British Museum blog

Unearthing the cemeteries at Amara West

Michaela Binder, Durham University

Michaela Binder excavating a burial chamber in tomb G305

In wintery, snow-covered Durham preparations for the coming season of work in the cemetery are underway, with only six weeks left until the new season starts. During January and February, we will return to Cemetery C, the post-New Kingdom necropolis first excavated in 2009.

The international team of three archaeologists – including myself and two new team members from the UK and Canada – all specialise in the excavation of graves and human remains.

This is crucial because we are likely to encounter complicated multiple burial situations, and only archaeologists with experience and understanding of human skeletons are able to recover all of the evidence. For example, the way in which individual bones lie when discovered can indicate whether the bodies were disturbed shortly after burial or later, after the soft tissue had disappeared.

A view over excavations at cemetery C in 2009.

During the six weeks in the field we will extend the area investigated in the previous season further to the east and to the north. A magnetometric survey is used as a guide towards promising areas, allowing us to pinpoint exactly the location of graves and tomb shafts.

Cemetery C is particularly important as it dates to a period in history about which relatively little is known, after the pharaonic occupation of the area ceased.

2.	Inspector Shadia Abdu Rabo with pottery from post-New Kingdom tomb

The finds and human remains will help us to find out more about how people lived, and what religious and cultural beliefs they were following.

We already know from the previous season in 2009 that the graves yield a large range of well preserved wooden furniture, pottery and other grave goods such as jewellery and scarabs.

An exciting new season starts in less than 40 days…

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  1. […] In an earlier post, Michaela outlined our aims for work in the post-New Kingdom cemetery. As I’m now in Sudan, it seems appropriate to summarise what we’re aiming to do in the town. […]


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Christoph Gerigk © Franck Goddio/Hilti Foundation We are delighted to announce our first major exhibition on underwater archaeology! Submerged under the sea for over a thousand years, two lost cities of ancient Egypt were recently rediscovered. Their amazing discovery is transforming our understanding of the deep connections between the great ancient civilisations of Egypt and Greece.

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Christoph Gerigk © Franck Goddio/Hilti Foundation You can now discover thousands of British Museum objects in partnership with @googleartproject at We’ve asked staff members to highlight their favourites and explain what makes them special. Chris Spring, Curator of Africa Collections, describes why he finds the ‘Throne of weapons’ so powerful. ‘This war memorial celebrates the ordinary people of Mozambique, many of them unarmed, who stood up to a culture of violence. It represents both a human tragedy and a human triumph. The Throne's essential humanity is suggested right away by its anthropomorphic qualities - it has arms, legs, a back and most importantly a face - actually two faces. My first reaction was that these faces are crying in pain, though they could also be seen as smiling faces finally freed from conflict. These anthropomorphic qualities also link it immediately to the arts of Africa, in which non-figurative objects such as chairs, stools, weapons, pots etc are seen as - and described as - human beings. The Throne has toured the world, taking its message of peace to schools, churches, shopping centres and even prisons – and of course, to museums and galleries.’ #MuseumOfTheWorld We’re celebrating our partnership with @googleartproject, and have asked curators to tell us about their favourite objects. Hugo Chapman, Keeper of Prints and Drawings, explains why he chose this chalk drawing by Michelangelo. ‘One of the things I love about drawings is the way they sometimes allow a glimpse into the private, behind the scenes world of an artist, one unseen in finished works in paint or stone. An example of that is a red chalk drawing by Michelangelo of grotesque heads in red chalk that reveal that the Florentine Renaissance artist had a lively, if caustic, sense of humour. The three heads were probably drawn to amuse but at the same instruct his pupils, as the three studies show how slight changes can radically alter the reading of an image with the character and mood of each figure (paranoid anxiety; vacuous joy; and depressive gloom) signalled by the position and erectness of their donkey-like ears.  I wish my ears were as expressive.’ Discover many more incredible works of art in the Google Cultural Institute at

#Michelangelo #art To celebrate our partnership with @googleartproject, we’ve asked members of British Museum staff to highlight their favourite objects and explain what makes them special. Jill Cook, Deputy Keeper of Britain, Europe & Prehistory, chose this stone chopping tool from an early human campsite in Olduvai Gorge, Tanzania. ‘Holding this 2 million year old African tool in my hand I am reminded that whatever differences exist between people now, we are united by our common origin in Africa. The discovery of this piece by Louis Leakey in 1931 began to change our understanding of what makes us human. It illustrates the beginning of a transition from an ancestral ape that walked upright on two legs within the confines of a limited ecological niche to humans with more complex brains capable of changing and eventually dominating the world around us by making tools and weapons. This chopping tool is one of the seeds from which all human cultures and societies have grown.’ Discover the stories of thousands of objects in the Google Cultural Institute at


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