: ‘The archaeology of archery – examples from the Stone Age’, discussing, among other things, experiments with Mesolithic flint blades; W. Grużdź from the UKSW University in Warsaw, about ‘The manufacture of flint darts’; P. Dmochowski about ‘The Bow of the English at the turn of the century’, illustrated with a collection of nineteenth and early twentieth century bows and arrows imported from Great Britain; P. Osypiński, archaeologist from the Patrimonium Foundation and member of archaeological expeditions in Sudan, on ‘Archery in ancient Egyptian style’, connected especially with the Mesolithic period in Sudan. Another hut is devoted to experimental archeology. Visitors can participate or just watch as archery-related

objects, such as points and whole arrows, are made. Most of the participants know how they look, but they do not always know the techniques and technologies used in their production. Experimental archaeology is one of the most interesting and educative ways of passing on the scientific results of archaeological research to large groups of nonprofessionals (Chowaniec 2010). At this year’s workshop, the artist A. Strzyżewski demonstrated how to cast bronze arrowheads with a very interesting method using a copperalloy mould. Strzyżewski is one of the best blacksmiths in Poland making replicas of historical weapons, also by casting (Figure 5). Workshops are planned to show how iron arrowheads were forged. S. Piasecki from Gniezno, an expert in antler and bone processing, conducted a workshop on how medieval craftsmen produced conical points with antlers. Yet another workshop introduced the oldest archery with W. Grużdź presenting flint arrowheads. Mini-tournaments for children are also a regular element of the tournaments. There are no restrictions on age or dexterity, only quantitative, as only about 20 participants are allowed. To even out chances, all participants benefit from the organizers equipment and shoot wooden replica bows and replica arrows with copper-alloy heads. Each participant is given clues, after which he performs a test shot. Later two sets of scores are counted. There are naturally always many cheering parents and friends and after the tournament the winners take their place on a podium where prizes are awarded, as in the main event. Another very spectacular attraction is a demonstration of horse archery. Starting from the second tournament, the museum shows have been conducted by W. Kawczyński, who takes care of the herd of Polish horses in Biskupin. This year we also hosted B. Ligocki and M. Sanczenko, the latter an European and American vice champion in horse archery, who is president of the Polish Association of Horse Archery. 117

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Figure 5. The experimental archeology workshop (photo P. Dmochowski). Another element connected with the tournaments (and with promotion of archeology at the same time) are exhibitions presented in a large courtyard in the museum pavilion in Biskupin. The exhibition during the first tournament in 2009 presented ‘The Prehistory of the Bow on Biskupin Lake’, for example: flint, iron and antler darts, copper alloy arrowheads, and objects associated with archery. The interpretation of one of the antler items previously described as part of a bracelet was changed; it is now believed to be part of a quiver from the beginning of the Iron Age (Halstatt period). Another surprise was finding an early medieval whistling arrowhead. The exhibition was illustrated with posters presenting an experimental production of arrowheads, arrows and bows. It remained on show until the next tournament. The Second Tournament was connected with an exhibition on the primeval bow, the original and reconstructions. In this case posters featured photos of finds of bows and arrows from different chronological periods from around the world, and their replicas and copies were placed in the showcases. Materials used to make bows and arrows were also put on exhibition: bird feathers, natural dyes, animal tendons, and wood – yew, elm and ash - shown as slices to illustrate the cross-section. This exhibition was kept also through the 3rd Tournament. A new exhibition, ‘The roots of sports archery’ is planned for the next, 4th Tournament; it will show the oldest prehistoric archery solutions currently used in archery sports. The idea is to prepare a full-scale and multi-faceted exhibition dedicated

to archery, the first in Poland since the 1960s. There are many unknown objects associated with archery in the collections of Polish museums and they are well worth presenting. From year to year the Biskupin Tournament has become increasingly popular with archers: from 7 players in the first one, to 25 in the second and 40 in the third. Tourist interested in these presentations has led to the introduction of archery during Biskupin archaeological festivals, as an additional attraction in the form of an archery event. For the first time an ‘archery show’ was presented in 2009 at the festival with a Hungarian theme: ‘Polish-Hungarian brothers’. The inspiration was a reference to the nomadic roots of Hungarian archers; their descendants decided to accept the invitation from Polish archers. There was a small tournament which the Polish team won (Figure 6). At the next mini-festival, Polish players also competed with colleagues from Hungary in the showcase tournament. There were prizes naturally, but applause was the best reward. In 2011 the festival topic was related to Greece. The organizers held a show associated with a mythical journey of Odysseus and the impatient suitors who wanted to win his wife in an archery competition, ‘shooting through holes in axes’. The Greek ‘Koryvantes’ hoplites performing group and tourists were invited to participate. The competition proved to be extremely difficult, because it was not easy to specify what the target was, how the axes ought to be lined up and, unfortunately, the intended winner, Odysseus, never appeared!

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Marek Lewandowski and Piotr Dmochowski: Archery Tournament in Biskupin

Figure 6. Hungarian way of shooting, XVth Archeological Festival ‘Polish and Hungarian – two brothers’ (photo J. Mielcarzewicz).

The tournament in Biskupin, as well as all activities like competitions, shows, exhibitions, workshops, lectures and experiments, even those prepared for children, were reconstructed based on archaeological research. For the organizers it is important that a growing number of people come specifically for the tournament, both to participate in the competitions and as ordinary visitors interested in archery shows. Responding to growing interest in the tournament, the organizers propagate it in different ways, along with other attractions prepared by the Archaeological Museum in Biskupin. In the age of Internet, we are on the archery forums and on the pages of the Kujawy Pomeranian Tourist Organization. There is also a special leaflet distributed at tourism fairs held in many Polish cities (in 2011 in Łódź, Gdańsk, Wrocław, Warszawa, Katowice and Poznań Gruczno), where more and more people look for interesting leisure activities. Information about the Archery Tournament in Biskupin has gone beyond the borders of our country. J. Jankowski gave a talk in South Korea on traditional archery in Poland, devoted mainly to the Biskupin Tournament (Jankowski 2010). The promotion of the tournament in its multifaceted form is a difficult task, because archers are just as important as their skills and the equipment they use. The form of the competition must be attractive both to participants and to tourists watching them in action. Exhibitions, lectures, workshops and experiments are also very important to highlight the archaeological heritage connected with archery. It is important that tourists can observe and

participate, just the same as players. It is more than just a show; it is science, fun, and the tournament gains increasing recognition, being a good example of a wellorganized historical event connected with archery. The tournament is supported by the Archaeological Museum in Biskupin, which propagates it widely on its website (www.biskupin.pl) and encourages people to find out more about the archeological heritage connected with primeval archery. Translated by I. Zych. Bibliography Chowaniec, R. 2010. Dziedzictwo archeologiczne w Polsce. Formy edukacji i promocji. Warszawa. Jankowski, J. 2010. Methods to maintain, popularize and grow the traditional archery movement in Poland. In S. Jo Yang (ed.), World traditional archery: history and situation of preservation. WTAF International Academic Seminar 2010, 165–180. Cheonan. Mr Marek Lewandowski Archaeological Museum in Biskupin, Poland e-mail: [email protected] Mr Piotr Dmochowski Poznań, Poland e-mail: [email protected]

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Roman cultural heritage as a tourist and educational resource Nemanja Mrđić Abstract The ancient Roman cultural heritage is easily recognizable and widely accepted, interesting to all target groups. It is also a valuable educational and tourist resource, which can be exploited through economically sustainable projects. Organizing imperial cities, palaces, villas and the fortified frontier into one cultural route, promoted by popular events, helps in regional economic development and raises local awareness of the importance of this common heritage. Keywords Serbian heritage, Viminacium, Roman remains, promotion, education

Introduction The Roman heritage has always been observed as a valuable cultural, educational and tourist resource and that is why now, in times of economic crises, we recognize and exploit it. Archaeological sites and archaeological parks obviously cannot develop and prosper with financing coming exclusively from the government. Own income is imperative and for now at least it can be obtained only through tourism. Education is the second goal to be achieved through implementation of this project. The Roman cultural heritage in Serbia is represented by a large

number of sites which have been organized into a cultural route, the Itinerarium Romanum Serbiae (Korać et al., 2009) (Figure 1). Itinerarium Romanum Serbiae Project background Serbia was the homeland of 18 Roman emperors, including Constantine the Great and Justinian I. This is the largest number of emperors born in a single [modern] country away from Italy. Included in the territory of Serbia are imperial cities (Sirmium and Iustiniana Prima), major provincial cities and capitals (Sirmium, Viminacium,

Figure 1. Map of the project Itinerarium Romanum Serbiae (prepared N. Mrđić). 121

Archaeological Heritage. Methods of Education and Popularization Naissus and Iustiniana Prima), imperial residences and villas (Felix Romuliana, Šarkamen and Mediana). The military aspect of the empire is just as important. The limes, a fortified frontier with many legionary camps, auxiliary forts and watchtowers (Singidunum, Viminacium, Diana, Pontes), ran along the Danube. There were other architectural marvels on the Danube as well: a road cut into the rock of the Iron Gate gorge with imperial plaques celebrating its construction, Trajan’s bridge over the Danube near Kostol (Pontes) - the longest bridge in antiquity, a canal that bypassed the rapids on the Danube near the village of Sip (marked by an imperial inscription celebrating its construction, today at the entrance to the hydroelectric plant Djerdap I). These sites represent the enormous heritage originating from antiquity, attesting to Serbia’s position as one of the focal points of the Roman Empire for several centuries. Moreover, ancient Roman culture as pan-European heritage and the first ‘European Union’ is attractive to tourists wherever it is presented, and it is widely recognized and easily promoted, not being burdened by nationalistic overtones.

usually of higher status and well educated. Yachts and river boats can dock at Belgrade (Singidunum), Kostolac (Viminacium), Veliko Gradište, Golubac (mediaeval fort), Donji Milanovac (Mesolithic settlement Lepenski Vir), Tekija, Kladovo (forts Diana and Pontes) and Prahovo. Each of these river stops provides easy access to several nearby archaeological sites located no more than about 10-15kms upstream and downstream.1 From the piers in Kladovo and Prahovo one can easily reach Šarkamen and Felix Romuliana (Gamzigrad) after a short car or bus ride. The advantage of traveling by boat along the Danube is seeing sites that are visible exclusively from the river: the Roman road through the Iron Gate, the Tabula Traiana and some of the piers of Trajan’s Bridge, which are no longer accessible by land after the construction of the Djerdap I hydroelectric plant.

Connecting many archaeological sites into a single thematic route should enhance interest and increase visitor numbers to all of them, especially the sites not on regular tourist routes or along major communication roads. Furthermore, presenting information about all sites at each stop on the route should help to promote and share knowledge about the entire Roman heritage. This way even visitors unable to see all the sites can get full information. Sites included on the itinerary do not compete with one another; they work together toward one and the same goal.

Accommodation facilities around archaeological sites are either not suitable or non-existent. Only 20 hotels exist in the vicinity of major archaeological sites and are concentrated in the big cities. They provide more than 60 percentages of beds available along the route.2 The idea for the development of the Itinerarium Romanum Serbiae includes organizing 100 small, family operated boarding houses along the route. On–site facilities providing visitor services and accommodation are an additional issue. By making all these facilities as replicas of Roman buildings, we should be able to improve visitor perception of antiquity.

Archaeological sites, which have been included in the final version of the Itinerarium Romanum Serbiae project, are located on an itinerary 600kms long, mostly distributed along the right bank of the Danube. The ground relief and environment along this route varies tremendously: from the plains of Pannonia and the wide river valleys, through the grandiose Iron Gate gorge to the mountainous regions of Eastern Serbia, and from cultivated fields through the untouched wilderness of national parks to the reptile hatches in the middle of nowhere. This diversity along the route makes the voyage practically an exploring adventure. Access to the sites is also very different. In general, tourists can arrive via air, river or land. At the opposite ends of the route there are the airports of Belgrade (‘Nikola Tesla’) and Niš (‘Constantine the Great’). Trips can be planned out of Belgrade, visiting all the sites and departing from Niš, but because of the higher costs (connecting flights), this version is advisable only for foreign visitors. Many sites can be accessed from the Danube (Corridor 7), today a major trade and communication route, similarly as in antiquity. The river provides the opportunity for large numbers of foreign tourist to take luxurious river cruises (companies like Uniworld and Viking River Cruises). This is an important target group, since people preferring this form of travel come in organized groups and are

The best and cheapest way of reaching most of the Roman sites is by the land roads: Corridor 10 (Belgrade–Niš highway) combined with regional roads through the Iron Gate or the Niš–Kladovo highway.

The project has the following objectives (Mrđić et al., 2010): linking thematically similar archaeological sites in the country and abroad; development of archaeological tourism on a national level; economic sustainability, the chief problem being generally initial investment; development of economy and tourism through production of souvenirs and reviving of old crafts (small industry and family workshops), employment of new workers on sites and in archaeological parks; building and development of local infrastructure; raising local community living standards as a result of more intensive traffic of people and goods, with special attention focused on economic development of poor regions (southern and eastern Serbia); building or adapting 100 boarding houses along the route in order to provide accommodation for visitors. These are planned as replicas of Roman villas (villa rustica) or buildings adapted in Serbian ethno style, to be managed independently by individual families, but respecting standards promoted for archaeological tourism. They will be located in rural areas, 5-10kms away from one another, in   Most of these sites are not included on tourist itineraries because of poor access. Only sites that can be visited in organized groups and with expert guides are mentioned in this text. 2   Master plan kulturno istorijske rute ‘Put rimskih careva’. Ekonomski fakultet Univerziteta u Beogradu 1

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Nemanja Mrđić: Roman cultural heritage as a tourist and educational resource order to be easily reachable by hikers and cyclists, and set in a natural environment, in forests, crop fields and pastures, mostly along the Sava, Danube, Morava and Timok rivers; promotion of national landmarks and improvement of the Serbian Republic’s international repute; raising local community awareness with regard to cultural heritage and its international importance; protection of cultural heritage through its use in sustainable projects. Ways of promotion The Roman cultural heritage in Serbia is not promoted sufficiently both nationally and internationally. It is necessary therefore to work in multiple areas in order to promote it adequately: popular websites and multimedia presentations, specifically targeted popular publications (children, etc.), reenactment events (Roman festivals, legionary parades, chariot races, gladiatorial combat, etc.), theater shows (both ancient and modern drama, comedy, musicals), popular concerts and events, lectures and workshops adapted to various target groups, virtual museums. The following is a list of sites essential for a proper presentation of Roman cultural heritage in Serbia: Sirmium – capital of the Lower Pannonia province (Pannonia Inferior), later of Second Pannonia (Pannonia Secunda) and one of the four capitals of the Empire during the early Tetrarchy, capital of the Praetorian prefecture of Illyricum, location of an Imperial mint in the 4th century AD; Singidunum – Roman city and legionary camp of the Legio IV Flavia Felix; Viminacium – capital of the Upper Moesia province (Moesia Superior), later First Moesia (Moesia Prima), legionary camp of the Legio VII Claudia Pia Fidelis, location of an Imperial mint in the 3rd century AD; Iron Gate – part of the Roman frontier (limes), Tabula Traiana, remains of a road cut into the rock, auxiliary forts, present day national park; Diana – auxiliary fort guarding the entrance to a canal bypassing the Danubian rapids; Pontes – remains of Trajan’s bridge and auxiliary fort guarding access to the bridge; Felix Romuliana – imperial palace of the emperor Galerius (305-311); Šarkamen – imperial palace of the emperor Maximinus Daia (308313); Naissus – Roman city, birthplace of the emperor Constantine the Great; Mediana – imperial villa from the 4th century AD, residence of the family and successors of Constantine the Great; Iustiniana prima – early Byzantine city and provincial capital. Compared to other archaeological parks in Europe, we are at a disadvantage having relatively little excavated areas and few ruins to present. Generations of our older colleagues had not planned on presenting the results of their research and that is our handicap today. Because of it we must implement other amusement and educational programs to attract visitors. Viminacium Archaeological Park as a model for the development of other archaeological parks

The Itinerarium Romanum Serbiae is classified as a project of national import for the preservation and protection of cultural heritage. The best way to preserve any archaeological site is to revive it and make a tourist attraction of it. Bringing people in to see it will protect a site from many threats, which include looting and illegal building in the area. As one of the greatest threats is a local population indifferent to heritage protection, the project aims also at raising local awareness with regard to the value of this heritage and motivating local residents to undertake further protection measures in order to enhance profitable exploitation. The range of possibilities for exploiting cultural heritage makes it one of potentially the most payable projects. Cultural heritage can be used as a base for economic and regional development. We have chosen to use an economic model, which has already been proven as functional, profitable and financially sustainable. It is the model of Viminacium, Roman city and legionary camp. The same management, organization and education model will be implemented on all other sites that are now being developed. Visiting Viminacium is memorable because of the way in which the excavated ruins are presented, because of an attractive visit to the underworld to view frescoes (Anđelković 2012, Korać 2007) and because of animators and Roman food. In six years since the opening of the archaeological park, the number of visitors has risen from 20,000 to 100,000, and 20,000 of this arrive aboard river cruises. For the past two years Viminacium has also been a regular destination for school excursions. Organized groups are welcomed by guides and archaeological park personnel dressed in Roman garb, while the park security guards are dressed as legionaries. International promotion and an attractive presentation of Viminacium at tourist fairs in Milan, Berlin and London have already given excellent results. The project is also present regularly at the Mediterranean Archaeological Tourism fair in Paestum (Italy). Domus Scientiarum Viminacium The Scientific, Research and Tourist Center Domus Scientiarum Viminacium is a multipurpose building with one wing intended to provide accommodation for researchers, another wing occupied by laboratories and offices, and two wings designed as a fully functional Roman-style hotel. The facility also includes a scientific library, archaeological museum and a restaurant. The role of the visitors’ center with hotel is to support financially the entire complex, providing extra funds for scientific research regardless of governmental funding. This center is also intended to host small congresses and to organize short Roman holidays. The most important event held so far in Viminacium was the IX International UNESCO summit in September 2011, bringing together several presidents and foreign ministers from Southeastern European countries and UNESCO officials.

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Archaeological Heritage. Methods of Education and Popularization Roman holidays Heavy competition in tourism means that in order to attract visitors a site should offer attractions not available elsewhere. Without vast expanses of excavated ruins to show, at least compared to Pompeii, we have compensated by creating an illusion. First of all, the facilities in the park all resemble Roman buildings. All the guest rooms in the hotel wing of Domus Scientiarum Viminacium are fitted with Roman furniture and visitors will find Roman clothes on their beds, if they wish to experience the full illusion. Everything in the park has to be Roman. Souvenirs for sale are replicas of original Roman objects found during excavations. Although Roman holidays are not planned

as an educational service, they certainly provide a live experience of the Roman way of life. Roman feasts (Figures 2 and 3) It is not common for Roman food to be served, and it is inexpensive to make, hence it can be made into something special and unusual. Roman feasts are often a grand finale for special group visits or small congresses held in Domus Scientiarum Viminacium. Food is served by waiters dressed in Roman clothes, using replicas of original dishes found only few hundred meters away. All meals are prepared according to original Roman recipes known from historical sources (Apicius etc.).

Figure 2. Roman feast at Viminacium Taberna (photo N. Mrđić).

Figure 3. Roman food prepared for visitor (photo N. Mrđić). 124

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Figure 4. Roman procession, Viminacium 2007 (photo S. Dingarac) Replicas and souvenirs Replicas and souvenirs are modeled on original finds from the excavations at Viminacium. More than 800 different items are available, ranging from ceramic vessels through bronze appliqués to golden jewelry. T-shirts, CDs, multimedia and printed publications are also sold. Reenactment Reenactment is relatively new in Serbia and has been popular so far only among enthusiasts of mediaeval history (group called ‘Svibor’). The only Roman reenactment group is the one at the Viminacium Archaeological Park. All major events are planned and performed according to Roman custom, applying a whole gamut of stage tricks to enhance a visitor’s experience. Concerts and happenings are often preceded by Roman processions (Figure 4), legionary maneuvers, gladiatorial combats, invoking of the gods, etc. Concerts and public events Organizing large–scale public events in historical environments, excavation sites and archaeological parks, has always been popular. Concerts are a good way of attracting a wider public, especially people who would normally not consider coming out to an archaeological park. Different genres naturally have different target groups, but it is possible to change the genre each year and present all kinds of music, including classical, rock, folk, ethno and other. In 2006, the movie and musical ‘Tri linije ljubavi (Three Lines of Love)’ with popular Serbian rock band Van Gogh was filmed in the Viminacium archaeological park.

Setting concerts in archaeological ruins is not unthinkable ever since Pink Floyd played a special concert live at Pompeii in 1972, except that it was then performed without an audience. Viminacium has hosted several concerts in the past few years. In 2007 a concert of the rock groups Van Gogh and EKV Revised gathered 10,000 visitors on the plateau by the mausoleum. In 2008, a concert of Emma Shapplin was organized in the mausoleum itself, with more than 5000 visitors and including 600 VIP guests dressed in Roman costumes. In 2009, there was a small VIP concert performed by the Studio Alektik group. Fashion shows are also a popular way of presenting cultural heritage. Models wearing original jewelry attracted special attention in 1996 after the discovery of a golden set in a tomb of the mother (?) of Emperor Maximinus Daia at Šarkamen. The MissYU beauty contest in 2008 was thematically related to Roman cultural heritage with most of the promotion material and costumes coming from Viminacium Archaeological Park. Education The archaeological park as an educational venue is not limited to being a destination for school excursions. The laboratories in the new research center also host workshops for high school students conducting various experiments. Play workshops are organized for elementary schools, imitating archaeological excavations on specially prepared dig sites (Figure 5). Workshops dealing with pottery production and various elements of everyday life tend to break out from the fetters of orthodox school teaching and provide a completely new approach to learning history, where the common people are the object of study. Young 125

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Figure 5. Reconstruction of archaeological excavations, children workshop (photo N. Mrđić). children are also educated by playing various Roman games, including games specially designed by researchers from the archaeological institutes. Children’s board game The Viminacium Project research team has designed for visitors to the Archaeological Park a special board game called ‘The Mystery of the Emperor’s Death’. It is a detective game set in Viminacium in the middle of the 3rd century AD and draws upon the results of scientific research and excavations at the site. Players walk around the ancient city, investigating the mysterious death of emperor Hostilianus. On their way they visit different buildings and the legionary camp collecting clues. The texts on the board are in Latin intentionally, so that players have to use the game’s guide book. In this way, children solving the mystery read about amphitheaters, baths, forums, legions and so on and actually learn about the Roman way of life. Recent experience has shown that even parents have been attracted to the game, playing it with their children and reading the guide book to them. A regular version is sold at the souvenir shop, while a large-scale game is used to play with children on the site. Parents can also leave their children to play with park animators, while they visit the archaeological remains. A special kindergarten is planned as an added attraction to the Archaeological Park in the near future. Conclusion Economic and educational benefits were not the only positive effects of tourism development and a steady

increase in the numbers of visitors to all sites. The high frequency of buses and private cars reaching the various sites has discouraged organized and systematic looting, which was especially prevalent in the 1990s, as well as individuals with metal detectors.3 An effort is being made to add the Serbian Danube limes to the World Heritage List, following the example of EU countries that have either finished or are in the final phases of completing this process. European intersite connections eventually will be necessary to complete this project. The best way to preserve any archaeological site is to revive it and make a tourist attraction of it. Bringing in people protects sites from many threats, which include looting and illegal building. It also raises local awareness of the importance of cultural heritage and the need for further protection measures in order to be able to exploit it profitably. As a matter of fact, an indifferent local population is one of the greatest threats. Further development of archaeological tourism in the whole region is of greatest importance. The Itinerarium Romanum Serbiae project is planned not as a local cultural route, but as international project linking all cultural projects and routes related to Roman archaeology and Roman emperors. Only a project planned on an ancient Roman scale can achieve a full presentation of this cultural heritage. The main project map emphasizes this aspect by showing routes to the nearest and the most important related Roman cities. The project is open to international   Possession of metal detectors is strictly forbidden by law in the Republic of Serbia except for authorized governmental institutions. 3

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Nemanja Mrđić: Roman cultural heritage as a tourist and educational resource cooperation. After all, the Roman Empire was a predecessor of the European Union and, more importantly, modern state borders do not correspond to those of the Roman provinces. In view of this, projects related to the Roman age should not be observed through present–day national filters, which narrow and diminish the presentation and the overall picture of the Roman Empire and its Emperors. A full presentation of Roman heritage can be achieved only through international cooperation as proved by numerous exhibitions so far. Thematic exhibitions, such as ‘Constantine the Great’ in Trier and ‘Rome and Barbarians’ in Venice, have demonstrated that an international vision of the Empire is essential to a better understanding of our past. Organizing exhibitions for the forthcoming celebration of 1700 years of Christianity in 2013 is a great opportunity to bring Roman cultural heritage into focus nationwide. Connecting our sites (especially Sirmium and Naissus) to cities like Mediolanum, Trier and Nicomedia can present the Tetrarch Age and beginnings of Christianity in full. The richness and distribution of important Roman sites enables various subdivisions which can then be connected in ways most appropriate for the visitors and different target groups. Travel plans can be made to curry to different thematic demands. One can wish to travel along highways (Corridor 10) or along rivers (Corridor 7: Danube and Rhine), or decide to visit thematic sites (imperial cities, colonies, legionary and military camps, early Christian centers, etc.). All that can be organized.

Unapređenje turizma kao faktor razvoja privrede Republike Srbije, 444–454. Beograd, Institut za međunarodnu politiku i privredu. Mr Nemanja Mrđić Archaeological Institute Belgrade Knez Mihailova 35/IV 11.000 Belgrade, Serbia e-mail: [email protected], [email protected]. ac.rs

Full presentation, preferably through the internet, could give visitors the opportunity for individual trip planning. A developed system of internal communication between stops on the route is essential. The visitor must receive all the important information about all sites at every site. Thus, even not visiting all of the sites, the visitor will have acquired a full understanding of the Roman cultural heritage. At this moment, almost all sites are facing similar organizational and financial problems. The only way to resolve that situation is to organize all sites on a similar principle. In this way the project will prove that it is cooperation, not competition, that is important in cultural tourism. Bibliography Anđelković, J. 2012. Fresco painted tombs from Viminacium and their presentation to the public. In this volume. Korać, M. 2007. Slikarstvo Viminacijuma. Beograd, Centar za nove tehnologije – Viminacium. Korać, M., Golubović, S. and Mrđić, N. 2009. Itinerarium Romanum Serbiae, Beograd, Center for New Technologies, Archaeological Institute Belgrade. Master plan kulturno istorijske rute ‘Put rimskih careva’. Ekonomski fakultet Univerziteta u Beogradu. Mrđić, N., Raičković, A., Redžić, S. 2010. Itinerarium Romanum Serbiae – Putevima rimskih imperatora po Srbiji, kulturno nasleđe u službi turizma i održivog razvoja. In P. Petrović and V. Golubović (eds.), 127

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Educational activities at the Archaeological Museum of the Middle Oder Region Julia Orlicka-Jasnoch Abstract The Archaeological Museum of the Middle Oder Region in Zielona Góra is a small institution, run by the Zielona Góra District office. Museum lessons are the most frequently used educational method. They comprise multimedia presentations, visit to the exhibition and presentations during which children have direct contact with artifacts. Artistic activities, participation in open-air festivals, tourist fairs and organization of small exhibitions in schools is possible thanks to cooperation with local teachers. Keywords museum, education, popularization

The Archaeological Museum of the Middle Oder Region in Zielona Góra is currently an institution run by the Zielona Góra District office. Administrative reforms in 1998 placed the institution within local governmental structures, lowering its rank, but not the work standards. The institution collects archaeological finds from the southern part of the Lubuskie region, both from current and from past research, including prewar German excavations. We are the only purely archaeological institution in the Lubuskie region. Small archaeological sections are part of the structure at the Museum of the Lubuskie Region in Gorzów Wielkopolski and the Museum in Międzyrzecz. Also the City Museum of Świebodzin and of Nowa Sól hold archaeological collections.

The Museum is located in an 17th century palace, which had belonged to the Kittlitz Family from Świdnica not far from Zielona Góra (Figure 1). Its activities have been targeted to the population of Zielona Góra and to students. It has extensive exhibition space. The Museum’s activities are designed for different age groups: students of primary and secondary schools, as well as high school students. We also offer lectures for history students from the University of Zielona Góra, for history teachers, librarians and senior citizens, listeners of the University of the Third Age, as well as the local population of Świdnica town and its environs. The most

Figure 1. The Museum is located in an 17th century palace, which had belonged to the Kittlitz Family from Świdnica not far from Zielona Góra (photo J. Orlicka-Jasnoch) . 129

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Figure 2. The presentation of archaeological artifacts during the museum lesson. (photo J. OrlickaJasnoch)

Figure 3. The museum lesson on exhibition (photo J. Orlicka-Jasnoch) .

Figure 4. The copies of Celtic finds prepared by pupils from pottery workshop of ‘Dom Harcerza (Scout House)’ in Zielona Góra. (photo J. Orlicka-Jasnoch)

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Julia Orlicka-Jasnoch: Educational activities at the Archaeological Museum of the Middle Oder Region popular activity prepared for children and young people are museum lessons. Approximately 40 such meetings are organized on dates suitable for schools depending on the teaching program. Each meeting consists usually of three main parts: multimedia presentation, visit to an exhibition connected with the presentation, and, last but not least, direct contact with archaeological artifacts (Figure 2). Sometimes such lessons take place at schools, often organized together with a small archaeological exhibition. All museum lessons are given by professional archaeologists.

teach the history of early Poland. Early medieval fortified settlements, grody in Polish, are the beginnings of towns; they are a source of information on everyday life and economy, again based on the results of excavations and the actual artifacts. The lecture on later periods, that is, the Middle and Early Modern Ages, focuses on the development of towns and their legal locations based on examples from the Middle Oder and more generally the Lubuskie region. We also offer more ‘cross-age’ subjects, like ‘Beliefs and funeral customs through the ages’ and ‘History of art’, and many others.

The Museum has prepared a list of subjects offered within the framework of museum lessons. But this list should be treated as a list of suggestions only, since we are open to changes suggested by individual, program- or teacher-related, needs. Among the most popular lessons is ‘An Introduction to Archaeology’: a presentation giving insight into the basic concepts of archaeology, treatment of artifacts as a source for reconstructing the past, issues of chronology, evolution of culture, types of archaeological sites, their localization, documentation, excavation and interpretation, along with legal issues connected with the protection of archaeological monuments. Needless to say, the broad information content requires that lectures be adapted to the interest level of the audiences. For most this is the only contact with the Museum and archaeology, so a great deal of effort is put into the transfer of knowledge. The final effect, however, depends largely on teacher involvement in the process. Many teachers have cooperated with the Museum for a very long time now, bringing ever new generations of school children to the Museum to learn not only about the great Mediterranean civilizations, such as Egypt, Greece and Rome, but also about the prehistory of Poland.

Museum lessons also include art–related workshops. Because of space and staff constraints, these workshops are organized in cooperation with art and history teachers, focusing always on the cognitive aspect. An archaeologist presents a specific subject related to artifacts known from excavations, shows the artifacts, reconstructions and their interpretation, and after this ‘introduction’, the teacher carries out activities inspired by the prehistoric craft or art. Activities of this kind are well illustrated by the outdoor activities organized by Mrs Renata Uss–Wocial, a teacher from a Świdnica primary school. Children were given the opportunity to create copies of prehistoric pots, jewelry and clothes, which were presented at the end of the event, during a ‘Prehistoric Fashion Show’. Another extremely interesting initiative is the cooperation, long–lasting, between the Museum and the pottery workshop of the ‘Dom Harcerza (Scout House)’ in Zielona Góra headed by Mrs Małgorzata Bukowicz. Children taking part in these activities created artwork inspired by two exhibitions: ‘Past and present of the people of Central and South America’ and ‘Celtic borderlands’, learning at the same time about the archaeology of the exotic Americas, and, perhaps even more importantly, about the archaeology of the Celts, an extraordinary culture and civilization lying at the roots of European civilization (often forgotten, may I add, and remaining in the shadows of Mediterranean civilizations). The results were presented in an exhibition titled ‘Inspirations’, shown afterwards at the Museum (Figure 4). Yet another example were art workshops accompanying the exhibition ‘Cave Art Gallery’; children learned rock art techniques and had the possibility to find out about a Paleolithic hunter’s life and about sympathetic hunter magic (Figure 5).

The second most popular subject, usually chosen by secondary school youth, is ‘Prehistory of the Middle Oder Region’. The presentation shows human culture down the ages, focusing in particular on the students’ home region. There is always more information about the particular town or village where the school is located (such places as Zielona Góra, Lubsko, Sulechów, Krosno Odrzańskie), as well as about the most important archaeological sites of the Middle Oder Region, and of the Lubuskie Province on a larger scale. Other subjects focus on different archaeological periods and always include presentations of archaeological research in our region. For example, the stone ages are presented through the everyday life of hunters–gatherers, the production of stone tools and the ‘Neolithic revolution’ process (Figure 3); the Bronze Age and Early Iron Age presentation is based on our research at Wicina, a Lusatian Culture stronghold (the story of the capture and destruction of the stronghold by the Scythians is a student favorite). Issues connected with everyday life are demonstrated, beliefs and funeral customs are discussed based on artifacts and research results from Lusatian sites excavated in the area. The Early Middle Ages lecture is an opportunity to

Another form of ‘art workshop’ is the lesson organized at the Pottery Reconstruction Workshop of our Museum. Children can work with authentic potsherds from archaeological excavations: try to fit them together, glue them and finally reconstruct whole pieces. This type of lessons are either given separately or are part of the lesson showing the realities of archaeological work. Meetings on archaeological sites are also organized. Children and adolescents can visit a site during the excavations, see the artifacts being unearthed, observe the work in progress, listen to archaeologists presenting different aspects of excavation techniques. This is usually an offer for children from small villages, where excavations 131

Archaeological Heritage. Methods of Education and Popularization on research into the Wicina Lusatian stronghold held at the Primary School in Wicina. The exhibition was created in 2010 with extensive help from the school’s director, teachers and students. Their involvement have produced a much better end effect. To popularize the exhibition and through it also the prehistory of their region, children have prepared a theatrical play on the capture of Wicina by the Scythians and performed it during the festivals ‘Dni Jasienia (Days of Jasień)’ and ‘Festyn Kultur Dawnych (Old Cultures Festival)’ organized in Wicina by the ProLusatian Foundation. Our Museum has participated twice in these festivals (Figure 6). At present the Municipality of Jasień is making efforts to purchase the land where the archaeological site is located and, together with the Pro-Lusatian Foundation, to organize a small open-air museum. The Museum’s activities in the Wicina region have brought another and unexpected result ‑ we have acquired a bronze hoard found accidentally in the area. The hoard was recognized by one of the students who had seen similar objects on exhibition.

Figure 5. The art workshops accompanying the exhibition ‘Cave Art Gallery’; children of primary school no 20 in Zielona Góra (photo J. Orlicka-Jasnoch)

In recent years the Museum’s educational activities have been supported by a regional branch of the Scientific Association of Polish Archaeologists (SNAP), operating in the Museum. Together we have organized the 50th Anniversary of Archaeology in the Lubuskie Region, an event which included an exhibition, conference and archaeological festival. I should also mention the Museum’s promotional activities in the form of participation in tourism fairs presenting the region, promoting the Museum and archaeology. This is a way of reaching individuals, mostly adults, who learn thus about the attractions of the region they live in, attractions that literally ‘lie under their feet’. Educational activities carried out by the Archaeological Museum of the Middle Oder Region are also useful in promoting knowledge of local national heritage. People are made aware of the fact that archaeological sites, located often away from main roads and cultural centers, are also part of their heritage. This, along with continuous reminding of the dangers of illicit ‘treasure-seeking’ and the legal consequences of such activities, is the responsibility of each and every archaeologist.

Figure 6. The Scythians attack on Wicina. Performance prepared by pupils of primary school in Wicina (photo J. Orlicka-Jasnoch) are ongoing (Wicina, for example). Very often, such visits are for these children the only way to see the Museum and learn about the past of their region.

Mrs Julia Orlicka-Jasnoch Muzeum Archeologiczne Środkowego Nadodrza w Zielonej Górze ul. Długa 27 66–008 Świdnica k/Zielonej Góry, Poland e-mail: [email protected], [email protected]

The Museum has also organized some temporary exhibitions at schools in small villages. This way artifacts and archaeology are brought to students who would otherwise have difficulty in getting to the Museum. The exhibition also enables the staff to organize lessons at the schools, if necessary. One example is the exhibition

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The archaeological fête in ludic space Michał Pawleta Abstract In this paper I propose to approach archaeological fêtes as part of the ludic sphere, taking the distinction between ‘playing the past’ and ‘playing with the past’ (cf. Kantor 2010a) as a starting point, I analyse forms of popularizing archaeology, as well as how the general public learns about the past. I also present ludic behaviour during such events, which in my opinion constitutes a crucial component of a fête. Keywords Archaeological festival, play.

Introduction Play is a natural and common element of human activity, making it an important factor in culture, in which ludic tendencies can be observed in every sphere. Play and entertainment are an integral part of today’s consumer society; they are increasingly becoming a product, service or goods ‘for sale’ and as such are subject to the laws governing supply and demand, as are education and scientific knowledge (cf. Kantor 2010b, 192; Paleczny 2011, 9). As far as archaeology and the knowledge derived from it are concerned, the situation is no different. Even cursory observation of the contemporary functioning of products of archaeological knowledge and the forms of their presentation and popularisation for a mass audience, leads us to acknowledge that the distant past, which is the subject of archaeological investigation, is within its domain a significant element of consumer society. In the common perception ludism denotes not only ways for humans to refer to the past, but also a changed context for the past, for archaeology and resultant knowledge, as well as for the preservation of archaeological heritage, can be used or ‘consumed’ (cf. e.g. Bagnall 1996; Baillie et al. 2010; Goulding 2000; Talalay 2010). Archaeological fêtes are one of the domains, in which the phenomena mentioned above are clearly visible. In this paper I suggest approaching the archaeological fête – disregarding at the same time a number of other, significant functions it fulfils – as an element of the ludic sphere, a form through which the needs of entertainment are realised, in other words as an event, organised as entertainment or featuring many elements of play. Archaeological fêtes are the fulfilment of the homo ludens idea, satisfying the tastes and needs of the contemporary audience, as their unabated popularity and high attendance prove. As a phenomenon either containing or referring to ludic elements, archaeological fêtes will be considered from the perspective of changing forms of education and attitudes towards ways of conveying knowledge about the past. The said initiatives have an important role in education and dissemination of knowledge by ‘teaching through play’. In this modern formula for learning about the past emphasis is on active participation and sensory experience of the past, based mainly on the attractiveness

and spectacularity of how this knowledge is communicated. It is a form of ‘playing’ the past, which may be placed in the ludic sphere. Unfortunately, it rarely has much in common with reliable and scientifically–based education about the past, being an example of entertainment dominating education. Furthermore, it often duplicates a stereotypical and anachronistic image of the past. Playing with the past Play is a natural and common element of human activity and therefore an important part of culture. In contemporary society, sometimes also described as the ‘play’ society (cf. e.g. Kantor et al. ed. 2011), play is considered an integral element, also as a way through which culture can be received, and in a broader perspective, as a form of education. Ludism, which is the cultural conditioning of an inclination to play, regulates significant areas of human behaviour, not necessarily related to ways of spending free time. Therefore, ludism understood here as the need/ inclination for play or to play should be seen above all as a cultural phenomenon. It is called upon most often as a distinguishing feature of contemporary mass culture and consumer society, describing the ability to fulfil the needs of entertainment; it is also related to a hedonistic approach. However, ludism is in fact a much broader notion, referring to a whole range of other phenomena, attitudes and cultural values, although play forms an essential element.1 Numerous definitions of play exist, the most famous one being perhaps by Dutch cultural historian Johan Huizinga (1985, 48–49), who stated that it is a free activity or pursuit, performed within certain set limitations of time and space according to freely accepted but absolutely obligatory rules, it is an aim in itself, accompanied by feelings of expectation, joy and awareness of ‘being different’, ‘different’ to ‘everyday life’. Another well–known researcher into human behaviour, Roger Caillois (1973, 301), believed that play should be defined as a voluntary activity, one which provides pleasure and entertainment. He divided games into four categories: a) agon (competition): competitive games based on identifying a winner; b) alea (chance): games involving   Play and entertainment are not the same notions. Insofar as play stresses activity, entertainment emphasises the passive reception of communicated content (Kantor 2011, 31). 1

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Archaeological Heritage. Methods of Education and Popularization an element of chance, luck, risk; c) mimicry (simulation): role–play, pretence; and d) ilinx (shock): play based on thrill–seeking, altering perception, intoxication. A person’s attitude toward the past, being an element of a given culture, is defined by sensitivity or historical culture. Andrzej Szpociński (2010, 16) indicates that human historical culture in the present visual era is dominated by non–verbal communication, images, happenings, performance; it is not intellect, but mainly the senses, which play a key role in experiencing the past, providing the audience with specific aesthetic experiences (cf. also Woźniak 2010, 239). These elements are likewise visible in archaeology, especially in the way knowledge about the past is popularised, which on one hand is currently due to archaeology’s social obligations and on the other, to cultural or economic conditioning related to how archaeology functions with the framework of a market economy and also the transformation of archaeological heritage into a ‘cultural product’. For the purpose of this paper I propose two theories: 1) in contemporary consumer society the past can be a source of certain types of ludic behaviour, an element of entertainment and consumerism, although it is not usually about specific events in the past, but has more to do with a general connection with the past. An archaeologically created past can inspire the search for pleasure, which is one of the more popular ways in which to experience, feel and understand this past, mainly through the widely– understood medium of play (cf. also Pawleta 2010b; Pawleta 2011); 2) in the contemporary world the past, or to be more exact, the ways in which it is brought into the present, reconstructed or re–enacted, the range of its functioning and consequently the very forms of its presence, were to a certain extent subject to logic and the rules which up till now had governed entertainment and consumerism. This depends on, among other things, advancing the commercial success, attractiveness, spectacularity or ludic aspects of various initiatives and enterprises at the cost of scientific aspects and rigour, which are pushed lower down the scale. I am referring to both the efforts of professionals (archaeologists, museum employees, historians) in this field and the growing range of amateur initiatives, which not only challenge the scientific milieu, but also affect ways in which scientists present knowledge about the past. From the perspective of this paper Ryszard Kantor’s reflections on the ‘ludification’ of history in contemporary consumer society gain relevance (2010; 2011, 46–49). He clearly differentiates between two aspects of this process: the ‘ludification’ of history, which is the exploitation of the findings of historical research for the purposes of play, and ‘playing with the past’ or ‘playing the past’, which describes games or entertainment using the past, regardless of whether it is imagined or recreated on the basis of scientific knowledge, as a canvas (Kantor 2010a, 135). Kantor suggests that ‘playing the past’ means using props, figures and past events in order to play. This includes historical clothing and costumes currently used

in games, historical re–enactments and archaeological fêtes. These are spectacles serving the purpose of play, characterised by mass appeal and media–friendliness. A clear division of participants into actors and audience is observable and there is a clearly commercial aspect (Kantor 2010a, 136). Kantor considers ‘playing with the past’ to be a form of passive entertainment which does not deepen knowledge of the past, nor does it aim to do so. Such games are autotelic, they are meant entertain, provide pleasure and this is how they are judged. The visitor does not have to meet any entry requirements, have any knowledge of history (the past) in order to participate; the significance of such events is due not to their historical credibility or avoidance of anachronisms or fantasy, but primarily to their spectacularity (Kantor 2010a, 142). However, ‘playing the past’ is defined as a clearly distinct type of human activity (play involving participation, active), longer–lasting and deeper (Kantor 2010a, 136). This includes participation in re–enactment societies and other group activities connected with the past. Playing the past is a hobby, a passion, and for those who participate, it fills a large part of their lives. A significant feature is the attention paid to historical accuracy; this demands study of historical facts, analysis of artefacts and familiarity with scientific experiments, carried out as part of experimental archaeology. Playing the past is recreating and being (in part) in the reconstructed world (Kantor 2010a, 136), it is an attempt to ‘immerse oneself’, with more or less success, in the past. It is not passive entertainment or simply superficially interactive participation in the event, but a whole line of time–consuming activities, triggering a very broad range of human enterprise (Kantor 2010a, 142). Apart from the fact that they satisfy a sense of belonging, of community, of fulfilling a passion, such undertakings also happen to provide pleasure: participants end up thoroughly enjoying themselves (Kantor 2010a, 149). Archaeological fêtes as a ludic phenomenon Even though I am exposing myself to criticism for reducing or overlooking the multi–dimensional and complex nature of archaeological fêtes, I will restrict myself to their ludic aspects, at the expense of other important functions which they may well fulfil, including scientific, popularising, educational and economic aspects (cf. e.g. Piotrowski 2004–2005; Borkowski 2005; Grossman 2006; Brzostowicz 2009). This is, however, intentional, for the constraints of this publication do not permit other aspects to be developed and above all, it is the result of the approach to the subject outlined. Selectivity is an integral part of the practice of archaeological interpretation (as it is of every other scientific practice) and depends on the selective discussion of issues and taking into account only that information or data which will directly serve the presentation of, or solution to, a particular issue. Archaeological fêtes and similar open–air events with an archaeological–historical theme are one of the arenas where it is currently possible to observe an accumulation of ludic phenomena (Chowaniec 2010, 208). Their numbers, 134

Michał Pawleta: The archaeological fête in ludic space huge popularity and social reach make fêtes currently one of the basic forms of contact for contemporary humans with the distant past and/or archaeology. As the most ludic form of the popularisation and presentation of knowledge about the past, it sometimes arouses quite distinct opinions. Different types of fêtes or festivals, not only archaeological, increasingly oriented towards the public, are becoming a popular way of spending free time for many people, providing experiences which are absent from their everyday lives (Ratkowska 2010). The word festival in itself, as Paulina Ratkowska points out (2010, 114), comes from the Latin festivus, meaning happy, lively, joyous or festive. The modern understanding, notes Ratkowska, is that a festival is an organised event, incorporating a series of performances or shows connected by a common theme, a review of the best presentations in a given genre. A festival can be an event presenting one or many forms of art, in the style of a competition or revue. Furthermore, there is a sense that it is unique, extraordinary, it has a rather special atmosphere, regardless of whether it takes place only once or periodically (Ratkowska 2010, 114–115). It is significant that such events are not usually highbrow with the purpose of providing the audience with an aesthetic or intellectual experience, but rather closer to pop–culture, aimed at a mass audience, aspiring primarily to ensure a good time and some intellectual stimulation on occasion, and playing on strong emotions (Ratkowska 2010, 126). The fact that archaeological fêtes and the shows, workshops, demonstrations etc. which popularise archaeology and knowledge about the past in an accessible and attractive way are addressed to children mainly does not mean that adults do not find them equally enjoyable (Chowaniec 2010, 209; Wyrwa and Kostrzewska 2010, 214). Let me recall Kantor (2010, 142), who included fêtes in ‘playing with the past’, serving only passive entertainment. The play function of fêtes is in fact indicated by the etymology of the terms used to describe it, such as festival, feast, fair, public holiday, assuming therefore it is something pleasant, entertaining, bringing joy, connected with festive periods. In his analysis of the complex genesis of historical shows including fêtes, Wojciech Borkowski (2005, 33–34) indicates that interest in such forms of activity stems from six entertainments or elements which are an inseparable part of it: a) street theatre performances; b) folk art and craft fairs; c) knights’ tournaments; d) concerts and performances by folk groups; e) experimental archaeology demonstrations; f) psychological premises, that is, role playing. Furthermore, Borkowski points out that one of the values of such an event is entertainment and play. Similarly, Danuta Piotrowska (1997–1998, 277–279; 2004, 139–140), discusses the festival in Biskupin as satisfying perfectly the needs of contemporary homo ludens. The past and the forms in which it is referred to are one of the sources of ludic behaviour in today’s consumer society, which according to observers is becoming a society of play. This is reflected in the trend towards considering

the function of the past in contemporary popular culture, in which play is becoming an element of entertainment and consumerism (Krajewski 2003, 205–245; De Grott 2009). An archaeologically created past may likewise inspire a search for pleasure, for entertainment and play (Jasiewicz and Olędzki 2005, 183). There are many ways in which a fête can deliver pleasure; a festival is in fact an ‘accumulation of spectacles’, an extravaganza (Ritzer 2004, 183–221). It is possible to find enjoyment not only in passive observation of the happenings and demonstrations, but also by actively participating in them. Note that as in historical reenactments, the past presented at festivals is usually more aesthetically pleasing; it is a cleaned–up version where only those aspects which can draw in the crowds are shown. It is a specific image, sterilized for the mass audience and served through the lens of entertainment, encouraging participation in the ‘experience’. Such events are also characteristic because they are totally accessible and open: it is not necessary to know anything about history, nor learn anything about it, in order to play it; there are no prerequisites for visitors (Kantor 2011, 48). First of all, the way of learning about the past is a pleasant experience in itself. In archaeology, this depends on the skilful combination of entertainment and education, during which abstract content is simplified and undergoes objectification, although this is necessary in order for the message to reach an average member of the mass audience. Archaeological fêtes fulfil an important role in education and popularisation. They are a modern formula for informal education and the popularisation of knowledge about the past, emerging beyond static exhibition in museum showcases in favour of open–air demonstrations and showing the ‘past in action’ or providing a ‘how–it– was–in–reality’ experience, as well as direct contact with a faithful copy of an artefact or the staging of scenes of past life. A catchphrase often heard at most festivals is ‘learning through play’, where the activities on offer have mainly an educational purpose and learning takes place via interactive workshops, experimental archaeology presentations, competitions, demonstrations and re– enactments etc. (Brzostowicz 2009, 296; Bursche and Chowaniec 2009, 74; Chowaniec 2010, 211). A leading motive in fêtes is education through entertainment, strongly emphasised by both organisers and creators alike (cf. e.g. Wrzesiński 2008, 182; Zajączkowski 2009, 80–82). A review of the VII Archaeological fête at the Castle in Liw in 2009 commented: as in earlier years it connected education with entertainment. Visitors could find out how people lived in the Middle Ages, what kind of customs they had, what they did, ate, and what their battles were like2. The opportunities on offer here, to participate directly in the events or demonstrations, to actively learn and involve all the senses (touch, smell, hearing) directly in the process, are significant. Knowledge is presented in an interactive way, fêtes offer contact with the past along   http://www.liw–zamek.pl/index.php?page=tresc&id=31, quote taken from the webpage. 2

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Figure 1. Battle reenactment. ‘Medieval Fair’ in Chudów, Poland, 2008 (photo M. Pawleta).

Figure 2. Locked in the stocks – an example of amusing activities in a recreated medieval scene at “Jarmark Księcia Siemowita” in Gliwice, 2011 (photo M. Pawleta). the lines of pick up an artefact, try to make a copy and feel history (Bursche and Chowaniec 2009, 75; Chowaniec 2010, 210); you can touch everything, participants can often experiment further, make a given object by hand or see how something works for themselves (Borkowski and Brzeziński 2001, 82). In order to support the educational value, the demonstrations are often accompanied by a commentary given by the reenactor referring to, for example, the methods of fighting shown, the armour, how given objects are made etc. Visitors drawn in by such forms of presentation change into active participants, which means that fêtes are not a boring lesson about

the past, but a game with plenty of things to see and do during which educational aims are realised through the presentation of fragments of our history (Wróblewska 2008, 327). Part of this ‘playing the past’ depends not only on discovering the secrets of ancient handicrafts, but also raising visitor awareness of the work of archaeologists in the field through the recreation of an archaeological excavation site. Fêtes therefore also realise the idea of play as an important part of contemporary education processes, reflecting the trend towards less didactic forms of instruction, where affective, sensual and mediatised stagings combine with a culture of instruction to produce a

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Michał Pawleta: The archaeological fête in ludic space synthetic form often termed ‘edutainment’ (Edensor 2004, 115). These activities are a form of informal education, lasting a lifetime, the aim of which is to combine learning with entertainment, where the governing idea is to ‘teach through play’. Their task is to pass on set educational content to a particular audience, for entertainment is an interesting, absorbing and audience–friendly form of information transfer. Thanks to this people find it easier to internalise knowledge, they have pleasant associations and memories of learning, and therefore return to it more willingly. ‘Edutainment’, as a canon for contemporary child and adult education, with the correct balance of education and entertainment, is an effective learning tool for the 21st century; it provides opportunities for audience interaction, makes the knowledge communicated more memorable and enables participants to find a personal interpretation of the content (cf. Roberts 1997; Johnson and Maxson McElroy 2010). Secondly, pleasure is part of the definition of archaeological fêtes. Here I am referring to the understanding of play as an autotelic activity, typically ludic, which often has little, if anything, in common with a recreated past or with education about the past, but which is closely tied to this type of event. As Mirosław Pęczak (2008, 67) points out, fêtes, including archaeological events of this type, have a flavour of their own, which comes from their folk– plebeian roots. As a result they should be treated as their name suggests, as a holiday which people will remember and look forward to taking part in next year. Consequently, I also propose viewing archaeological fête as an initiative focused mainly on play and providing entertainment. The past here is exploited under the pretext of a defined type of ludic behaviour; participation in a fête then is a form of ludic celebration, a pleasurable experience thanks to direct contact with play and a way of spending leisure time. Fêtes and the games they offer attempt, in a certain way, to relate to elements of the past and in the assumptions of their organisers contain an educational potential, although this is often rather doubtful. Fête organisers provide a whole range of attractions, both in the form of presented entertainment and events in which the public is invited to participate. The first group includes, above all, a whole scope of battle re–enactments and warrior and knight tournaments, which are amongst the more spectacular activities and are obligatory at every event of this type (Figure 1). A perfect illustration of the second group of entertainment are plebeian games and individual or team competitions: stamping your own coin, trying your hand at archery, a ribbon–weaving race, or field games based on going around the festival, quizzes, guessing games, charades, art competitions, games of physical skill based on games once popular in the past (Brzeziński 2000, 153; Bursche and Chowaniec 2009, 75; Chowaniec 2010, 212– 213). Commenting on the attractions to be found at the 12th Slavs and Vikings from Wolin Festival Agnieszka Gawron–Kłosowska (2007, 98) wrote: the historical music and dance groups lent a splash of colour to the event, at the same time teaching the dance steps and inviting

volunteers to take part. There were also boat races, many games and competitions, e.g., walking on oars (it’s rather simple: if you fail to make it across you get wet). In such activities we are mainly dealing with two types of games according to Caillois’ classification: agon – competition and rivalry, and mimicry – emulating past activities. These games have their own rules; they may contain elements of improvisation and creativity, but above all they possess their own conventions and are in a certain sense fake (Golka 2004, 22). Fêtes contain plenty of fair–holiday type or strictly ludic elements, which are devoid of educational values and popularisation goals, for which the fête is simply an attractive surround or ‘backdrop’ (Golka 2009, 66). Included here are all the stalls serving beer, French fries, sausages, grilled black–pudding and sweet desserts, often under the guise of ye olde traditional fayre and beverages. This sort of attractions also include prize draws, temporary ‘old style‘ tattoos, bathing in wooden tubs, tug–of–war games, firework displays or being locked into stocks (Figure 2). Folk–dance groups and bands playing traditional music of the epoch (Figure 3), souvenir stalls (Figure 4) or those selling toys for children, such as plastic swords, bows and arrows or helmets, stands with handicrafts and organic food complete the whole. Seldom but known to occur are additional attractions in the form of bouncy castles, inflatable slides and trampolines for the youngest

Figure 3. Copies of prehistoric pottery as tourist souvenirs being sold at the ‘Medieval Fair’ in Chudów, Poland, 2009 (photo M. Pawleta). 137

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Figure 4. German folk band Fidelius performing medieval music at European Heritage Days festival in Toszek, Poland, 2010 (photo M. Pawleta). visitors. Looking at festivals from this perspective, one must acknowledge the critics who claim that fêtes follow a formula which is a cross between a family fun day and a historical show (Czubkowska 2006, 11). A rather interesting proposal from the perspective of the issues raised in this paper has been put forward by Łukasz Dominiak (2004). It refers to Mikhail Bachtin’s concept (1975) of ‘carnivalisation’ from the point of view of its ludic nature. According to Dominiak, the archaeological fête can be regarded as an element of the carnival for the following reasons: a) like a carnival it happens once a year; b) serious scientific rules and boundaries are suspended; c) there is a holiday atmosphere; d) mythical (half science, half popular) stories can be heard during a fête; e) the majority of festival events are agon, that is, they are based on competition; f) there is creative chaos and forms are mixed up; g) as in a carnival, a fête is ‘time beyond time’ and a ‘place beyond place’ (Dominiak 2004, 86). Dominiak, however, is rather critical of the declared educational aspects of fêtes, highlighting the dominance of ludic elements: a fête is a sort of secular holiday mainly involving entertainment and play. He indicates the hybridisation and ‘ludic muddle of codes’, attempts at reconciling orders which do not fit together (elements of high culture with low, education with entertainment), the implosion of time and space. the result is in a complete jumble in the context of the presentations, turning into a ‘postmodern collage’ (e.g. Mesolithic hunters performing alongside a medieval herbalist, displays on Ancient Egypt in a Lusatian stronghold etc.). Moreover, he also highlights the abolition of the distance and seriousness of the scientific message and the suspension of time and role reversal, all

made possible thanks to the carnival atmosphere of these sorts of events. According to Dominiak (2004, 84), fêtes are an example of entertainment which has long lost its educational role, thus the attractiveness of ‘playing the past’ comes from the attractiveness of the play, not the past in itself. The desire to participate in the games on offer during a fête is not an indication of interest in the past as their organisers wish to believe; it is motivated solely by the desire to take an active part in play. Conclusion In conclusion, one should say that archaeological festivals meet the majority of formal requirements defined by Caillois (1973) as regards their conformity to ludic phenomena (they are, among others, an event isolated in a specific time and place, accompanied by a sense of a special, extraordinary reality etc.), as well as the basic categories of play and games he identified. Autotelism as one of the fundamental indicators of play and in this instance the autotelism of archaeological fêtes is beyond discussion, in my opinion, as entertainment, play and the accompanying pleasures constitute their inalienable element. By creating the illusion of time travel and promising the chance to experience something extraordinary, archaeological fêtes offer a pleasant and memorable experience (Holtorf 2009). They have also become part of education, teaching the past through play, as well as becoming an inseparable feature of this type of event through their setting in strictly ludic behaviour. I am of the opinion that entertainment is not only a side effect of the ‘learning though play’ process, a manifestation or an index of commercialism, but it is an element immanently contained within, aimed at satisfying

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Michał Pawleta: The archaeological fête in ludic space ludic needs and providing pleasure, and this should be the criterion for their evaluation. The fact that the content they deliver is easy and pleasant does not take away their educational or didactic value, although the conviction that above all they ‘teach history’ is, as Kantor (2011, 49) points out, much exaggerated (...) as though the fact that they only, or certainly mainly, provide pleasure is to depreciate their value. Wojciech Piotrowski (2008, 322), however, indicates that entertainment as part of the convention of fêtes, thereby connected to commercialism, is a threat since uncontrolled, it introduces a holiday atmosphere and becomes grist on the mill for supporters of so–called ‘pure’ archaeology and the enemies of mass events, which outdo science in popularising knowledge of the past. I agree with the above statement and, in my opinion, the obvious element of entertainment frequently leads to commercialisation and increasingly banal displays. It also leads to fêtes being excessively focused on market needs, where practically everything can be shown and sold, if it can only be made interesting enough for the visitors, which in consequence inevitably results in a reformulation and loss of meaning of the past (Jasiewicz and Olędzki 2005, 203). Such a form of education and popularisation of knowledge of the past responds in part to the challenge of the contemporary world and consumerist culture , the ‘instant culture’, in which one immediately receives whatever one desires, even knowledge (for a critique of this topic cf. Postman 2006, 202–218). The message must therefore be readable and clear, featuring experiences and emotions transmitted in attractive, media–friendly and spectacular ways (Kowalski 2007, 34–37). However, the accepted formula for presenting knowledge of the past, as realized by archaeological fêtes, often leads to the domination of form over content, spectacularity and attractiveness over scientific reliability. In consequence, educational ideas are lost in favour of fast development and shallow information, accompanied by teaching which demands no effort. Therein lies the real danger, especially for unprepared spectators, who may well end up creating a false image of the past based on information received. It can also pose a threat to archaeology itself, as the results of scientific archaeological reconstructions of the past can become in general public perception either trivialised or redefined by a perpetual round of entertainment (cf. e.g. Brzeziński 2000, 153; Brzostowicz 2009, 295–297; Nowaczyk 2007, 507; Pawleta 2010a, 65–74). Bibliography Bachtin, M. 1975. Twórczość Franciszka Rebelais’go a kultura ludowa średniowiecza i renesansu, Kraków. Baillie, B., Chatzoglou, A. and Taha, S. 2010. Packaging the past. The commodification of heritage. Heritage Management 3/1, 51–72. Borkowski, W. 2005. Festyny archeologiczne–geneza– rola w procesie edukacji i integracji społeczeństwa lokalnego. In E. Urbańczyk (ed.), Poszerzenie Unii –

szansą dla miast Europy: samorząd, rozwój, integracja europejska, 33–44. Kalisz. Borkowski, W. and Brzeziński W. 2001. Prezentacja dziedzictwa archeologicznego. Z Otchłani Wieków 56/3, 80–86. Brzeziński, W. 2000. Muzea jako instytucje ochrony i prezentacji dziedzictwa archeologicznego. In K. Gutowska (ed.), Problemy zarządzania dziedzictwem kulturowym, 147–156. Warszawa. Brzostowicz, M. 2009. Imprez historyczne – edukacja czy rozrywka? Kilka refleksji z doświadczeń Festiwali Kultury Słowiańskiej i Cysterskiej w Lądzie nad Wartą. Fontes Archaeologici Posnanienses 45, 293–300. Bursche, A. and Chowaniec, R., 2009. Festyn archeologiczny w Biskupinie: komercyjny odpust czy promocja dziedzictwa archeologicznego. In B. Kaim (ed.), Blisko i daleko. Księga Jubileuszowa Instytutu Archeologii Uniwersytetu Warszawskiego, 69–77. Warszawa. Caillois, R. 1973. Ludzie a gry i zabawy. In R. Caillois (ed.), Żywioł i ład, 297–467. Warszawa. Chowaniec, R. 2010. Dziedzictwo archeologiczne w Polsce. Formy edukacji i promocji. Warszawa. Czubkowska, S. 2006. Nasz narodowy kicz – prehistoryczny Disneyland. Przekrój 32, 6–11. De Grott, J. 2009. Consuming history. Historians and heritage in contemporary popular culture. London– New York. Dominiak, Ł. 2004. Zabawa w przeszłość. Festyn archeologiczny jako forma karnawału. In J. Grad and H. Mamzer (eds.), Karnawalizacja. Tendencje ludyczne w kulturze współczesnej, 81–86. Poznań. Edensor, T. 2004. Tożsamość narodowa, kultura popularna i życie codzienne. Kraków. Golka, M. 2004. Pojmowanie zabawy. In J. Grad and H. Mamzer (eds.), Karnawalizacja. Tendencje ludyczne w kulturze współczesnej, 11–24. Poznań. Golka, M. 2009. Pamięć społeczna i jej implanty. Warszawa. Gawron–Kłosowska, A. 2007. Wokół XII Festiwalu Wikingów w Wolinie. Z Otchłani Wieków 62/1–4, 95–109. Goulding, C. 2000. The commodification of the past, postmodern pastiche, and the search for authentic experiences at contemporary heritage attractions. European Journal of Marketing 34(7), 835–853. Grossman, A. 2006. Biskupińskie festyny w kraju za granicą. Z Otchłani Wieków 61/3–4, 130–142. Holtorf, C. 2009. On the possibility of time travel. Lund Archaeological Review 15, 31–41. Huizinga, J. 1985. Homo ludens. Zabawa jako źródło kultury. Warszawa. Jasiewicz, K. and Olędzki, Ł. 2005. Od nostalgii do fascynacji – doświadczanie przeszłości. In J. Grad and H. Mamzer (eds.), Kultura przyjemności. Rozważania kulturoznawcze, 183–208. Poznań. Johnson, B. and Maxson McElroy, T., 2010. The edutainer. Connecting the art and science of teaching. Lanham– New York–Toronto–Plymouth.

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Archaeological Heritage. Methods of Education and Popularization Kantor, T. 2010a. Zabawa przeszłością – zabawa w przeszłość. Historia uludyczniona. Annales Universitatis Paedagogicae Cracoviensis. Studia Sociologica III, 134–149. Kantor, T. 2010b. Nauka i wiedza w ludycznym spektaklu w przestrzeniach współczesnego miasta. Studia Etnologiczne i Antropologiczne 10/2010, 191–206. Kantor, T. 2011. Społeczeństwo konsumpcji zabawy. Przypadek polski. In R. Kantor, T. Paleczny and M. Banaszkiewicz (eds.), Wąż w raju. Zabawa w społeczeństwie konsumpcyjnym, 31–55. Kraków. Kantor, R., Paleczny, T. and Banaszkiewicz, M. (eds.) 2011. Wąż w raju. Zabawa w społeczeństwie konsumpcyjnym. Kraków. Kowalski, P. 2007. O jednorożcu, Wieczerniku i innych motywach mniej lub bardziej ważnych. Kraków. Krajewski, M. 2003. Kultury kultury popularnej. Poznań. Nowaczyk, S. 2007. Archeologia festynowa – pomiędzy eksperymentem naukowym a przedstawieniem parateatralnym. In M. Bogacki, M. Franz and Z. Pilarczyk (eds.), Wojskowość ludów Morza Bałtyckiego, 501–508. Toruń. Paleczny, T. 2011. Zabawa w czasach globalizacji. In R. Kantor, T. Paleczny and M. Banaszkiewicz (eds.), Wąż w raju. Zabawa w społeczeństwie konsumpcyjnym, 9–29. Kraków. Pawleta, M. 2010a. Encounters with the past: The significance of archaeological festivals in contemporary Poland. In A. Arnberg and T. Stjärna (eds.), Communicate the past – ways to present archaeology to the public, 57–76. Västerås. Pawleta M., 2010b. Zabawa w przeszłość. Współczesne formy popularyzowania oraz przekazywania wiedzy na temat odległej przeszłości. In G. Leszczyński (ed.), Sztuka dla dziecka – tradycja we współczesności, 225– 241. Poznań. Pawleta, M. 2011. Przeszłość jako źródło przyjemności. Przegląd Archeologiczny 59, 1–28. Pęczak, M. 2008. Cukrowa wata z rycerzem w tle. Polityka 22 (2656), 64–67. Piotrowska, D. 1997–1998. Biskupin 1933–1996: archaeology, politics and nationalism. Archaeologia Polona 35–36, 255–285. Piotrowska, D. 2004. Biskupin – ideologie – kultura. In B. Gediga and W. Piotrowski (eds.), Archeologia – kultura – ideologie, 91–155. Biskupin–Wrocław. Piotrowski, W. 2004–2005. Jubileuszowy Festyn w Biskupinie. Z Otchłani Wieków 59 (1–4), 138–141. Piotrowski, W. 2008. Biskupin – nagroda Europa Nostra i festyny. Wielkopolskie Sprawozdania Archeologiczne 9, 315–323. Postman, N. 2006. Zabawić się na śmierć. Dyskurs publiczny w epoce show–businessu. Warszawa. Ratkowska, P. 2010. O festiwalu w kontekście turystyki kulturowej, czyli turystyka eventowa raz jeszcze. Turystyka Kulturowa 2/2010, 109–129. Ritzer, G. 2004. Magiczny świat konsumpcji. Warszawa. Roberts, L. 1997. From knowledge to narrative. Educators and the changing museum. Washington–London.

Szpociński, A. 2010. Współczesna kultura historyczna. Kultura Współczesna 1/63, 9–17. Talalay, L. E. 2010. The past as commodity: archaeological images in modern advertising. In R. W. Preucel and S. A. Mrozowski (eds.), Contemporary archaeology in theory. The new pragmatics. Second edition, 571–581. Malden–Oxford. Woźniak, M. 2010. Przeszłość jako przedmiot konstrukcji. O roli wyobraźni w badaniach historycznych. Lublin. Wróblewska, L. 2008. ‘Sobota na grodzisku’… kłopotliwy podarunek? In W. Rączkowski and J. Sroka (eds.), Historia i kultura ziemi sławieńskiej. Tom VII. Gmina Sławno, 327–340. Sławno. Wrzesiński, J. 2008. Archeologia: poznanie – popularyzacja – turystyka. In H. Machajewski (ed.), Wielkopolska w dziejach. Archeologia o regionie, 173–184. Poznań. Wyrwa, A. M. and Kostrzewska, U. 2010. O wybranych aspektach społecznej percepcji i zainteresowania muzeami na wolnym powietrzu na przykładzie Muzeum Pierwszych Piastów na Lednicy i Muzeum w Biskupinie. In J. Wrzesiński and A. M. Wyrwa (eds.), Przeszłość dla przyszłości. Problemy edukacji muzealnej, 203–217. Lednica. Zajączkowski, W. 2009. Biskupin. Przewodnik po rezerwacie archeologicznym. Wrocław. Dr Michał Pawleta Instytut Prahistorii UAM ul. Św. Marcin 78 61-809 Poznań, Poland email: [email protected]

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Archaeological workshops to celebrate Children’s Day Joanna Popielska-Grzybowska Abstract The article presents archaeological workshop activities prepared for children of various age groups to be conducted as part of Children’s Day celebrations. The workshops are organised by the author (Joanna Popielska-Grzybowska) and third-year students of archaeology reading a course in museology, preservation and popularisation of archaeology. Other forms of popularising archaeology in Pułtusk are discussed as well. Keywords Children’s Day, archaeological workshops, entertainment

The Department of Ancient Cultures of Institute of Archaeology and Anthropology at the Pultusk Academy of Humanities under the direction of the present author has endeavoured since 2005 to popularise and promote archaeological discoveries and ancient cultures in general among the inhabitants of Pultusk, her home town. Similar activities the lecturer performed earlier for the Department of Cultures of Africa when she headed it. One way to do so are open lectures by acclaimed specialists in the field. Several Polish experts have been invited over the years to deliver lectures to Pultusk inhabitants and students, among others Prof. Karol Myśliwiec, Dr Mahmoud El-Tayeb, Henryk Paner, Dr Anna Wodzińska, Agnieszka Kowalska, Mrs Jadwiga Iwaszczuk, Dr Andrzej Ćwiek, Dr Kamil Kuraszkiewicz. A lecture was also given by our History Department Dean, Prof. Bronisław Nowak. The author also regularly gives talks and conducts workshops with high school students as part of a cooperation programme with the Piotr Skarga Lyceum in Pułtusk. Since 2008 she has been organising archaeological and archaeologicalliterary workshops (occasionally with elements of English language teaching) to celebrate Children’s Day (children aged 4–12). In Poland Children’s day is on 1st June. The author has gained experience conducting workshops at scientific picnics in Pultusk and Warsaw, at different schools on various teaching levels, at an Educational Centre ‘Fabryka Uśmiechów’ in Warsaw and, in cooperation with Agnieszka Kowalska, as part of an IMAX Cinema City educational programme in Warsaw (in Polish) and in Poznań (in English). Furthermore, third-year students of archaeology, reading a course in museology, preservation and popularisation of archaeology, plan and prepare archaeological workshops for various age groups. The best projects are then used for Children’s Day events. Students design their own posters and the best one is chosen as advertisement for the workshop in town. The present author makes use mostly of her own materials, multimedia presentations, posters, drawings and paintings, hieroglyphic signs included. She draws her inspiration from scholarly publications, textual sources both ancient and modern if relevant, stories and fairy tales, websites. Moreover, she has had many years of experience teaching

English to young learners and other age groups. The workshops are intended to build knowledge based on the participants’ creativity and inventiveness. The information and the way it is delivered develop writing skills, linguistic skills and foremost manual skills. Thus children and adolescents write, paint and draw using different techniques, sculpt, play thematic games, make jigsaw puzzles and do them, take part in various interactive activities etc. The most important thing, however, is that knowledge of ancient cultures is disseminated to children and simultaneously to their parents or guardians. It is a great opportunity to inform and teach about archaeology, ancient history and ancient cultures, topics which frequently get bypassed in the school curriculum for lack of time in the teaching programmes. This is a scholar’s role to popularise his/her domain of knowledge using tools and materials at his/her disposal and usually not within the reach of teachers or the young people themselves. To make the workshops more attractive the action follows a plot from an appropriate story, such as for instance the Ancient Egyptian story of ‘Enchanted Prince’ (Pap. Harris 500, verso 4-8; cf. Budge 1923, Pls. xliii-lii), which can be exploited both as a love story for the young or adults or a fairy tale for children. Setting the knowledge and consequently the workshop itself in a true ancient story context appears to be very productive and effective simultaneously for all age groups. Workshops conducted by the author have also been devoted to the culture of Ancient Egypt. Children were introduced to the hieroglyphs and they could write their names in cartouches as the Egyptian pharaohs did. They could also write simple words or phrases depending on their age. Furthermore, pictures to colour were used, board games, some made by the workshop authors, some bought (for instance: board game ‘Curse of the Pharaoh (Klątwa faraona)’ produced by Trefl, and many others). Primary school children (aged 7–10) proved to be very much interested in interactive and creative books as well as do-it-yourself jigsaw puzzles. There are quite a few now available on the Polish market (Clements 2011; Group work 2007; Hamilton 2008; Kielan 2008; Lenartowicz 2008; Steer 2004; Tyldesley 2008), of course of different quality. Interesting websites relevant to the workshops are also available (cf. http://www.egiptologia.com.pl/). It 141

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Figure 1. Archaeological Workshop for children, June 2010. Archives of the Pultusk Academy of Humanities

Figure 2. Archaeological Workshop for children, June 2010. Archives of the Pultusk Academy of Humanities

Figure 3. Archaeological Workshop for children, June 2011. Archives of the Pultusk Academy of Humanities

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Joanna Popielska-Grzybowska: Archaeological workshops to celebrate Children’s Day is also possible to choose from a wide range of what is published, most of which is, translated into Polish mostly from other European languages, mainly English (Green 1989; Weatherhill 2006; Beaton 2007). This is then the sphere where Polish Egyptologists could do a lot for the good of our young (the positive example are two books by Prof. Andrzej Niwiński Niwiński 2008a; Niwiński 2008b). Workshops also include carving and painting figurines of pulp of salt and modelling clay. Moreover, jewellery is made, ancient, medieval or other; pyramid and house models are constructed etc. In the year 2012 we plan to ‘invite’, as usual children of age from 4 to 12 as well as their parents and guardians, to the world of the Vikings. Prof. Władysław Duczko, a specialist in the field, will share his knowledge of the cultural heritage of the Vikings based on archaeological excavations conducted under his direction. Children will be able to see different spheres of life of the Early Scandinavians. Workshop participants will be taught elements of runes, everyday activities, customs, religion. Drawing for colouring will be available for the youngest as in our previous thematic workshops. Children will be able to make Viking jewellery and clothes, they will listen to Viking stories and mythological sagas. A thematic path will be organised, leading to a dragon and treasure! All are invited!

Tyldesley, J. 2008. Mumia. Tajemnice starożytnej cywilizacji i sekrety faraonów. Warszawa, Arkady. Weatherhill, S. S. 2006. Creative Egyptian Activity Book. Barron’s Educational Series. New York, Barron’s Educational Series. Group work 2007. Mumia egipska. Zestaw: książka i model. Poradniki poszukiwacza. Lizbona–Warszawa. http://www.egiptologia.com.pl/ Dr Joanna Popielska-Grzybowska Department of Archaeology and Anthropology Faculty of History Pultusk Academy of Humanities Daszyńskiego 17 06-100 Pultusk, Poland e-mail: [email protected]

Concluding, the lecture delivered at the conference was a presentation of workshop activities created by the author (Figures 1–3) and it was intended as a contribution to exchange experiences and observations on workshop work with children and teenagers in Poland among scholars who take it upon themselves to hand down their knowledge to others, the young especially. Bibliography Budge, E. A. W. 1923. Fascimiles of Egyptian Hieratic Papyri in the British Museum. 2nd series. London. Beaton, C. 2007. Make Your Own Pyramid. Pop-up Egyptian scene. Figures for cutting out, colouring and playing. Kew. Surrey. Clements, J. M. 2011. Wikingowie. Zaginione światy. Bielsko-Biała, Wydawnictwo Debit. Green, J. 1989. Life in Ancient Egypt. Coloring Book. New York, Dover Publications. Hamilton, R. 2008. Starożytny Egipt. Królestwo faraonów. New York, Wydawnictwo Parragon, Bath. Kielan, P. 2008. Starożytny Egipt, Książka z szablonami. Bielsko–Biała, Wydawnictwo Debit. Lenartowicz, M. 2008. Wielka Księga. Egipt. Warszawa, Wilga. Niwiński, A. 2008a. Abecadło znad Nilu. Warszawa, Wydawnictwo ‘Pro-Egipt’. Niwiński, A. 2008b. Bajki staroegipskie. Warszawa, Wydawnictwo ‘Pro-Egipt’. Steer, D. A. 2004. Egiptologia. W poszukiwaniu grobu Ozyrysa. Bielsko-Biała, Wydawnictwo Debit. 143

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Per aspera ad astra... Children at the University1 Monika Rekowska-Ruszkowska Plants don’t grow well without the roots. People are the same (Emmott 1989, 28) Abstract Since 2009 University of Warsaw and Children’s University had started an cooperation in aim to familiarize children between 6 and 13 years old with higher education system. ‘Master and Pupil’ course for the oldest participating children (11–13 years old), is realized as five seminars in one–semester cycle. The Institute of Archaeology University of Warsaw runs the course Per aspera ad astra… within that project. Participants have a possibility to accustom with a variety of aspects of classical archaeology. The program includes basic school knowledge, but at the same time allows to get a new information in many attractive ways. Instead of formal lectures students are motivated to perform various activities within and out of the classroom. Workshops take place at many different places, among them are National Museum, Wilanów Palace and Łazienki Park – to mention most important ones. This enables not only to broaden participant’s knowledge on Roman archaeology, but gives them the opportunity to notice that the antique tradition is present in the literature, art and architecture, and even in the mass culture. Although Poland was never a part of the Imperium Romanum, the antique tradition was one of the principal elements of the development of its culture. Author of this project, based on her own personal experiences and observations wrote a book ‘A Day at the Museum, or the Story of Caius Probinus about Life in Ancient Rome’, which is an example of children book about antiquity. Keywords Children education, archaeology, university

Modern education is one of the most important factors that shape society. One of its elements, perhaps the most important one, is education on the elementary level, directed at children. Beyond the obvious boundaries set by the imposed curriculum, it is necessary to give proper direction to children’s natural curiosity and eagerness to gain new skills. Therefore, one should not only try to teach them something, but also help them grasp the sense in learning the given material. This is the purpose of trying to address not only the What? and the How?, but also the Why? and the What Does It Cause?1 As far as subjects like physics, mathematics and economy are concerned, the answers to these questions are rather obvious, but it is much harder to understand the importance of archaeology. It is easy to make an archaeological show, but besides the ‘wow factor’ consisting in discovering cities beneath the sands or splendid artefacts (purely exotic), there are many aspects of no lesser importance that fail to attract as much attention (not just of children). The issue of teaching and popularisation of archaeology in Poland manifests itself on several levels. One of them, to be sure, is national history; this one is the closest and, at the same time, relatively the easiest to understand: it did not happen In Our Time, but it did happen Here, so it is easier to make the connection between the past and the present. In this case possibilities are offered primarily by museum activities and various reconstructions, of sites (Biskupin,2 Ostrów Lednicki,3 Góra Birów,4 Krzemionki Opatowskie,5 to mention only a few of the oldest ones in Poland) and I am grateful to Dr R. Chowaniec for her help, inspiration and encouragement to undertake the demanding task of presenting archaeological knowledge to the general public.  2  http://www.biskupin.pl 3  http://www.lednicamuzeum.pl/ostrow-lednicki.html 4  http://www.gorabirow.pl/ 5  http://www.geo.uw.edu.pl/KRZEMIONKI/index.htm 1

of activities, e.g. the Archaeological Festival in Biskupin, the Slavs and Vikings Festival in Wolin6 (Chowaniec 2011, 195–217). Another level is more abstract: perceiving the past through ‘pyramids’, or absolutely remote, exotic civilisations of which it is known that they existed, developed, had their achievements, but which, from the viewpoint of everyday life, seem as distant and far-fetched as the world of Star Wars. One usually comes in contact with these civilisations on holiday, armoured with rather limited textbook knowledge conveyed by teachers during history lessons at school. Finally, there is yet another level: learning about Antiquity in the sense of Greek-Roman civilisation. Children in Poland are offered basic facts about the ancient Greeks and Romans and about architectural orders, and they find answers (frequently excerpted from a broader context) to inquiries about philosophers and gladiators.7 However, this information – although it can come in handy during family trips to Greece, Italy, Turkey etc. – is just as interesting (or just as boring), exotic and useless as learning about pyramids and slaves who laboured to build them. This is particularly striking when dealing with young children from countries that lack antique monuments. Such monuments, organically integrated into the landscape not only in Italy, but also in France, Spain, Serbia, in short, direct descendants of the Imperium Romanum, serve as tangible proof that Antiquity is part of local history. Nonetheless, to  http://www.jomsborg-vineta.com/   The school curriculum on elementary (5th grade) and junior high school level (1st grade) assigns these topics to lessons in History and Polish Language, cf. http://www.men.gov.pl/index.php?option= com_content&viewarticle&id=2064%3Apodstawa-programowa &catid=230%3Aksztacenie-i-kadra-ksztacenie-ogolne-podstawaprogramowa&Item. 6 7

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Archaeological Heritage. Methods of Education and Popularization learn about Antiquity is to learn about our common past, common heritage. Therefore, the fundamental task of the educator is not only to pass on the hardly secret knowledge on Classical Antiquity, but above all to attempt to answer the question of why we should learn about it and how it affects the way we look at the world that surrounds us, in our case here, in Poland. The tools that can help us trace these relationships in our homeland are, of course, original artefacts on exhibition at museums, but such objects are relatively scarce in Poland.8 Equally important are all manifestations of the tradition of Antiquity, which we can find in architecture and art, everyday life, literature, etc. Thus, the question is how to teach about antiquity to make it something close to home, understandable and ‘our own’? And another one: why is Classical Antiquity the foundation for understanding and feeling a common European identity, shared heritage and goals?9 The cornerstone of being European is, after all, the continent’s ancient history (Dobrowolski 1994, 55). Among the many communication options available to those who concern themselves with education and with the diffusion of this knowledge, especially among children, there is personal contact. Given the overloaded school programmes and the rather limited time allotted for their realisation, and considering that most children have a much better opportunity to ask open-ended questions outside of school than in class, workshops can offer a chance to respond to many inquiries that would otherwise remain unuttered in classroom conditions (Cooper 1998, 24). For the past few years archaeology and historical studies have been part of a programme of weekend courses organised by Children’s University for students from 6 to 13 years old.10 Particularly worthy of mention is the ‘Master and Pupil’ course for children 11–13 years of age interested in ancient Greece and Rome, titled Per aspera ad astra. It has the form of a one-semester cycle of five seminars (meetings are held once a month), during which students discover the secrets of everyday life in ancient Rome. However, the teacher’s objective is not only to convey and preserve the acquired knowledge, but above all to help understand the purpose of learning such material. The key to this is drawing the students’ attention to various manifestations of the tradition of Antiquity, which – alongside many other components – shaped Polish culture. The programme consists of several workshops, some of which are classroom-based.   In Poland, collections of classical art are primarily housed in the National Museums in Warsaw, Kraków and Poznań, The Princes Czartoryski Museum (Kraków), and museums created in royal and aristocratic residences, such as Łazienki, Wilanów, Łańcut, Gołuchów, and Nieborów. Smaller collections that include Greek and/or Roman antiquities are also in possession of Jagiellonian University and in the Museum of Central Oderland (remains of the collection of Otto von Waldow) in Świdnica. Generally on the content of the collections, cf. Lorentz 1971, 117–129, 237–241, 251–254. 9   T. Mikocki devoted many years of his scientific research to this topic (cf. Rekowska 2012). 10   On Children’s University, its tenets and program, cf. http://www. uniwersytetdzieci.pl. 8

Per aspera ad astra…– success is always paid for with hard work. The course is designed not only to give knowledge in a number of instalments (the only hard work in this case is the lecturer’s: preparing interesting presentations), but mainly to draw the children deeper into the world of Antiquity. Workshop 1 The first lesson focuses on ancient Rome. It is conducted in the form of a lecture, as a scientific narration that introduces the participants to the world of Antiquity, explains it and helps in its appraisal. The students rely on what they already know from school and broaden their knowledge on subjects like the founding of ancient cities, peculiarities of Roman architecture, amenities like aqueducts or sewage removal systems and latrines, recreational facilities (baths, theatre, amphitheatre, circus), reckoning time and calendars, the home and its inhabitants (e.g. the formation of Roman names). In order to solidify what was learned, the children are asked to complete various tasks, like making a graphic presentation of a plan of a typical Roman city, abiding by the rules of its establishment and marking the main buildings. The second part of the workshop takes the form of a lesson in a Roman school, including conveying basic information on the creation of the Latin alphabet and making calculations using an abacus. Workshop 2 (Figures 1 and2) During the next lesson, which takes place at the Gallery of Ancient Art in the National Museum in Warsaw, the students are given a set of tasks, the central theme of which is ‘Life and death at the National Museum’. The children are asked to search for information in the sources in order to answer specific questions about the past. However, besides responding to general questions designed to hone the children’s comprehension skills (How was it made? How was it used? How did it affect the lives of people who made/used it?) the students have to interpret the iconography of various artefacts in order to answer more detailed questions. Developing the ability to break the code in which these objects speak allows the students to apply the learned scheme when viewing other exhibits on their own (Zielecki 2007). From representations on Greek vases they learn about everyday life.11 By looking at sculptures (both mythological and portrait statues) they learn about costumes and hairstyles and recognise the value of these observations for the chronology. Based on urns, sarcophagi and stelae they broaden their knowledge of beliefs regarding the afterlife.12  They have to find scenes in a workshop and answer what was produced and how. From domestic scenes they learn how free time was spent, how children played, and even try to answer questions on the role of men and women in ancient society. 12  They answer questions like: How were the dead buried? What were the 11

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Figure 1. National Museum in Warsaw, workshop 2: Greek vases (2010) (photo M. Marciniak).

Figure 2. National Museum in Warsaw, workshop 2: Roman sculpture (2010) (photo M. Marciniak). Workshop 3 (Figures 3 and 4) The next lesson takes place in Łazienki Park. It is a parkand-residence complex typical of the period of increased names of ‘containers’ used for this purpose? How were they decorated? What symbolic meaning this decoration had? and are asked to give their own suggestions.

interest in Antiquity, one of the favourite places of the last king of Poland (an enthusiast of Antiquity and a patron of many artists), where antique-style buildings, as well as original ancient sculptures and their copies constituted an integral part of the decorative programme.13 The title   The bibliography of the park and its decoration, as well as the role of Stanislaw August Poniatowski in the diffusion of Antiquity is very broad, 13

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Figure 3. Łazienki Park, Warsaw, workshop 3: Egyptian temple (2011) (photo J. Rusykowska).

Figure 4. Łazienki Park, Old Orangerie (2011) (photo M. Rekowska–Ruszkowska). and theme of this workshop: ‘In search of ancient gods, goddesses and other mythical creatures’, indicates its chief purpose which is to open a discussion on mythology. Presented with a prepared set of activities, the children search the park. Upon finding the Diana Temple and the to mention only few works (cf. Godziejewska 1991; Mańkowski 1976; Mańkowski 1983). On Łazienki cf. Mańkowski 2000 oraz http://www. lazienki-krolewskie.pl.

Egyptian temple, the children give examples of gods worshipped by ancient Romans – typically Roman deities, as well as those of Greek origin and those imported from Egypt. In the Theatre on the Water (Sadurska 1984; Sadurska 1988) they are introduced to the world of Dionysus. In addition, taking advantage of the remarkable scenery, the students act out short scenes, in which they pose as gods, while the others guess which god they are. Another Classicist building, a water reservoir whose shape imitates the tomb of Caecilia Metella in Rome, allows 148

Monika Rekowska-Ruszkowska: Per aspera ad astra... Children at the Universit to recall the figure of Hades and myths connected with descending to or returning from the underworld. Lastly, the students visit the collection of copies of the most famous ancient sculptures, housed at the Old Orangery in Łazienki Park (Mikocki and Korotaj 1989a). The collection of plaster casts (more than 500 objects!) acquired by King Stanisław August Poniatowski and arranged in a painting studio (Malarnia) at the Royal Castle had utilitarian value from the very beginning because the copies were to serve as models for Polish sculptors and painters. Following the king’s death, from 1817 onwards, the entire collection was housed at the Kazimierzowski Palace in Krakowskie Przedmieście Street in Warsaw, where it played a didactic role in teaching university students. Also today, despite many new possibilities (mainly owed to the development of virtual galleries and ever-improving access to museum collections on-line) it offers a fuller and more profound contact with ancient iconography. In the midst of works of art, the students are divided into teams and asked to complete tasks. They use knowledge obtained in school to identify the iconography of mythological representations, at the same time learning to analyse objects of this kind on their own.14 Workshop 4 The objective of the field trip to the University campus (organised in the form of a game in public space) is to build awareness of the living tradition of Antiquity, manifestations of which can be found not only in architecture and sculpture, but also in everyday life. As students complete tasks and look for answers to questions, about architectural orders and ornaments used in Classicist structures and about ancient motifs or references to Greek and Roman symbols employed in their decoration, they stand convinced that Antiquity is still around us. They find further proof of it in contemporary sayings and proverbs and see echoes of Roman customs (and superstitions) in modern-day tradition.15 Workshop 5 During the last lesson, which takes place in a classroom, the participants present mystery stories with ancient Rome in the background. The seminar allows them to put the acquired knowledge into action. In the stories, from which the course participants choose the one with the best plot, the students use various elements alluding to the reality of ancient Rome, starting with the names of the main characters, through the time and place of the story, to the plan of the Roman house or topography of the city   For instance, the children are asked to find gods/goddesses/other mythical creatures known for their courage and gallantry and myths in which these traits are demonstrated, or find three different images of Dionysus and respond to questions like: How do we recognise this god? Was he always presented in the same fashion? How (and why) did his representations differ? 15  ‘Antiquity at the University of Warsaw’ at http:// www.archeodzieciaki. pl/images/stories/file/gra_antyk/pdf.

Figure 5. Diploma for the winner, Latin text translated by T. Płóciennik, project A. Deptuła. and the role of gods and religious rites in everyday life.16 The stories (as a form of dynamic historical narration, cf. Zielecki 2007, 294) invented by the children are proof of their independent thinking. Listening to stories offers new knowledge and develops the imagination, but their creation stimulates the intellect and puts large amounts of information to use far more creatively than answering standardised tests or quizzes. The advantage of such stories is the credibility of the events included in them (Cooper 1998, 77–8). Besides, they are a wonderful way to not only fix acquired knowledge, but also to start looking for more data in new sources.17 At the end, the best story (the fellow students evaluate the plot and the lecturer assesses the use of “Roman” details) is rewarded with a certificate (Figure 5) and a book, which, despite the rapidly developing world and new technologies, is still the most important means of conveying knowledge. In this regard it is unfortunate that the Polish market has a very limited offer of books presenting Antiquity to the general public. These books are targeted usually at small

14

  Three semesters have yielded a dozen or so stories, several of which are available on-line: http://www.uniwersytetdzieci.pl/clubs/ showelements944/Note The Mysterious Mystery of Mysteries; The Headless Rider; Death in Rome; How Octavian Augustus Really Died. 17   It conforms to the commonly accepted methodological norms mentioned i.e. by Davis (2005, 94–95) in the chapter ‘Telling stories. Constructing the Past through Archaeology’. 16

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Archaeological Heritage. Methods of Education and Popularization which interactive methods of presentation play a major role.20 A book written with Polish children in mind, drawing on personal experiences and observations, is ‘A Day at the Museum, or the Story of Caius Probinus about Life in Ancient Rome’ (Rekowska 2011). Its targets are young readers in the 11–13 years age group, students of the last two grades of elementary school and first year of junior high school (Figure 6).

Figure 6. ‘A Day at the Museum...’ (book cover, project J. Żero). children or adults, and the books for adult readers often focus on the dark, bloody or lustful secrets of ancient Rome. As a rule, the available books are compilations of encyclopaedic information (especially on mythology or history), collections of fun facts on various topics18 or essentially guide books.19 These publications provide many facts, but do not contain any suggestions that would encourage the young reader to learn through games that put their acquired knowledge into use. It is common knowledge that for children who want to understand the world they live in the best way to explore it is through play. Of no less importance is the fact that available publications are Polish translations of texts written for foreign readers whose experiences are different and who have different possibilities of pursuing their interests. The only available storybooks written by Polish authors concern Classical mythology. Antiquity is perceived differently by a young reader from Poland than by a child from Italy, France, Spain or even Britain. In those countries Greek and Roman monuments are an integral part of the landscape and museums house regularly modernised exhibitions, in   Mostly based on short and exciting trivia (like Ford, M. 2004. Nie chciałbyś być greckim atletą! (You Wouldn’t Want to Be a Greek Athlete!). Warszawa; Malam, J. 2005. Nie chciałbyś być rzymskim gladiatorem! (You Wouldn’t Want to Be a Roman Gladiator!). Warszawa; Macdonald, F. 2004. Ciekawe dlaczego Grecy budowali świątynie i inne pytania na temat starożytnej Grecji (original title: Greeks Built Temples). Warszawa; Macdonald, F. 2005. Ciekawe dlaczego Rzymianie nosili togi i inne pytania na temat starożytnego Rzymu (original title: Romans wore Togas). Warszawa, or more general works about Greek-Roman civilization (cf. Deary, T. 2004. Ci rewelacyjni Grecy (The Groovy Greeks). Warszawa; Deary, T. 2004. Ci wredni Rzymianie (The Rotten Romans). Warszawa; Deary, T. 2010. Starożytny Rzym (original title: Gli antichi Romani).Poznań; Deary, T. 2008. Starożytna Grecja (Step into the world of ... Ancient Greece).Poznań; Murrell, D. 2005. Moja najlepsza książka o starożytnym Rzymie (original title: My Best Book of Ancient Rome). Warszawa. 19   Primarily about two centers, Athens and Rome (like ‘A Visitor’s Guide to Ancient Rome’ by Lesley Sims, published in 2003 as part of the series Young Tourist’s Guide). 18

The book has a tripartite structure. The point of departure is a visit by a school group at the Arkadia Park near Nieborów, which houses a collection of Greek and Roman antiquities acquired in the 19th century by Duchess Helena Radziwiłł (Mikocki 1995). During a guided tour of the collection the children are provided with basic information about Roman artefacts and related topics (such as funerary monuments, Classical mythology). The tour constitutes the first layer of the book, which intertwines with the second one. During the tour a figure of a Roman boy (whose name was written on an urn that the children look at) appears to one of the girls. He talks about everyday life in Rome in the time of Emperor Claudius from the viewpoint of a child (second layer). The story is interrupted by proposals of various activities (lessons in a Roman school, games of Roman children, culinary experiments) and tasks. Their aim is to get the young reader to join an interactive game, in which he or she puts acquired knowledge into practice (this constitutes the third level of the book).21 The chapters into which the book is divided give a glimpse of its subject matter: ‘The Roman house and its inhabitants’; ‘The Roman school, teachers, books... boooring!’; ‘What and how food was eaten in a Roman house and how a good little Roman girl should spend her time’; ‘After chores comes a time for fun’ (In a  Roman theatre you can laugh and you can cry…; I always cheered for the Greens at the circus…; Julia didn’t like bloody shows at the amphitheatre…; Baths – for health’s sake and for fun…), ‘Give the gods what’s divine and the emperors what’s imperial; How the gods’ will is unknown and what awaits us after death’. Additional information (about the Roman calendar and monetary system) and a test to check what has been learned (with an answer key) are found at the end of the book, and as a bonus the book includes a board game On the Founding of Rome, the rules of which provide an easy way to learn and remember the legend of the founding of Rome. A careful reader will also find the book a source of explanations of many proverbs and sayings used until today in modern languages (not only in Polish).   Cf. in particular, an excellent website with many suggestions for both children and adolescents: www.britishmuseum.org. Other examples cited by Chowaniec 2011, 158–161. 21   Like a cross-out puzzle with names of vessels; lessons on doing maths using an abacus; information on the monetary system with exercises to fix acquired knowledge; a crossword puzzle with rhymes about gods and goddesses, etc. 20

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Monika Rekowska-Ruszkowska: Per aspera ad astra... Children at the Universit Introducing Polish reality (by presenting one of the Polish collections of antiquities) additionally encourages the reader to visit the collections, whose contents are an important part of Polish culture, rich in philological and Classical tradition. The book is a rare popular science work that meets the methodological conditions set for such publications (Zielecki 2005, 312–22). Scientific literature for the general public plays a vital role in education, as it constitutes a valuable addition to textbooks. The presented book may therefore be used not only by teachers of history, but also of Polish language and literature or maths, as supplementary material for classroom use. It can suggest new ideas or help them introduce new activities. Sources for reconstructing the past are usually incomplete and the answers to questions we ask of them seldom go beyond hypotheses. That is why it is so important to make young people aware of the existence of many types of sources (sites, buildings, artefacts, written sources, etc.) and convince them that these sources complement one another. Equally important in the educational process is to raise awareness of the connection between the past and the present, which should be achieved by using various methods adjusted to the cognitive and educational goals, and especially to the age of the students. However, regardless of the imposed limits the fundamental aim of presenting archaeology to the general public and promoting heritage should simply be to inspire a passion for the past. Bibliography

Kwiatkowski, M. 2000. Wielka Księga Łazienek. Warszawa. Kwiatkowski, M. 1983. Stanisław August, król –architekt. Wrocław–Warszawa–Kraków. Mikocki,T. and Korotaj, M. 1989. Odlewy gipsowe rzeźb starożytnych w Starej Pomarańczarni w warszawskich Łazienkach, Archiwum Filologiczne KNoKA PAN XLVII. Wrocław–Warszawa–Kraków–Gdańsk–Łódź. Mikocki, T. 1995. Collection de la Princesse Radziwiłł. Les monuments antiques et antiquisants d‘Arcadie et du château de Nieborów. Wrocław–Warszawa. Rekowska, M. 2012. European Identity and Polish Culture – Tomasz Mikocki’s studies on tradition of ancient art. In J. Lech (ed.), Archeologia Polona. History of 20th century archaeology. In print. Sadurska, A. 1984. Le théâtre sur l’eau de Łazienki (“amphithéâtre”) et le programme de son décor. Rocznik Muzeum Narodowego w Warszawie 28, 83–104. Sadurska, A. 1988. ‘Ruiny Palmyry’ w Warszawie. In Z. Bania, A. Baranowski, M. Brykowska, J. Chrościcki and M. Grzybkowski (eds.), Podług nieba i zwyczaju polskiego. Studia z historii architektury, sztuki i kultury ofiarowane Adamowi Miłobędzkiemu, 399–404. Warszawa. Zielecki, A. 2007. Wprowadzenie do dydaktyki historii. Kraków. Dr Monika Rekowska-Ruszkowska Institute of Archaeology University of Warsaw Krakowskie Przedmieście 26/28 00–927 Warsaw, Poland e-mail: [email protected]

Chowaniec, R. 2011. Dziedzictwo archeologiczne w Polsce. Formy edukacji i popularyzacji. Warszawa. Cooper, H. 1998. History in the early years. London–New York. Davis, M. E. 2005. How students understand the past. From theory to practise. Walnut Creek–Lanham. Dobrowolski, W. 1994. Antyk i jego miejsce w współczesności. Meander 1–2, 55–67. Duckworth, E., Easley, J., Hawkins, D. And Henriques, A. 1990. Science Education, A Minds-On Approach for the Elementary Years. Hillsdale. Emmott, K. 1989. A Child’s Perspective on the Past: Influences of Home, Media and School. In R. Layton (ed.), Who needs the Past?, 21–44. London. Godziejewska, G. 1991. Zbiory starożytnicze Stanisława Augusta Poniatowskiego jako przejaw miłośnictwa antyku w Polsce w drugiej połowie XVIII w. In A. Sadurska (ed.), Z dziejów miłośnictwa antyku w Polsce, 77–155. Warszawa. Harrison, T. 2004. I’ll never be the same again. euroREA 1, 121–125. Lorentz, S. 1971. Przewodnik po muzeach i zbiorach w Polsce. Warszawa. Mańkowski, T. 1976. Mecenat artystyczny Stanisława Augusta Poniatowskiego. Warszawa.

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Virtual reconstruction as an archaeological didactic tool Karolina Rosińska-Balik Abstract In my paper I would like to present some examples of 3D reconstructions from different parts of the World and different ages: Egyptian Early Dynastic graves, Egyptian New Kingdom palace, Roman temple and a medieval market. In each case I would like to show the variety of possibilities in three dimensional displaying of the past and some suggestions as to how to use them. Keywords Archaeological reconstruction, 3D reconstruction, virtual reconstruction

Archeology is a field which benefits from the achievements of science and technology by being constantly enriched with new research techniques and forms of presentation of results. Nowadays, comprehensive reports with scant drawings legible only for the initiated are no longer sufficient. The omnipresent pressure to visualize has forced archeologists to make their results more appealing by means of the easiest and most accessible forms of drawings, photographs and eventually photorealistic computer reconstructions, which are often more expressive than a thousand words. Such reconstructions can become a didactic tool, facilitating for example acquisition of knowledge about architecture. This statement is true not only for book publications, but also for multimedia presentations of different kinds. Internet use is a particularly good example. These new tools produce excellent opportunities for viewing what ancient Egyptian graves or a Roman temple from the times of Augustus could have looked like. Virtual structures show lost or damaged architecture, which the undoubtedly invasive research methods of archeology could never do. The first example is a reconstruction of an Early Dynastic grave, marked as number 100 from a cemetery in Tell el–Farkha, a site in Egypt explored by the Jagiellonian University and the Archeological Museum in Poznań (cf. Chłodnicki and Ciałowicz, Polish Archaeology in Mediterranean). Archaeological research conducted for the past 11 years at Tell el–Farkha has led to the discovery, among others, of about 120 graves, many of them with rich sets of grave goods including pottery and stone dishes, as well as other equipment. In effect of a thorough analysis, the graves have been subdivided into three groups by type, dating from the times of Dynasty O to the Third-Fourth Dynasties, that is, the Old Kingdom (Dębowska–Ludwin 2009, 457–486). The single burial chamber has average dimensions for this group (270cm × 160cm), but the superstructure in the form of a square mastaba is enormous, reaching 6m to the side and 150cm in height. The façade of the mastaba was decorated on three sides with a row of niches creating a sinusoidal edge in projection. It is probably the oldest example of a mastaba in Lower Egypt. The grave belonged to a 30–35 year old man, whose body was laid out on the left side, the head pointing north. The set of accompanying

grave goods was quite rich: 35 ceramic vessels, six stone vessels, one pottery shovel, one grinder, one bead of carnelian and some animal bones. The inside of the grave pit was filled with a thick deposit of river mud, presumably to protect the deceased and his grave goods (Dębowska– Ludwin et al. 2009, 23–42). The tomb’s peculiarity lies in the presence of four ancillary graves. Three of the bodies were of children of 5–10 years, while the fourth body was in such poor condition that the age at death could not be determined. All four burials were under the superstructure, but they had obviously been made during the construction of the mastaba. There were no accompanying grave goods and the bodies were laid in contracted position, on their sides, the heads either to the north or south (Dębowska– Ludwin et al. 2009, 23–42). The grave is one of a series with similar construction, but it is also unique because of the presence of ancillary burials, which are seldom noted in this period. By this example I would like to suggest a few forms of virtual transmission. Animation has become one of the most impressive forms of transmission recently, along with three-dimensional reconstructions, which have also been successful in archeology. This form permits all sides of the object to be viewed and allows the inverted sequence of events, for example, to be traced. In this case, we can see (Figure 1) the recreated process of burial: (1) placing the body in the burial chamber, (2) placing the grave goods, (3 and 4) protecting the burial by filling it with river mud, (5) burying the other individuals, and, finally, (6) construction of the earth superstructure. A detailed overview of the grave goods is not possible because of the large number of elements forming the discussed example of burial reconstruction. At this point, it is possible to employ another form of multimedia transmission, giving an interactive close-up view of indicated elements. For each selected element selected there is the possibility of attaching an explanatory description (Figure 2), as well as subsequent images of this element, facilitating a thorough investigation of a given issue. In this particular case, the pottery vessels have been presented as discovered plus their reconstructed shape, as well as a description of the burial and other elements of the grave equipment. Another example is a reconstruction of the palace of the Pharaoh Akhenaten Pharaoh from Akhetaten, now

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Figure 1. Phases of the grave erection (reconstruction by author).

Figure 2. An interactive view of burial offerings with detailed information given with in situ photography and picture of artifact after cleaning (reconstruction by author, photo R. Słaboński). 154

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Figure 3. Comparison of present view of Amarna remains of Akhenaten Palace (Google Earth) with its reconstruction (by author).

Figure 4. Drawing of the window with royal family from Amarna’s tomb (cf. Lipińska 1977, Figure 133) (left) and proposal of interpretation (reconstructions by author). Amarna, in Egypt. The main residence of Akhenaten and his official palace were located in the city center, between arable fields and the so called Royal Road (Lipińska 1977, 183–185). The main room was a big hall with 12 columns covered with faience tiles and stucco flooring with picturesque decoration. The official part of the palace with roomy courtyards formed the center of the building; it was decorated with statues of the king and queen made of granite and quartzite. Ramps led up to the rooms surrounding the courtyards. There was a columned hall behind the central courtyard. Higher columns in the central nave may have allowed for clerestory windows to light up the interior (Samson 1972, 10–13). The king’s private suite was located on the opposite side of the Royal Road and the two parts of the palace were connected by a passage, a kind of bridge of brick supported on cedar beams, suspended above the road. In the covered ground part there were rooms richly decorated with paintings, an

embellished window was opened in the center, where the king presented himself to his subjects (Pendlebury 1935, 88). Representations of this window have been noted in the iconography of Amarna reliefs. Surrounding the king’s private rooms, which overlooked an extensive garden, were servant quarters, while in the heart of the palace, behind a separate courtyard, there was a row of warehouses (Samson 1972, 10–13). Despite the detailed character of this description, visiting the scarce surviving remnants of this architectural complex (Figure 3) does not permit the visitor’s imagination to fly. However, it is possible to make a three–dimensional interpretation of this palace using data from the excavations and from analogous architectural complexes of approximately the same date, as well as the said iconographical sources (Figure 4). In combination with the modern image, such an interpretation may give the impression of moving back in time.

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Figure 5. The Temple of Divus Iulius built step-by-step (reconstruction by author).

Figure 6. Interactive lesson of history of Ancient Rome architecture. a. Description of classical style (http://gallica.bnf. fr/ark:/12148/btv1b2000057n/f32.item 31.01.2012), b. Present view of the temple remains (http://lh6.ggpht.com/_ BfMpPttUdpM/Rp5BS12gu6I/AAAAAAAAAyY/nwvENaEqSTE/P1000594.JPG 24.06.2008), c. Details from excavation used to reconstruction (cf. Richter 1889, 142, 2a, b, c, 3a, b, c, 4), d. Imagine of the temple on Hadrian’s coins (cf. Richter 1889, 144, 6 a, b, c) (reconstruction by author). 156

Karolina Rosińska-Balik: Virtual reconstruction as an archaeological didactic tool Let us now jump several centuries to the capital of another empire, Rome of the times of Augustus, in order to reconstruct the Temple of DivusIulius from the Forum Romanum. The decision to erect the temple was made simultaneously with the announcement of the divinity of Augustus Caesar, Antonius and Lepidus in 42 BC.1 The following description of the temple was mainly based on the article by Otto Richtertitled ‘Die Augustusbauten auf dem Forum Romanum’(1889), a treatise by Vitruvius ‘On architecture’ and the work of Wilfried Koch entitled ‘Baustilkunde’. The temple was built in the southeastern part of the Forum Romanum. The edifice rests on a foundation, which is 12 ancient Roman feet high. This foundation was a rostrum in front, with a niche cut-out on the axis, the place of Caesar’s cremation. The rostrum was approached by symmetrical flights of steps about 3m wide. Images on the coins from Hadrian’s times have supported a suggestion that these terraces were used as a kind of art gallery to display statues, e.g. a quadriga (Cohen 1880–1892, 416–419). Balustrades running along the terraces and at the front of the rostrum with the opening for the speaker are reconstructed after the same coins. The actual temple of DivusIulius stood on the high stylobate described above. It is composed of a naos forming the entire width of the edifice, where the statue of Divine Julius with the characteristic star, or rather a comet on his head was supposed to be placed. The statue was visible from the outside through the high and wide door opening and the framing formed by the columns placed at the front. Excavated fragments of the decoration, such as the entablature, compare with a similar profiling of the Temple of Saturn and images on coins, e.g. a Vienna copy of Hadrian’s coin (Cohen 1880–1892, 416–419), indicating an Ionic or composite order. The height of the temple can be reconstructed on the basis of preserved fragments of columns, as well as by means of calculations made on the basis of an ancient architectural manual, that is, the work by Vitruvius. Thus, given the dimensions of the plinth under a column, which measures 177cm, and applying Vitruvius’ principles in the calculation, we get a height for the temple together with the tympanum equaling 20 feet or 5.9m (Richter 1889, 138–147). Particular elements of the temple were reconstructed based on archeological material, ancient descriptions and images from coins and they were the put together to create a complete image of the edifice. Only the lower part of the temple can be seen in reality, but using numerous suggestions from different sources, it was possible to reproduce the temple exterior quite faithfully. Considering   Interestingly, long before the actual construction of the temple, it had been included in Augustus’ propaganda campaign, effected by the language of images. For this purpose he issued coins in 29 BC with an image of the temple together with the clearly marked star of Julius in the tympanum and a well visible inscription, divoiulio, meaning ‘for divine Julius’, as well as an altar located on the left, which was also strongly marked in the block of the Temple (cf. Beck 1987, 43–44). 1

that the temple is a classic example of Roman sanctuaries, the reconstruction can serve as a wonderful tool for explaining and extending knowledge of architectural issues of the age. It is possible, for example, ‘to build’ the entire temple from particular elements, step by step (Figure 5). It is also a form of interactive lesson on architecture using authentic examples and a presentation of how data from sources other than actually preserved fragments, like descriptions by ancient authors, can be used in the process (Figure 6). The last example illustrating the possibilities of virtual reconstructions is the Market Square in Kraków which demonstrates how a medieval town developed over the centuries. A contemporary photograph from the tower of St. Mary’s Church was juxtaposed with three visualizations from a similar viewpoint. The reconstruction in the visualizations was carried out mainly on the basis of prints and paintings showing the former appearance of this particular part of Kraków, the so-called ‘Plan Pucka’ and the results of archeological research (cf. Komorowski and Sudacka 2008). The first visualization refers to the late medieval period and it shows the original form of still standing features like the Gothic Cloth Hall and the Romanesque church of St. Adalbert. It also shows two buildings of the Small and Great Balance Houses, which have long since disappeared from the Market. The only tangible evidence of their existence are the remains of walls, hidden under several layers of pavement (soon to be visited in the underground Museum of the Main Market Square). Tourists unfamiliar with the history of Kraków, as well as Kraków residents, will discover that in the Town Hall tower was once part of an extensive City Hall building. The second visualization brings the viewer into the Renaissance period and illustrates the changes which occurred in the buildings. The Cloth Hall, stripped of its steep hipped roofs and embellished with an attic, is much more like its modern form. The roof and arcades of the Small Balance House were obviously rebuilt in compliance with the principles of construction and architectural art of the time. The Town Hall was expanded, taking up almost half of the western part of the Market area. The third visualization shows the situation at the beginning of the 19th century, when the Small Balance House was knocked down and the Great Balance House was rebuilt and given a hipped roof. Buildings in the Market Square were rebuilt not only because of the demands of their users over time, but also because of the rising street surface in the square: an average of 1.5m from the early Middle Ages, which caused entrances to buildings to be blocked and turned what had been ground floors into basements. There was no way to show in the visualizations the multiple brick and wooden developments of stalls scattered all over the Market Square. 157

Archaeological Heritage. Methods of Education and Popularization Contemporary photographs leave no illusions. There is no trace of the Balance Houses and the stalls scattered in the market place. Their place today is occupied by restaurant tables shaded by umbrellas, where tourist can sit and observe the buzz centered around the dominant monument of Adam Mickiewicz. The above examples show the unlimited possibilities provided by virtual reconstructions. They can reconstruct lost elements of history, as well as explain, clearly and visually, secrets of the past, including the architectural past. The main advantage in presenting architectural objects in this way is the possibility of adding, removing and changing different elements as new data and new interpretations emerge. In today’s pictorial culture, as our times are sometimes called, this method is an attractive form of transmission, which becomes an interesting and modern didactic tool when its interactivity is considered.

Koch, F. 2003. Baustilkunde. Munchen. Komorowski, W. and Sudacka, A. 2008. Rynek Główny w Krakowie. Wrocław. Lipińska, J. 1977. Historia architektury starożytnego Egiptu. Warszawa. Pendlebury, J. D. S. 1935. Tell el–Amarna. London. Richter, O. 1889. Die Augustusbauten auf dem Forum Romanum. Berlin Jahrbuch des Deutschen Archäologischen Instituts, 137–162. Berlin. Samson, J. 1972. Amarna. City of Ahkenaten and Nefertiti. Key pieces from the Petrie Collection. London. Granger, F. (translator) 1931. Vitruvius, On Architecture, Loeb Classical Library no 251. Harvard. Mrs Karolina Rosińska-Balik Institute of Archaeology Jagiellonian University Kraków, Poland e-mail: [email protected]

Bibliography Beck, C. H. 1987. Augustus und die Macht der Bilder. Munchen. Chłodnicki, M. and Ciałowicz, K. M. 1999. Tell el– Farkha. Explorations 1998. Polish Archaeology in the Mediterranean X, 63–70. Chłodnicki, M. and Ciałowicz, K. M. 2000. Tell el–Farkha (Ghazala). Explorations 1999.Polish Archaeology in the Mediterranean XI, 59–76. Chłodnicki, M. and Ciałowicz, K. M. 2001. Tell el–Farkha (Ghazala). Interim report 2000.Polish Archaeology in the Mediterranean XII, 85–97. Chłodnicki, M. and Ciałowicz, K. M. 2002. Tell el–Farkha (Ghazala). Season 2001. Polish Archaeology in the Mediterranean XIII, 105–126. Chłodnicki, M. and, Ciałowicz, K. M. 2003. Tell el– Farkha (Ghazala). Season 2002. Polish Archaeology in the Mediterranean XIV, 99–109. Chłodnicki, M. and Ciałowicz, K. M. 2004. Tell el–Farkha (Ghazala). Season 2003. Polish Archaeology in the Mediterranean XV, 101–109. Chłodnicki, M. and Ciałowicz, K. M. 2005. Tell el–Farkha (Ghazala). Season 2004. Polish Archaeology in the Mediterranean XVI, 113–145. Chłodnicki, M. and Ciałowicz, K. M. 2007. Tell el–Farkha (Ghazala). Season 2005. Polish Archaeology in the Mediterranean XVII, 143–154. Chłodnicki, M. and Ciałowicz, K. M. 2008. Tell el–Farkha (Ghazala). Season 2006. Polish Archaeology in the Mediterranean XVIII, 127–153. Cohen, H. 1880–1892. Description Historique des monnaies frappées sous l’Empire Romain. Paris. Dębowska–Ludwin, J. 2009. Tell el–Farkha necropolis 2001–2006. The catalogue of graves. Recherches Archéologique 1, 457–486. Kraków. Dębowska–Ludwin, J., Jucha, M. A., Kołodziejczyk, P. and Pryc G. 2010. Tell el–Farcha (2009 season): grave no. 100. Studies in Ancient Art and Civilization 14, 23–42. Kraków. 158

Archaeology as a tool for rehabilitation of people with special needs (and vice versa) Dario Scarpati Abstract The use of archaeology in the field of rehabilitation of people with mental disability and/or behavioural disabilities is a new application of this science. The results acquired during experimental laboratory studies have been very encouraging in both directions: archaeology is very useful for these people and they can be very important for archaeology. Keywords Mental and behavioural disability, rehabilitation, archaeology, experimental laboratory

For more than ten years the present author has been testing the uses of archaeology in the field of rehabilitation of people (mainly youngsters) with mental and/or behavioural disabilities. The idea started long before, I had started working with the disabled while still a student at the university, as part of my civil service instead of the military service, which I, as an objector, did not do. I realized that it was possible to improve children’s attention span by telling stories of ancient Rome and then taking them to visit archaeological sites and museums. My experience in these activities gradually led to increasingly focused questions: Was it possible to use archaeology as a social science, as a useful tool in making contact with people with disabilities? Could it be used to extend the cognitive, sensory and relational skills of people with disabilities? Which parts of the science present are most effective for this purpose? And, why archaeology? With these questions on mind, I started research on a discipline with enormous potential despite sliding sometimes into pure antiquarian science. Potential, which is there, although certainly hidden and not easily brought to the surface. To begin, I wish to acknowledge institutions without which I could not have developed my research: the municipality of Poggio Mirteto and the Civic Museum MuBaM; the Italian Red Cross (which operated the first experimental archaeology lab for mentally handicapped young adults in the Daily Centre ‘Archimede’, in 2002–2003); ICOM (Thematic Commission on museum usability); Archaeological Superintendence of Lazio in the person of Dr G. Alvino; and, last but not least, the ‘Tangram’ Rehabilitative Centre in Rome, where we have the two longer–life laboratories. And, of course, many people and institutions, public and private, operative in the fields of archaeological and museum researches or in rehabilitation, who have worked with us and helped us to evaluate, improve, and extend our experience. Archaeology is a versatile science with a strong base in everyday actions and objects. It allows personal experience to be compared with historical experience and to understand in this way the common moments in human life. It is a journey from oneself to the other, a journey in time and space. Because of this, archaeology can have a strong and clear, social and rehabilitative value. But

the first aspect to consider is that archaeology is a real ‘science’, with rules, duties and …– why not? – rights. So we can use it to improve different aspects. First of all, knowledge. The starting point for getting to know objects of everyday use can be our personal experience; ‘observing’ helps to recognize; and ‘recognizing’ helps in describing objects and history. To describe, thus, means to build a strong relationship between observer and observed. But, at the same time, ‘to describe’ means to tell something to someone: first to parents, then to friends, and at the end, to unknown people in the public at large. It means that these children become the ‘protagonist’ (perhaps for the first time in life – keep in mind the marginal role of mentally disabled youngsters in our so–called ‘normal’ society). They must ‘know’ the ancient ages (remember: they are in the role of experts), so they must ‘study’, observe, and compare their life with that of ancient people. And they must learn to take into account ‘others’, all the others, in fact. At the same time, their curiosity is aroused and very likely they can get rid of some of their fears; after all, archaeology is a ‘dirty’ science and very manual, which is one of its great strengths. Working with a professor dressed in jacket and tie, feeling too often the mental distance, is much different from sitting side by side with someone else in a hole in the ground, exchanging trowels, brushes and pencil. Keep in mind that one must/can touch the earth; people living in towns are not used to doing so. Children are permitted to ‘get dirty’ without reproach: it is their work. Thus they discover an aspect of freedom. During fieldwork, children discover hidden objects (and civilities); in the laboratory they must wash, restore, and draw these objects. And always using their hands! Of course, supervisor(s) must be careful to graduate difficulties for their pupils; there is always the risk of misevaluating individual potential and abilities. To minimize this risk, it is good practise to develop a relationship between the participants. Hence relationships are the second important thing. Archaeology is team work, where everyone has his/her own tasks. In this way individual projects can be planned (each participants needs to be given such a project) as part of the ‘team’ project. The ‘group’ is great potential: each pupil has an individual goal, but he ‘must’ share it with others. So he/she can improve his/her abilities not only alone, but also in harmony with others. Thus, we come 159

Archaeological Heritage. Methods of Education and Popularization

Figure 1. Everyone has own aim. But an archaeology is a team work (photo D. Scarpati).

Figure 2. The cleaning of archaeological fragments: an important work made together (photo D. Scarpati).

Figure 3. We are famous! A newspaper was interested in us, improves self-esteem of the pupils and of the operators too! 160

Dario Scarpati: Archaeology as a tool for rehabilitation of people with special needs (and vice versa) to emotions. The rules are set and now it is the children’s duty to explain about their work, their discoveries, and how hard it was to achieve them. They ‘must’ lose their shyness, and come out, reach out to others: to discover, to bring objects (and civilities) to a new life, to tell; and sometimes to read about their work in a newspaper – these are deep emotions! How an Experimental Archaeology Laboratory for the Mentally Disabled works? The goals of a laboratory for the mentally disabled are twofold. Firstly, the purpose is plainly rehabilitative. Archaeology in this case is used as a means to extend and reinforce cognitive, manual and relational abilities of the subjects. Secondly, an operative model is produced, necessary for confrontation with a wider audience of archaeology users. So, every phase in this work must be developed with both aims in mind. It is possible to distinguish the different steps. First, acquaintance with an archaeological object; naturally, acquisition of objects must be in total accord with archaeological institutions. Then, finding confidence with the objects: touching them, learning how to look at them, washing them. Next, ‘recognizing’ material: classification and identification; drawing, cataloging and photographing. Then, approaching an archaeological site (and, if possible, excavation techniques) and finally, exhibition. In the laboratory, mainly objects of everyday use are needed: kitchen pottery, construction materials, some lamps and amphoras. The condition of the objects is not important: one could restore only a few pieces and in fragmentary way. The most important thing is to communicate, not to accomplish the work perfectly (a difficult concept for ‘lay people’). The first step is contact with an archaeological object. I strongly believe in the saying: If I listen, I forget; if I see, I remember; if I do, I learn. The difficulty is twofold: touching ‘dirty’ objects (it can be difficult to handle earth, water etc. and to overcome the fear of being reprimanded) and ‘knowing’ that these objects are so ancient, so ‘venerable’ as a relic. These two contrasting feelings are very strong in the first days of the laboratory (the same happens when an excavation is addressed for the first time). But an ‘archaeologist’ must overcome this fear: and so we have to start to handle and observe the fragments. It is important for everyone to hold the objects in their hands and to ‘see’ them from close up, smell them, indeed ‘eat’ them (I often use words like ‘eat’ and ‘smell’: they are part of the common language and facilitate understanding). One of the first approaches for students in archaeology is washing the material. The same is proposed in the laboratory. After some moments of real fear (I will dirty my pants, my t–shirt. What will my mother say?) and after

seeing the supervisor do the same (dirty his/her clothes), step by step the ‘atmosphere’ lightens. Washing pottery is important work, but does not imply a full attention span all the time. Children can be distracted a little without any trouble. They can talk with their neighbors, knowing they are still doing important (and ‘scientific’) work. This builds the foundation for teamwork: everyone is involved, they can discuss among themselves, they can help each other. And without risk or difficulty (of course, the archaeologist has to decide what kind of objects can be washed). All the fragments are then laid out on a piece of paper to dry and everybody involved can look at them (and discuss them!). This is the moment of ‘recognition’: children must understand (or not understand: it has the same importance) the function of every fragment, the shape, which part of a vase it is etc. The material must be selected so as to allow some macro–divisions, which are very useful for proceeding in agreement with the established finalities. By means of colours and dimensions, it is possible to separate construction materials and amphorae from the smaller ceramics; in other words, three kinds of use can be identified; for building, for preservation of foodstuffs (and thus, the concept of ‘larder’), and for everyday use (the idea of ‘consumption’ of preserved foodstuffs). In the last category, that of fine pottery, further divisions can be identified, pointing out the function of different elements making up an object: the rim, the bottom, the handle and the body wall. The children are now ready for the next step: they have touched a fragment, they have recognized it and now, they have to catalogue it. For this purpose one can use the standard form used by archaeologists, simplifying just a few words (I suggest not to erase the ‘difficult words’, but to write common-use words next to them). To be able to describe an object, children must write a characteristic of it (where it was found, when, the colours etc.), to take a picture of it to attach to the form. And for the most important pieces, they must also draw them. Drawing requires extreme attention, because drawing is difficult! But it is the best way to observe an object with great care, so that one can ‘describe’ every particularity. (As I said, ‘eat’ it!). If there is time and possibility (a strong bond with archaeological institutions is necessary: of course, one cannot work alone or without permission), a meeting with the contact person at an archaeological site is very important. It is even better, if there is a chance to simulates excavations. Often, children living in urban surroundings have no idea what ‘earth’ is and in this way they can experiment how it is to work in a field, in an open area, and to see living ants and earthworms (not just in cartoons) etc. The rules to be observed are the same as in the laboratory: the excavation must follow the real rules of archaeological work. So the children need to identify and delimit a ‘square’ where the work will be performed, use suitable tools, such as trowels, brushes, sieves etc. and even picks and shovels to begin with. 161

Archaeological Heritage. Methods of Education and Popularization I should stress the importance of all the concepts we have seen: building attention and concentration, working as a team, coordinating and helping one another. And I should also emphasize the results of the work: finding ceramic fragments, a tesserae from a mosaic, the crest of an ‘ancient’ wall. Great attention is needed during this phase, because recognizing an archaeological fragment is not always an easy task; quite often it is possible to confuse it with a little stone or twig. But the emotion of finding something ‘very important’ repays all the risks and the fatigue. A truly interesting experience for the team, and I believe fundamental for a constructive end to the work, is the ‘exhibition’. The main reasons to make an exhibition include having to deal with the public. In general, one of the principal aims of archaeological work is to present to the public the results of research; our ‘employers’ in this case are public institutions and, consequently, all the people living, visiting, walking in the area where we have worked. So, one way of compensating them for the opportunity archaeologists have to work is the exhibition. The same, of course, must be valid for youngsters working in the laboratory. They must be conscious of the importance of their work and the necessity to share with others the wonderful results of their researches; to compare their work with that of others. This is the way for them to learn and to understand how ‘other professionals’ work and how they can improve their abilities. On the other hand, they can see where their preparations are leading them and whether they are ready to face the successive steps, which is to demonstrate their abilities. If they are ready, this is the right moment to demonstrate it. But not everyone may be ready in the same way, so protective methods should be used. Actually, the exhibition can be used in many different ways. All people involved take part in its construction, but it is not obligatory to ‘guide’ or to explain to the public the work done. Everyone has his/her goal (this is the most important thing to have in mind: never forget anyone), and every goal has the same importance. Everyone can develop and show his/her abilities, to win the fear of others, all of the others. This can (or must) be one of our aims, too: to win the admiration of other people. I have had many experiences and conducted laboratories ‘around the world: with the TANGRAM Rehabilitative Centre, twice in Slovenia: in the Mestni Muzej of Ljubljana and in cooperation with the Zavod za Usposabljanje Janez Levec Osnovna Šola, a workshop and subsequent exhibition ‘For a Shared Archaeology’ (2008); a similar work in the Rehabilitative Centre ‘Dom Antona Skale’ of Maribor in 2009. Again with TANGRAM, I have participated in the European Program – Grundtvig with a project entitled ‘For a shared archaeology’ (partners in this project: Desincoop – Desenvolvimento Economico, Social e Cultural Guimarães (PT); Centrul de Reeducare Buzias – Buzias (RO); Hatay Kiz YetiştirmeYurdu Műdűrlűgű – Antakya (TR)). I have worked with the Cultural Association OLIM and the archaeological mission in Tell Al-Mashhad (Jordan); with ‘SERMIG – Arsenale dell’Incontro’, using lessons for disabled people on the subject of archaeology

as a rehabilitation tool. With them, and in association with inter-cultural and inter-religions projects, I have also organized lessons and meetings with young people living in the city of Madaba. I have spoken so far about the utilities of archaeological science in the field of rehabilitation. But this work has also demonstrated the importance of this relationship for archaeology (and archaeologists). We have learned how to face the public (all the public) with a better conscience; we have met the ‘other’ (all the others) and we can have more respect for him/her, for his/her culture, preparation, physical and mental condition, his/her age, origin, ideas. Is it all right, now? No. We have learned the concept, but we must learn to put it in practise. This is a more difficult task and we are likely to find more excuses: lack of funds or time, choice of different targets, request by an institution etc. But this is not right: we must have in our minds the need to be understood by all the public. To interact in a positive way with them. Archaeologists are not used to speaking with others from the point of view of their needs (and not the archaeologists’ ‘ivory tower’). Work with disabled people teaches us to recognize the ‘other’ as the real purpose of our activities. And I must thank them for this. Bibliography (selected) Anđelković K., Cantusci M., D’Anzica C., De Propris B., Scarpati D. and Županek B. 2012. Oltre i limiti con l’archeologia – archeologia e riabilitazione. Roma. In print. Cantusci M., Carta R., D’Anzica C., De Propris B. and Scarpati D. 2008. Riabilitazione e Archeologia. Roma, E.S.S. Editorial Service System S.r.l. Scarpati, D. 2004a. Archeologia e disabilità – analisi e sperimentazione. Pubblicazioni del Museo Civico di Poggio Mirteto (Ri) ‘Ercole Nardi’. Scarpati, D. 2006a. Un quadro per un non-vedente. Vespertilla 19. Roma. Scarpati, D. 2006b. Il museo come potenziale luogo di inclusione sociale. Antropologia Museale 15. Scarpati, D. 2007a. Per una archeologia condivisa – Esplorazione riabilitativo archeologica delle terme romane – Guida alla mostra. Poggio Mirteto. Scarpati, D. and Viaggiu, I. 2010. I Musei verso una fruizione allargata. Esperienze ed analisi delle strutture espositive. In Visioni e Oltre, Multisensorialità, accessibilità e nuove tecnologie al museo. Atti del Convegno ‘Visioni e oltre’ dei musei antropologici della Provincia di Viterbo, 74–81. Viterbo. Dr Dario Scarpati e-mail: [email protected]

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Education, not only archaeological, in the Museum of Archaeology and History in Elbląg: should we be ashamed? Grzegorz Stasiełowicz Abstract Archaeological and Historical Museum in Elbląg has conducted various educational activities for many years. Among them were archaeological festivals and two large educational projects ‘Museum lessons at country schools’ and ‘Chest full of mysteries’. Museum’s permanent exhibitions were re-made, and a replica of the long house of the settlement of Truso was constructed. Keywords Museum education, learning through the games

The history of museology in Elbląg started in 1864 when the City Museum (Städtische Museum) was established. After World War II efforts were undertaken immediately to form a new museum institution (Stasiełowicz 2011, 194), but they were not successful until 1954. Most of the exhibits came from the collection of the previous city museum or from private owners. In 2005 Elbląg museum became the Museum of Archaeology and History in Elbląg. The new name is better suited to the institution. The museum structure changed to include an education and promotion department. From this point on it is possible to speak of intentional and professional education in our Museum. A window for refurbishment and modernization of museum buildings offered itself a few years ago and funds were also set aside for modern exhibitions, multimedia resources and education. With prospects of substantial resources being spent on museum modernization, the

staff went on a study trip in August 2008 (Trocka 2009, 217–218). The chief purpose of the trip was to see how others did it. Spending money is easy, but to know how to spend it wisely is an entirely different matter. For almost three weeks selected staff1 visited museums in Germany (Schleswig, Haithabu), Denmark (Bornholm, Arhus, Roskilde, Copenhagen) and Sweden (Stockholm, Birka). The aim of that incredibly intensive trip was to acquaint members of the group with exhibition and educational activities, and to establish contacts with museums having the same profile. We were also looking for technical innovations. The choice of museums to visit depended on the profile of their collection, not their size or type (whether state or self-government museum). The main outcome of the trip is personal experience. In our everyday work we often refer to what we had the   Mrs Ewa Trocka, Education Department manager, Mr Grzegorz Stasiełowicz, archaeologist and Mr Paweł Sertel, IT specialist. 1

Figure 1. Educational room (photo G. Stasiełowicz). 163

Archaeological Heritage. Methods of Education and Popularization opportunity to see. While not copying anything, we have applied ideas from different museums. One such idea, which proved an extremely good one, is the educational room (Figure 1), which is a separate space for educational activities. It is well fitted to be to whatever is needed at the moment: lecture room, ‘Coffee meeting – Clio’, ‘Museum Mum’s Club with children’ (even with babies) (Trocka 2011, 221). Over the years the Museum of History and Archaeology in Elbląg has carried out diverse activities, both educational and archaeological. It has joined in with other institutions to organize archaeological picnics, ‘taking archaeology to the people’, but after a few editions decided to modify the formula. Aware that we could hardly become a second Biskupin (see www.biskupin.pl), we opted to make better use the same people and resources. In cooperation with friends from the University in Rostock we instituted the ‘Lagomar’ program, which focuses on the natural and cultural heritage of the southern Baltic Sea (Jagodziński 2009, 207–210). Program funds enabled a brushing up of our standing permanent exhibitions (‘Legendary Truso discovered’; ‘Old Town in Elbląg: recovered testimony of the past’) and the creation of new ones (‘History of the Goths’), including a replica of a longhouse from the ancient Truso settlement. The lattermost project especially opened opportunities for organizing different kinds of activities, which could be called an archaeological picnic. The educational offer is extensive and it consists of museum lessons prepared in accordance with school educational curricula. It is addressed to students at both primary and secondary school levels. Every year, at the beginning of September, a brochure with information

about museum lessons is sent out to schools in Elbląg. The educational program is also presented separately on our museum website (www.muzeum.elblag.pl/edukacja). Lesson topics range from easy subjects, like ‘What is a museum?’ and the somewhat more elaborate ‘Secrets of an archaeologist’s work’, to really intricate themes like the history of local industry (‘Industrial Elbląg’s founder Ferdynand Schichau’) and sacral art (‘Gothic church: functions, furnishing and decorations as exemplified by the Saint Nicolas Church’). The price of lessons is differentiated and depends on the lesson type (whether lectures or art classes). Analyzing our statistics, we have observed a drop in museum lessons for high school students (about 10 percentages less). Most of our visitors are from primary schools, this interest deriving from the school educational program. Unfortunately, these programs dedicate little attention to museum visits. In only three cases a museum visit was actually recommended in the history curriculum to add variety to the teaching program. Museum lessons are at the core of the Museum’s educational program, but we also organize activities to go with bigger events, like Museums at Night, European Heritage Days, Baltic Festival of Science. Another activity is our ‘Coffee meeting – Clio’ meetings organized together with the Elbląg branch of the Polish Historical Association. Invited guests include personalities, historians, archaeologists, collectors-enthusiasts; the meetings, which take place once a month, combine lecture and discussion (sometimes very lively) in a pleasant atmosphere with tea or coffee. Board Games Meetings is another form of activity (changing to ‘Summer with board games’ in the summer),

Figure 2. ‘Living archaeology’ before reconstruction of long house from Truso (photo A. Grzelak).

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Grzegorz Stasiełowicz: Education, not only archaeological, in the Museum of Archaeology and History in Elbląg

Figure 3. Eryk Popkiewicz, the amber jeweler’s workshop at school in Gronowo Elbląskie (photo P. Adamczyk). bringing together enthusiasts of board games wishing to learn about ancient games (mancala, hnefatafl etc.) as well as modern ones (‘The 303 Squadron’, ‘Kolejka’ etc.). Our replica of a longhouse from Truso (Figure 2) is used as a place to organize meetings with ‘living archaeology’ (as often as the weather allows, as there is no heating inside the house). Other thematic shows include working amber jewelry, our ancestors’ kitchen, children’s workshops making and firing pottery vessels (in a type of furnace sunk in the ground). The Viking house site is also used as a playground to organize play and games from olden times (such as ‘Travelers in time: old games and play’). There is also an archaeological sandbox with hidden ‘treasures’ for the youngest amateur archaeologists (Trocka 2009, 211–217; Trocka 2011, 211–222). Two big educational projects were prepared in recent years: ‘Museum lessons at country schools’ and ‘Chest full of mysteries’. Funds for these projects came from the Ministry of Culture and National Heritage and from the city council. The first project lasted two years. The lessons were provided free to schools. The idea behind the ‘Museum lessons at country schools’ project (implemented from 2005 to 2007) was to reach the largest possible audience in schools located in the countryside or in small towns within a radius of 40kms from the Museum. Queries were first sent out to the schools and a schedule was arranged for ‘traveling’ museum lessons. This project gave us the opportunity to purchase equipment (laptops, projectors, screens), and to make copies of the artifacts from our exhibitions. These museum lessons could take on different form: lectures combined

with showing replicas of museum artifacts, workshops during which children could make earthen vessels, mint coins, impress seals. Folk artists (weaver and sculptor) and people who reconstruct old professions or use original techniques (amber artist) also took part in these lessons (Figure 3). More than 100 lessons were carried out in 32 schools in the course of the project. Each time there were a few lessons in a row (averaging 4), and 2300 students took part in all of them . Several schools have consequently become regular visitors at the Museum. The most recent project executed by the Museum is ‘Chest full of mysteries’ (Figure 4), prepared by Piotr Adamczyk2 (2011, 235–245). The first part of this project was executed as part of the Ministry of Culture and National Heritage program in 2009 (‘Cultural education and culture diagnosis. Priority II: Culture observatory’). The second part entitled ‘Chest full of mysteries — continuation of an educational project’ was continued in modified form in 2010 and included new subjects. The ‘mystery chest’ program is an innovative idea in Poland, but it has been developing in Anglo-Saxon countries for many years (Adamczyk 2011, 236). A very important part of this project is a questionnaire, which lets us see how it works (Adamczyk 2011, 241–242). ‘Chest Full of Mysteries’ is a multi-thematic collection of specially prepared teaching aids on loan for use during   Mr Adamczyk is a historian working for the Department of Education and Promotion of the Museum of Archaeology and History in Elbląg. The project and its assumptions, outlined here in brief, have been presented in an article in the journal Muzealnictwo 52. 2

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Archaeological Heritage. Methods of Education and Popularization Let it be added that the Museum of Archaeology and History in Elbląg has a collection of almost a million artifacts from different epochs. A selection of these is presented in six regular exhibitions which are visited by 25,000 visitors (children and youth making up half of this number). Bibliography

Figure 4. Front page from ‘A Chest Full of Mysteries’, part ‘Roman legionary’ (photo A. Grzelak).

school lessons. There are 12 chests including subjects from prehistory to the 20th century. They can be borrowed free of charge for a fortnight. Every chest includes a metal box with replicas of items/artifacts, a briefcase with teaching aids, scientific and popular-scientific books. The chests come in two types: metal cases with replicas and wooden chests typical of different epochs. It is a very successful project: over a period of two years (from October 2009 to June 2011 with a break of several months), the chests were borrowed 69 times, 500 lessons were organized and 7100 people took part in this project (Adamczyk 2011, 238).

Adamczyk, P. 2011. Skrzynia pełna tajemnic. Muzealnictwo 52, 235–244. Jagodziński, M. F. 2009. Dziedzictwo kulturowe w programie Lagomar. Projekty zrealizowane przez Muzeum Archeologiczno-Historyczne w Elblągu. Elbląskie Studia Muzealne 1, 207–210. Stasiełowicz, G. 2011 Muzeum w Elblągu – czas tworzenia, lata 1945–1954. Elbląskie Studia Muzealne 2, 194–199. Trocka, E. 2009. Z dziejów elbląskiego muzeum, czyli kronikarska opowieść o działalności wystawienniczej, edukacyjnej i promocyjnej MAH w 2008 i w pierwszej połowie 2009 roku. Elbląskie Studia Muzealne 1, 211– 223. Trocka, E. 2011. Z dziejów elbląskiego muzeum, czyli kronikarska opowieść o działalności wystawienniczej, edukacyjnej i promocyjnej MAH w drugim półroczu 2009 i pierwszym półroczu 2010 roku. Elbląskie Studia Muzealne 2, 211–222. Mr Grzegorz Stasiełowicz Museum of Archaeology and History in Elbląg, Poland e-mail: [email protected]

The Museum also undertakes other forms of educational activity. For example, the Museum’s calendar for 2012 illustrates the history of an Elbląg company directed by F. Komnick which produced cars, agricultural machines etc. in the beginning of the 20th century. This calendar was sent to every school in Elbląg. Monitoring of the Museum’s educational activities includes questionnaires intended to gauge customer satisfaction. The questionnaire is short, only a few questions, but not everyone wants to do it. Another form of monitoring is a Guest Book. Satisfied visitors are apt to comment in written form. The information found there can be very different from that in the questionnaires, for example, a place of residence. The Guest Book is truly interesting to read and sometimes surprising.

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Industriae Theatrum Ex Silesia: Showing the functioning of a medieval industry in a contemporary industrial conurbation Joanna Tokaj, Magdalena Cyankiewicz and Aldona Garbacz–Klempka Abstract The project Industriae Theatrum Ex Silesia, popularizing the early medieval silver and lead metallurgy industrial complex, consisted of the following elements: publication of a brochure, reconstruction of medieval costumes and tools, and lecture series with a living history show of medieval smelting. The joint project of the Society of Friends of Dąbrowa Górnicza and the Municipal Museum ‘Sztygarka’, in cooperation with the University of Science and Technology in Kraków gained considerable popularity among the inhabitants of a contemporary industrial conurbation. Keywords Middle Ages, silver and lead metallurgy, NGO, museum, industrial archeology, reconstruction group, living history, lifelong learning

Industrial complex and industrial archeology in the territory of Poland

uncertain: they may date back to the 11th or the 12th/13th centuries (Bodnar et al. 2007, 12).

Industrial archeology is a new and dynamically developing branch of archeology and Poland is a good place for its development because of the number of important industrial excavation sites of world renown, especially from the Paleolithic and Neolithic age.1

After several years of archeological research carried out by various teams: in Dąbrowa Górnicza–Łosień, Dąbrowa Górnicza–Strzemieszyce Wielkie, Będzin, Bytom Sosnowiec–Zagórze, Przeczyce, Siewierz – we can speak of an early medieval ‘silver and lead metallurgy complex’ (Rozmus 2004, 301–305). Finds have undergone thorough metallographic examination aiming at the reconstruction of early medieval silver and lead smelting technologies (Karbowniczek and Suliga 2005; Karbowniczek et al. 2006, Rozmus and Suliga in print). The results of archeological works in the field of metallurgy are becoming the basis for the research within the frame of technical sciences. The obtained material undergoes specialist analyses, and their results, together with the information concerning the structure and chemical composition of the finds, form the basis for the reconstruction of metallurgic processes (Głowa et al. 2010). Scientists have also dealt with issues like pollution of the environment (Cabała et al. in print) and general environmental factors affecting the settlement (Kalicki et al. 2006; Kalicki et al. 2009).

The development of the branch of archeology that deals with the beginnings of medieval industry provided a great deal of information concerning mining and smelting regions and towns of early medieval Europe. Exploration of mines from this period is a new, still developing branch of archaeological fieldwork (Stolarczyk 2006). Bergbauarchäologie and Montanarchäogie have developed rapidly in Germany. The industrial town of Goslar, situated in the Harz Mountains and dating to the early Middle Ages, has been classified as a UNESCO world heritage site. The exploration of industrial remains takes the form of both archeological fieldwork and search queries or historical studies. A good example of such studies are the works conducted in the 1960s and 1970s by a team of scientists including D. Molenda, Poland’s leading specialist in medieval and modern lead mining and metallurgy (Krygier et al. 1964, 480–493; Krygier et al. 1971; Molenda 1963; Molenda 1972). In the past ten years historians have published studies on the remains and organizational structure of coalmining, including issues from the history of cartography (Wójcik 2008) and the mining of calamine (Rybak 2002; Rybak 2004). Recent years have also brought particularly valuable discoveries of early medieval excavation sites connected with the beginnings of silver and lead metallurgy in the territory of Poland. The chronology of these sites is 1   For example, the oldest evidence of exploitation of hematite in Europe in the late Paleolithic was found in Rydno near Grzybowa Góra. Numerous open-cut flint outcrops and flint workshops come from a later period, that is, from the Neolithic. The Neolithic banded-flint mine in Krzemionki Opatowskie is widely known and regarded as unique.

The results of the research are truly inspiring and open new possibilities for historical research; they have been presented at both domestic and foreign conferences, but the results of the latest archeological research are not known to the general public. The existence of an industrial complex based on the exploitation and processing of lead ore containing silver at the dawn of the Polish state may help to explain many historical facts, including Czech expansion into Polish territory, the main goal of which was to obtain natural resources. The research could become a starting point for a new historical interpretation (Buko 2011, 339–340). The project and its realization Industriae Theatrum Ex Silesia is a joint project in archeology and the history of industry, prepared by the Society of Friends of Dąbrowa Górnicza and the Municipal Museum ‘Sztygarka’. The presentation of the development

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Figure 1. Map of early medieval metallurgical sites (the borderline of Lesser Poland and Silesia) (B. Sz. Szmoniewski). of metallurgy over the centuries could raise awareness of the continuity of certain economic processes.

that this area was typically industrial and was crucial to the development of the entire country.

Dąbrowa Górnicza2 received a town charter in 1916, but it was already an industrial settlement from the second half of the 18th century. In 1834, the construction of the Bank Steelworks was commenced and it was one of the most important urban-shaping factors.3 The city has kept its industrial character. A metallurgical conglomerate plant, Katowice Steelworks, today’s Arcelor Mittal Poland S.A., the biggest in Poland and one of the biggest in Europe, was built here in 1972–1976. At this time the administrative division of the city changed and smaller, frequently agricultural towns or villages became part of Dąbrowa Górnicza. Nowadays, this urbanized area, located on the Biała Przemsza and the Czarna Przemsza rivers, is a city in the Province of Silesia with a population of about 125,000 people. With an area of 188,000 km2, it is also the biggest city in the province. The origins of some of the city districts, like Strzemieszyce and Łosień, go back to the beginnings of the history of the state of Poland. As early as

Dąbrowa Górnicza is a place where the remains of medieval steelworks are in close vicinity to new industrial plants, also connected with metallurgy. Numerous analogies and mutual connections can be found here. Strzemieszyce may serve as a good example of such analogies, as the biggest steelworks in Poland were built there in the 1970s, next to an exceptionally rich early medieval cemetery from sometime between the first half of the 11th century and the second half of the 12th century (Zoll–Adamikowa 1966, 1971); the local steelworkers may have been buried in this cemetery (Krajniewski et al. 2011). The burial ground was discovered accidentally in the 1930s, during the extraction of sand that was used to fill the nearby ‘Reden’ coal mine (Balcerowski 1969; Marciniak 1933, 1960).

  Dąbrowa is situated in a historical and cultural region called Dąbrowa Coal Basin, which developed in the mid-19th century. After the Third Partition of Poland, Dąbrowa was located within the borders of Prussia, in the territory called New Silesia. Coal exploitation also began at this time. After a short episode under Prussian rule, in 1807 the region became part of the Duchy of Warsaw, and in 1815 the Kingdom of Poland. 3   The metallurgical plant owes its name to the Polish Bank, which constructed the first ironworks in the Kingdom of Poland to use coke for smelting pig iron. The settlement of Bank Steelworks was established simultaneously with the beginnings of the metallurgic company. 2

Museum employees and members of the Society of Friends of Dąbrowa Górnicza were inspired to come up with a project that would familiarize the inhabitants of Dąbrowa Górnicza and the region with this fascinating discovery. This issue, although well documented and well known among archeologists, remains, as said earlier, unknown to the local inhabitants.4 The mission of the Society of Friends   The only exception was an exhibition ‘History written with silver and coal’, organized in 2006 in the Municipal Museum ‘Sztygarka’ in Dąbrowa Górnicza; it presented not only the contemporary industry, but also the results of archeological research connected to medieval metallurgy. The main goal of this exhibition, and of the reported project as well, is to acquaint visitors with the medieval industry. 4

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Figure 2. Replicas of medieval costumes (photo P. Góral).

Figure 3. Outdoor event (photo K. Borda).

Figure 4. Outdoor event (photo K. Borda). 169

Archaeological Heritage. Methods of Education and Popularization of Dąbrowa Górnicza, which is a non–governmental organization is, among others, to disseminate historical knowledge about Dąbrowa Górnicza, to propagate the right attitude towards cultural heritage, to encourage people to promote and protect heritage and to get them involved in cultural and educational activities. Taking into consideration the fact that, as a legal entity, the Society has better access to sources of financing for its activities, the decision was taken to participate in a competition organized by the Department of Culture of the Office of the Marshal in Katowice (open tender for public assignments of the Silesian Voivodship in the field of protection and dissemination of cultural heritage in 2011). Well–tried methods were employed (such as reconstructions and living history shows of old craft techniques (Abłamowicz 2010, 20–21) in order to present the latest findings that the general public may not be familiar with. The title of the project, Industriae Theatrum Ex Silesia, that is, industrial archeology of the Middle Ages for everyone, sounds like a drama show (Chowaniec 2010, 167–169), but it is actually a setting for further activities, such as writing an educational literary script to be used in a short performance involving active participation on the part of the audience. Having received a grant for publication and reconstruction of medieval costumes, we took steps aiming at popularizing the above mentioned issues. Apart from a project subsidy from the Office of the Marshal, we also obtained funds from the Museum, which were used to pay for the reconstructions of two costumes and replicas of medieval tools. We also had a brochure translated into English, and as part of our promotional activities, invitations and posters were printed. During the realization of the project, the representatives of the Society of Friends of Dąbrowa Górnicza and the Municipal Museum ‘Sztygarka’ cooperated with volunteers and a reconstruction group that specializes in reconstructions of the Middle Ages. Another party that joined in the project were academics from the Faculty of Foundry Engineering of the Stanisław Staszic University of Science and Technology in Kraków and the archeology department of the Polish Academy of Sciences in Kraków. Industriae Theatrum Ex Silesia – between archeological reconstruction and living history show Some of our activities (such as living history shows of bygone crafts) were directed to people of all ages, while others were mainly for adults5 (theme lectures). The lectures were conducted by D. Rozmus, an archeologist who discovered medieval metallurgical sites in Zagłębie Dąbrowskie, and during his lectures he acquainted listeners   The classes directed to adults refer to the idea of lifelong learning (Mączyńska 2010, 33). This idea is realized mainly by the University of the Third Age operating in numerous cities. The Municipal Museum ‘Sztygarka’ started fruitful cooperation with the University and has been organizing classes and lectures for this kind of audience for a long time now. 5

with the results of archeological research and described the arcana of medieval metallurgy. Outdoor activities were organized in cooperation with reconstruction groups (family festival ‘Autumn of the Middle Ages’), during which both children and adults were engaged in various games and play, for example minting copies of medieval coins discovered at a smelting site in Dąbrowa Górnicza– Łosień (Krudysz et al. 2009). F. Rozmus and S. Wojdat from Olkusz Television prepared a film (cf. http://www.youtube.com/ user/MuzeumSztygarka?feature=mhum#p/a/u/0/ e5j5xncMXb8), which is an audiovisual recording of the project and includes, among others, a short presentation of the smelting process with the use of medieval techniques. The main points of the recorded show are discussed below. The team carrying out the reconstruction of smelting concentrated on a study of the history of smelting. Effects of archeological works, especially finds such as slag, crucibles, pieces of casting moulds, semi–products and finished products constitute essential sources for the reconstruction of the medieval metallurgic process, and based on these sources, metallurgists can prepare such reconstructions. Just like today, metallurgy (and mining) in the Middle Ages was a major determinant of economic growth. Although we now have newer technologies and modern materials, basic smelting methods have remained unchanged: a casting mould is filled with liquid metal. The slightly different alloys and slightly different casting moulds of natural materials used in the Middle Ages were presented and discussed during the show. During this short smelting cycle, a few products like ornaments were made (in the Middle Ages, smelting was also used to make big objects, including church bells, baptismal fonts and even temple doors or cannons). The importance of smelting in the Middle Ages is confirmed by evidence of numerous guilds connected with the metal industry. Apart from lead compounds, we also presented lead ore, which after proper processing was used as a material by smelting workshops. During the show, which took place on 29 November 2011, we gave two lectures to students of the University of the Third Age and we also demonstrated the smelting of small objects made of alloys composed mainly of lead. In the Middle Ages, lead was a common metal and was used in many different production processes. It was also essential for trade in natural resources, and one of the main sources of lead extraction in medieval Poland was the border between Silesia and Lesser Poland (Małopolska). As mentioned during the show, one of the applications of lead was as a material for making jewelry, such as lead crosses that certainly had a symbolic and deeply religious meaning. They may have symbolized penance, because lead as a heavy chemical element may have denoted the burden of sins (Forstner 1990, 143–144).

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Figure 5. Outdoor event (photo K. Borda).

Figure 6. Conducting of lecture (photo K. Borda). The main element of a foundry workshop is a handmade fired–clay furnace. Scientists involved in the reconstruction for the project used such a furnace. Charcoal was used for heating the furnace. Crucibles handmade in accordance with available sources were placed in the furnace. Alloys were heated in these crucibles and then poured into previously prepared casting moulds. The composition of the alloys was very close to authentic medieval alloys, having been prepared on the basis of lab examination of the metal in finished products. Thus, it was possible to recreate the old composition of alloys in the same proportions as in medieval casting workshops. The melted alloys were then poured into casting moulds (medieval moulds were made

either of clay or stone, they could be reused or disposed of; in the latter case, the moulds were used for wax models and destroyed after the pouring). The temperature in the furnace was increased with the use of bellows. In the final part of the show participants could see a finished product smelted in a makeshift foundry workshop. The project Industriae Theatrum Ex Silesia consisted of several elements: the publication of a bilingual brochure on old production techniques, including medieval metallurgy, mining and pottery (Cyankiewicz and Tokaj (eds.) 2011), making replicas of medieval costumes and reconstructions

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Archaeological Heritage. Methods of Education and Popularization of weaving and smelting workshops presented during theme events (e.g. ‘Autumn of the Middle Ages’ or ‘Summer in the City’). The project therefore involved people of all age groups (so called lifelong learning). One of the events that deserves particular mention accompanied a series of lectures directed to students of the University of the Third Age. During one of the lectures, employees of the Faculty of Foundry Engineering from the University of Science and Technology in Kraków presented a living history show of smelting with the use of medieval methods. Referring to the use of natural resources, and in particular lead, in the Middle Ages, we decided to reconstruct the processes of melting and smelting alloys composed mainly of lead. The basis for the experiment were archeological finds from Lesser Poland and Silesia, as well as written sources from the 12th century (Teofil Prezbiter 1998). The conclusions of the observations and research found more practical application as they were transferred from a laboratory to be used in the reconstruction works. Designs of the furnace for melting metals, crucibles and appropriate alloys were prepared. Project participants took part in the final stages of the process, which gave them the opportunity to gain practical knowledge about the medieval craft of melting and smelting metals. The furnace smoked, the alloy in the crucible changed to liquid, previously prepared casting moulds were filled and then opened after cooling down. In this way, within the frames of the project, medieval ornaments were made, using patterns known from archeological research. Thus, this scientific and research work took on a practical dimension and contributed to the dissemination of knowledge concerning metal ores, medieval technological processes and finished products made of metals and their alloys. Therefore, one of the most essential aims of the project was achieved: the industry of the Middle Ages was shown in a modern city and with active participation of its inhabitants, using the findings presented in scientific and research works. Translated by Iwona Wojtala Bibliography Abłamowicz, D. 2010. Kilka uwag o kondycji muzeów w Polsce. In J. Wrzesiński and A. M. Wyrwa (eds.), Przeszłość dla przyszłości – problemy edukacji muzealnej. Materiały Konferencji z okazji Jubileuszu 40-lecia Muzeum Pierwszych Piastów na Lednicy, Lednica 11-13 września 2009 roku. Biblioteka Studiów Lednickich XVIII, A/2, 15–30. Lednica. Balcerowski, L. 1969. Badania archeologiczne w Zagłębiu Dąbrowskim. Ziemia Będzińska: Przeszłość. Teraźniejszość. Kultura 2, 41–56. Błaszczyk, W. 1969. Idea archeologicznej ekspozycji ‘tradycyjnej’ i ‘in situ’ w środowisku przemysłowym na przykładzie Muzeum w Częstochowie. Prace i

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Rozmus, D. 2004. Wczesnośredniowieczne Zagłębie Metalurgii Srebra i Ołowiu na terenie Dąbrowy Górniczej i okolic. In M. Michnik, D. Abłamowicz and M. Furmanek (eds.), Początki i rozwój miast Górnego Śląska w świetle badań interdyscyplinarnych, 301– 305. Gliwice. Rozmus, D. 2009. Próba rekonstrukcji procesu wytopu srebra i ołowiu w XI i XII w. (na przykładzie osady produkcyjnej w Dąbrowie Górniczej–Łośniu). Archeologia Historia Polona 18, 45–55. Toruń. Rozmus, D. (ed.) 2004. Archeologiczne i historyczne ślady górnictwa i hutnictwa na terenie Dąbrowy Górniczej i okolic. Kraków. Rozmus, D., Rybak, A. and Bodnar R. 2005. Z  dziejów przemysłu dąbrowskiego. Archeologia. Przemysł. Katalog wystawy. Dąbrowa Górnicza–Kraków. Rozmus, M. and Rozmus, D. 2008. Jak w  praktyce edukacyjnej zastosować archeologię? In D. Rozmus and S. Witkowski (eds.), Regionalizm w szkolnej edukacji. Pogranicze śląsko–małopolskie (Górny Śląsk, Zagłębie Dąbrowskie, ziemia olkuska), 19–23. Sosnowiec. Rozmus, D. and Suliga, I. (in print). Piece i paleniska o przeznaczeniu hutniczym do wytopu ołowiu ze stanowiska nr 5 w Sosnowcu-Zagórzu – wstępne wyniki badań prowadzonych w latach 2009–2010. In Śląskie Prace Prahistoryczne. Rybak, A. (ed.) 2002. Państwowe górnictwo galmanu na terenie Dąbrowy Górniczej w XIX w. ze szczególnym uwzględnieniem strzemieszyckiego ośrodka górnictwa galmanu. Dąbrowa Górnicza. Rybak, A. 2004. Ślady górnictwa kruszcowego na terenie Dąbrowy Górniczej i jej okolic. In D. Rozmus (ed.), Archeologiczne i historyczne ślady górnictwa i hutnictwa na terenie Dąbrowy Górniczej i okolic, 107– 124. Kraków. Sperka, J. and Witkowski, S. (eds.) 2005. Osadnictwo nad Przemszą i Brynicą w średniowieczu. Sosnowiec– Cieszyn. Stolarczyk, T. 2006. Pozostałości średniowiecznego górnictwa jako przedmiot badań archeologicznych na terenie Europy Środkowej. Prace Naukowe Instytutu Górnictwa Politechniki Wrocławskiej – Studia i Materiały 117 (32), 267–277. Wrocław. Tokaj, J. 2009. Adam Marceli Piwowar – archeolog amator. In D. Rozmus and S.  Witkowski (eds.), Regionalizm w szkolnej edukacji. Wielokulturowość Zagłębia Dąbrowskiego, 167–168. Sosnowiec–Dąbrowa Górnicza–Będzin. Teofil Prezbiter, transl. S. Kobielus, 1998. Diversarum Artium Schedula. Kraków. Tokaj, J. 2009. Wyobrażenie gryfa na kaptordze z cmentarzyska w Dąbrowie Górniczej – Strzemieszycach Wielkich. In D. Rozmus and S. Witkowski (eds.), Gospodarka nad Przemszą i Brynicą od pradziejów do początków XX wieku w świetle badań interdyscyplinarnych, 240–244. Dąbrowa Górnicza– Olkusz–Sosnowiec.

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Archaeological Heritage. Methods of Education and Popularization Trzciński, M. 2010. Rekonstrukcje archeologiczne a rzeczywistość. In J. Wrzesiński and A. M. Wyrwa (eds.), Przeszłość dla przyszłości – problemy edukacji muzealnej. Materiały Konferencji z okazji Jubileuszu 40-lecia Muzeum Pierwszych Piastów na Lednicy, Lednica 11–13 września 2009 roku. Biblioteka Studiów Lednickich XVIII, A/2, 87–91. Lednica. Wójcik, A. J. 2008. Zachodni Okręg Górniczy. Studia z dziejów geologii i górnictwa w Królestwie Polskim. Warszawa. Zoll–Adamikowa, H. 1966. Wczesnośredniowieczne cmentarzyska szkieletowe Małopolski. Część 1. Źródła. Wrocław–Warszawa–Kraków. Zoll–Adamikowa, H. 1971. Wczesnośredniowieczne cmentarzyska szkieletowe Małopolski. Część 2. Analiza. Wrocław–Warszawa–Kraków–Gdańsk. Dr Dariusz Rozmus Muzeum Miejskie ‘Sztygarka’ Dąbrowa Górnicza, Poland e-mail: [email protected] Mrs Joanna Tokaj Muzeum Miejskie ‘Sztygarka’ Dąbrowa Górnicza, Poland e-mail: [email protected] Mrs Magdalena Cyankiewicz Muzeum Miejskie ‘Sztygarka’ Dąbrowa Górnicza, Poland e-mail: [email protected] Mrs Aldona Garbacz–Klempka Faculty of Foundry Engineering AGH University of Science and Technology Kraków, Poland e-mail: [email protected]

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Heritage for the People Archaeology at the City Museum of Ljubljana and Visitors to the Museum Bernarda Županek and Tamara Bregar Abstract This paper presents the experiences of the City Museum of Ljubljana (Slovenia) in the fields of communication and the promotion of ancient heritage. We present as a case study the three archaeological parks containing conserved and presented remains of the Roman town of Emona that are managed by the City Museum of Ljubljana. Renovation and revitalisation of these parks is ongoing in 2011 and 2012 and plans are being made for their future management. Keywords Heritage, City Museum of Ljubljana, communication, promotion, education, archaeological park, Emona

The City Museum of Ljubljana The City Museum of Ljubljana is an institution that covers the history of the Slovenian capital from prehistory to the present day and has been organising high-quality archaeological exhibitions for more than half a century. In the last 20 years, the City Museum of Ljubljana, like the majority of museums in Slovenia, has taken a great leap forward in the fields of communication with the public and promotion of heritage. If in the early 1990s it was the case that museums – with few exceptions – were silent spaces of disciplined learning frequented by the well-educated and well-heeled, today we can affirm that museums are places where education should be informal and where people should above all experience things, do things and enjoy stories about the past. A museum should be accessible to all, regardless of status, race, disability, and so on. At the City Museum we are seeking new modes of communication to take their place alongside the traditional tools of the museum, namely exhibitions, which we now conceive not simply as educational, but also as interactive and installation-based. In order to address our public more successfully, we try to get to know it via surveys and evaluations. These show us that our public is not undifferentiated and passive but diverse, active and demanding (Županek 2010). Insight into the profiles and wishes of our visitors has allowed us to redesign our educational programmes aimed at children and adults and develop appropriate audio, video and GPS guides, workshops, field trips, camps, web applications, etc. Most recently, we have become one of the first museums in Slovenia to establish four principal lines of activity in the field of education and promotion – educational programmes for children, educational programmes for adults, PR and marketing – which are successfully combined in our day-to-day operations. We are getting to know our public better and we realise that our visitors are not just one public but several different publics that differ in terms of the experiences and inputs they are looking for within our product. We believe that heritage can contribut e to the quality of life of individual visitors and communities. Furthermore, all of us – each of us

specialising in a specific period, topic or collection – wish to share our knowledge and enthusiasm for our field. An important part of the collections and fields of activity of the City Museum is represented by the heritage of Emona. The colony of Emona, a Roman town that occupied an area corresponding to the centre of presentday Ljubljana, has been a subject of interest to the people of Ljubljana since the 16th century. The City Museum holds and exhibits material resulting from archaeological research and manages three open-air archaeological parks containing remains from Emona (Figure 1). In 2011 and 2012, as part of an EU-funded project for the revitalisation of the archaeological parks, we have prepared an extensive programme of conservation and revitalisation (above all communication and promotion) and drawn up guidelines for the management of the parks. These activities are presented below as a case study. Case study: the archaeological parks of Roman Emona. Current situation The presented heritage of the Roman town of Emona within modern Ljubljana consists of three archaeological parks and several smaller units dispersed around the present-day city centre. This presented heritage of Roman Emona is the result of almost a century of efforts both by archaeologists and conservators and by other individuals and groups connected with this heritage in a variety of ways (Županek 2008). The City Museum today manages three archaeological parks: the Jakopič Garden (Plesničar Gec 1968), opened in 1966 and today known as the Emonan House, where the remains of a Roman residential building are presented; the Early Christian Centre (Plesničar Gec 1999) opened in 1976, where a building used for religious purposes by Emona’s Christians is presented, and the south wall of Emona in the Mirje district, along with the surrounding park where ancient spoils are exhibited (MiklCurk 1995, 72). Despite efforts, the heritage of Emona presented today – with the exception of the remains of the south wall in Mirje – is, for the uninitiated, hard to see and, for this reason, relatively inaccessible (Županek 2005). As a

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Figure 1. Archaeological park Early Christian Centre before renovation in 2010 (photo MGML archive). result it is frequently overlooked and increasingly distant from the routes followed by the citizens of Ljubljana, and less and less present in their observations and thoughts. Another result of this is that it is frequently the object of vandalism. Although the presentations themselves are of very high quality, a lack of funding in past decades has meant that maintenance has been minimal and the parks are therefore in a poor state from the conservation point of view. The considerable efforts invested by the City Museum in communication and the promotion of this heritage are similarly financially limited, and therefore the above project is an opportunity for us to take a quantitative and qualitative step forward in this field. Starting points of the revitalisation As part of the renovation project ‘Archaeological parks of Roman Emon’, that we began in the autumn of 2011, we carried out an assessment of the current situation and asked ourselves a series of pertinent questions: How and, most important, for whom should we be conserving and managing the heritage of Emona? How should we conceptualise its appearance in the future? How do we balance the value of historical formations with the need for development of the urban environment? Our starting point is that heritage, as has been established by a range of studies (Butler 2006; Harvey 2001; Smith

2006), is not merely artefacts and monuments but, above all, people. Heritage is a social construction: a process of engagement, an act of communication and an act of making meaning in and for the present. Heritage is in fact constantly being created, in a dynamic process in which the past is used as a starting point for debate, conflicts and negotiations about what should be evaluated and protected and why (Smith 2006). The awareness that heritage is a constantly evolving construct is of key importance when it comes to finding a new model for heritage management: a way to present the past in a manner that is historically appropriate and at the same time comprehensible to the broadest cross section of the public, and a model that is capable of drawing the visitor into active participation in the formation of heritage. Within such a view of heritage, this above all means communication practice, and therefore it is best realised in public programmes, projects designed to involve the public and similar activities. These are the best way to communicate it and establish it. Within the project of revitalisation of the archaeological parks of Emona, our emphasis is therefore on public programmes, involving the visitor, adventure and experience. Only in this way will heritage be something living: it comes alive through experiences, activities, involvement and realisation (cf. also ‘Public programmes’ and ‘Marketing’ below).

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Bernarda Županek and Tamara Bregar: Heritage for the People. Archaeology at the City Museum of Ljubljana For an emphasis of this kind, however, we must first meet two conditions: that of protecting and maintaining this heritage from the conservation point of view, and of connecting into a logical whole a heritage that is currently dispersed around the centre of Ljubljana and in itself difficult to recognise and understand. How we have planned and implemented the meeting of these two conditions is described in the following two sections. Connection into a whole: Emona as a context The three archaeological parks at different locations within the contemporary urban fabric of Ljubljana are part of a whole, part of the presented heritage of Emona. This can only give an appropriate historical context to the individual monuments presented within it, if it is taken as a whole; only as a whole is the heritage of Emona meaningful even in its less informative parts and comprehensible even in its hidden details and reminiscences. For this reason, we have physically connected all the Emona monuments into a whole, into a unit. Within the revitalisation project we did this for the first time by means of signs or information boards erected at key locations. The boards, all of which bear the legend ‘Ljubljana Roman trail’, draw attention to Emona through their uniform appearance and content. A map directs the visitor to similar locations, while a QR code and leaflet/guide mean that additional information can be provided instantly. This makes it easier to understand the heritage of Emona, while its inclusion in the urban centre of Ljubljana becomes more meaningful; guided tours will no longer be a necessity but an option, since individuals will be able to visit and learn about the monuments of Emona on their own. A contextual connection of the parts of Emonan heritage scattered around Ljubljana is also provided by leaflets which place the visitor in the broader context by means of text and a map. The shift away from established, traditional museum aids to new ones that enable individual exploration and a more active and personalised involvement with heritage is represented by digital guides such as a GPS guide to Emona and an audio guide for the deaf and hard of hearing. We also endavour to connect the monuments of Emona into a whole by means of events such as guided visits, audio and video guides, smart phone applications, workshops and web applications. Heritage protection The renovation project for the archaeological parks also envisaged extensive conservation and restoration. In conjunction with the national Restoration Centre, an extensive inventory of damage was drawn up, priorities were set and analyses were carried out of original materials and the materials used in earlier restorations. The conservation-restoration process began in spring 2012. We have already said that heritage is above all communication and is therefore best realised through

public programmes, projects designed to involve the public and similar activities. Only in this sense is heritage something living: it comes alive through experiences, activities, involvement and realisation. This method of heritage management – through an emphasis on the visitor’s interaction with it – is also the best safeguard against vandalism, which in the last decade has continually caused a great deal of damage to the heritage of Emona, and in the long term is an important form of preventive conservation for this body of monuments. Public programmes The activities of a museum are designed to communicate the museum’s knowledge and collections to the public – people of all ages and backgrounds – and enable them to participate in education and culture. One method of communicating heritage is through public programmes. These not only educate, they provide an opportunity for people of all ages – from children to pensioners – to come together. Public programmes are an important part of the City Museum of Ljubljana’s communication with its public, for the purpose of increasing awareness and understanding of our history, culture and society with the help of creative and innovative programmes that encourage participation and inspire people (Falk 2009). This is also the basis for a redesign of existing programmes and the development of new programmes within the context of the ‘Archaeological Parks of Roman Emona’ project, with the help of which our users can discover and experience ancient Ljubljana. We have designed programmes aimed at different target groups: school groups, families, senior citizens, tourists, university students, visitors with special needs, etc. Our school programmes are designed for children of different ages and adapted to their level of understanding and the school curriculum. We have developed a variety of activities ranging from practical workshops, learning games and role-playing in the museum theatre, to guided visits, educational dialogues and fun with archaeology (Figure 2). Family exploration activities include puzzles and the use of modern tools and printed/visual aids, such as maps and leaflets. Adults can enjoy exploring on their own or take part in a guided tour with experts. Other activities include Roman wine-tasting and a Roman banquet. For visitors from other countries we have provided translations in six European languages. Visitors with special needs can explore Emona with the help of video and audio guides. Marketing We understand museum marketing as a social and management process that confirms the genuineness of the museum’s mission and is responsible for the effective, successful and sustainable identification, prediction and satisfaction of the needs of our users and other interested groups (Kotler 2008). Marketing at the City Museum of Ljubljana has developed gradually over the last 10 years. 177

Archaeological Heritage. Methods of Education and Popularization By way of a conclusion, a question: Where do we go from here? We have used the project of the revitalisation of the archaeological parks to carry out conservation-restoration work, develop new museum aids, create several new programmes and activities and draw up a management plan which defines the entire operation of the parks, from basic maintenance onwards, for the future. It is our hope that we have laid solid foundations for the successful management of this heritage in the future. Bibliography

Figure 2: Public program for children in archaeological park Early Christian Centre – exploring the park, deciphering Roman scripture on mosaic floor and making one’s own mosaic. Costumed frog is City Museum’ brand for pedagogical programs (photo M. Paternoster, MGML archive). It is grown from press relations and public relations into a strategic function of the management of the museum and is one of the pillars of our communication with our users. This is the mentality that guides us and requires us to know our users, understand their needs and interests, and design and adapt our services to meet those needs and interests (Sandell and Janes 2007). We are aided in this by market research, which shows us who comes to the museum and why, reveals the level of user satisfaction, and so on. In this way we can continue to improve the quality of our services. This is also what we want in the ‘Archaeological Parks of Roman Emona’ project. We have studied the internal environment by means of SWOT analysis, while analysis of target groups has provided us with essential information about our (potential) users. We have designed a promotional network that includes activities, such as advertising, sales promotion, contact with the public, personal sales and direct marketing, all of this for the purpose of showing the public a part of our archaeological heritage of which we may be genuinely proud. With the help of public programmes and other activities, people can get to know it and experience it.

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Bernarda Županek and Tamara Bregar: Heritage for the People. Archaeology at the City Museum of Ljubljana Dr Bernarda Županek Museum and Galleries of Ljubljana Gosposka 15 1000 Ljubljana, Slovenia e-mail: [email protected] Mrs Tamara Bregar Museum and Galleries of Ljubljana Gosposka 15 1000 Ljubljana, Slovenia e-mail: [email protected]

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