British Museum blog

Digging Domuztepe: week five – clearing up, packing away

Alexandra Fletcher and Rachel Swift are a curator and a conservator working at Domuztepe, a Late Neolithic site (about 6200-5500 BC) in south eastern Turkey. This series of posts traces the weekly progress of their recent excavation season.

Alexandra Fletcher, British Museum

My last week in camp starts badly as our water supply fails. Apparently there were problems at the local pumping station. Ever adaptable, the team takes the soil sampling tins and some empty drinking water bottles to collect water from the local spring so at least we can flush our toilets.

Stuart emerges from the Neolithic well for the last time

Stuart emerges from the Neolithic well for the last time

The last week is always hectic and this year is no exception. We finish work on site on the last day before the holiday to mark the end of Ramadan. Much to everyone’s relief we manage to finish digging out the well and sort out the relationships between all the Neolithic mud walls we have found. Then, as a three day holiday starts for everyone else in Turkey, we begin the long process of packing everything ready to go into the local museum. It all needs to be cleaned and recorded before being packed away.

Time to pack things into the store at the museum

Time to pack things into the store at the museum

The work is incredibly varied. One minute you are brushing the soil from skeletons, the next labelling tiny beads and the next washing pottery. Then suddenly it’s the night before I am due to leave and I am frantically packing my own things into bags.

As my plane leaves the local airport the next day I have mixed feelings; glad to be going home but sad that the digging is over for another year.

As ever the team owes much thanks to the local residents of Kelibişler, Kadioğlu Çiftliği and Emiroğlu and all our other supporters in Kahramanmaraş and Pazarcik, especially the staff of Kahramanmaraş Museum.

If you would like to leave a comment click on the title

Filed under: Archaeology, Domuztepe dig 2011

One Response - Comments are closed.

  1. reindeer00 says:

    Well done, hard working archaeologists, looking forward to reading more. Best wishes to you.


Enter your email address to follow this blog and receive notifications of new posts by email.

Join 14,939 other followers


Follow @britishmuseum on Twitter

British Museum on Instagram

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

#MuseumOfTheWorld In Victorian England many people were fascinated by their past, and the ancient tribal leader Caratacus (also spelt Caractacus) was adopted as a symbol of national pride and independence. Like Boudica, Caratacus resisted the Roman invasion of Britain. Although he was eventually defeated, he earned a reputation as a noble and worthy foe. The Victorian sculptor J H Foley portrays him here standing triumphant, the embodiment of courageous English spirit. See this incredible #Movember moustache in our #Celts exhibition, until 31 January 2016.
J H Foley (1818–1874), Caractacus. Marble, 1856–1859. On loan from Guildhall Art Gallery/Mansion House, City of London. Some more #Movember inspiration! Here’s the Museum’s security team from 1902 photographed on the front steps. They include officers from the Metropolitan Police, and the London Fire Brigade (identified by their flat caps). We’re celebrating #Movember with Museum moustaches great and small. Here’s a #Movember fact: Peter the Great of Russia introduced a beard tax in 1698 and this token was given as proof of payment!

Get every new post delivered to your Inbox.

Join 14,939 other followers

%d bloggers like this: