British Museum blog

Amara West excavations 2013: the past from above

Aerial photograph of a house undergoing excavationNeal Spencer, British Museum

After a test flight over Ernetta and our dig house, Susie Green – working with us to create three-dimensional visualisations of the town’s architecture – flew her photographic kite over the Ramesside town, occupied between 1290 and around 1000 BC, at Amara West on Sunday. The brisk breeze – Beaufort scale 2-3 according to our trusted weather forecast – and crisp morning light made it a perfect day.

The kite above villa D12.5

The kite above villa D12.5

The camera rig sits well below the kite itself, and needs to stay in range of the remote control. Susie controlled the camera (rotating 360 degrees horizontally, or 90 degrees vertically) and triggered the shutter, as I did my best to walk the kite around the site in an attempt to provide a full coverage of the excavation areas… the results are spectacular.

The town of Amara West

Aerial photograph showing the town of Amara West with the River Nile in the background

Amara West sits on the north bank of the Nile, where a line of tamarisk trees prompts the formation of sand dunes. Villa D12.5, still being excavated, lies in the centre of the photograph. Villa E12.10 is near the bottom, excavated in 2009, partly engulfed in windblown sand. The distinctive Jebel Abri (‘Abri mountain’) is on the horizon.

The cemetery

The low mounds of cemetery C mark graves, with the town in the background, before the Nile

The low mounds of cemetery C mark graves, with the town in the background, before the Nile. The low lying sandy area in between cemetery C and the town is an ancient river channel, now dry but probably flowing during some of the period the town was inhabited. The white and blue tarpaulin in the middle of the image is the location of tomb G243, now being excavated.

Excavating in the town

The two areas under excavation

The two areas under excavation. Outside the town wall, at the bottom of the image, villa D12.5 features a large courtyard, and rooms partly filled with sand during recent windy days. At the top, inside the wall, lie the houses of neighbourhood E13, under excavation since 2009. In the centre of the image, the white sandstone west gate of the town can be seen.

Unearthing a house

House E13.5, with Shadia Abdu Rabo standing in the front room, next to the hearth

House E13.5, with Shadia Abdu Rabo standing in the front room, next to the hearth. A low bench, or mastaba, can be seen to the right, and the six large ovens in the annex. Sandbags protect the front of the house from sand, while a photographic ladder lies on the ground, for use in taking more gravity-bound views of the excavation.

We’ve only a few days excavation left at Amara West, in which we hope to answer some questions about the early history of the villa, complete photography for three-dimensional visualisations, explore further an area perhaps used for faience production, finish work in the western part of the multi-chamber tomb, conserve delicate wooden objects from the cemetery… the list of things still to do is, in reality, much longer!

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Filed under: Amara West, Archaeology, Egypt and Sudan, Research, , , ,

6 Responses - Comments are closed.

  1. Mandy Crook says:

    What a clever idea! It gives such fantastic results as well. Keep up the fantastic work.

    Like

  2. Taissa says:

    Loving the mixture of hi-tech and lo-tech, old and new!

    Like

  3. ritaroberts says:

    Reblogged this on Ritaroberts's Blog and commented:
    I reblogged this in case anyone has been following The Amara West Excavation.

    Like

  4. Is Barry Kemp still at Amarna?? wonderful idea shows how vast a project this

    Like

  5. Asif Verania says:

    Nice way to show mixture of Old & New !

    Like

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For our final #MuseumInstaSwap post we’re highlighting the 'Make Do and Mend' campaign of the Second World War, as told by our partner @ImperialWarMuseums in their #FashionontheRation exhibition.

The campaign was launched to encourage people to make their existing supplies of clothes last longer. Posters and leaflets were circulated with advice on subjects including how to prevent moth damage to woollens, how to make shoes last longer or how to care for different fabrics. As the war went on, buying new was severely restricted by coupon limits and no longer an option for many people. The ability to repair, renovate and make one's own clothes became increasingly important. Although shoppers would have to hand over coupons for dressmaking fabric as well as readymade clothes, making clothes was often cheaper and saved coupons. ‘Make Do and Mend’ classes took place around the country, teaching skills such as pattern cutting. Dress makers and home sewers often had to be experimental in their choice of fabrics. Despite disliking much of the official rhetoric to Make Do and Mend, many people demonstrated great creativity and adaptability in dealing with rationing. Individual style flourished. Shortages necessitated imaginative use of materials, recycling and renovating of old clothes and innovative use of home-made accessories, which could alter or smarten up an outfit. Many women used furnishing fabrics for dressmaking until these too were rationed. Blackout material, which did not need points, was also sometimes used. Parachute silk was highly prized for underwear, nightclothes and wedding dresses.

We've really enjoyed working with and learning from our friends at @imperialwarmuseums this week. You can catch up on all our posts and discover many more stories from London’s museums with #MuseumInstaSwap. © IWM (Art.IWM PST 4773 For #MuseumInstaSwap we’re discovering the street style of the Second World War in the #FashionontheRation exhibition at @ImperialWarMuseums. In this archive photo a female member of the Air Raid Precautions staff applies her lipstick between emergency calls.

In wartime Britain it was unfashionable to be seen wearing clothes that were obviously showy, yet women were frequently implored not to let 'standards' slip too far. There was genuine concern that a lack of interest in personal appearance could be a sign of low morale, which could have a detrimental impact on the war effort. The government's concern for the morale of women was a major factor in the decision to continue the manufacture of cosmetics, though in much reduced quantities. Make-up was never rationed, but was subject to a luxury tax and was very expensive. Many cosmetics firms switched some of their production to items needed for the war effort. Coty, for example, were known for their face powder and perfumes but also made army foot powder and anti-gas ointment. Make-up and hair styles took on an increased importance and many women went to great lengths to still feel well-dressed and stylish even if their clothes were last season's, their stockings darned and accessories home-made. As with clothing, women found creative ways around shortages, with beetroot juice used for a splash of lip colour and boot polish passing for mascara.

Discover more stories from London’s museums with #MuseumInstaSwap © IWM (D 176) In the @ImperialWarMuseums exhibition ‘Fashion on the Ration: 1940s street style’ we can see how men and women found new ways to dress while clothing was rationed. Displays of original clothes from the era, from military uniforms to utility underwear, reveal what life was really like on the home front in wartime Britain.

Despite the limitations imposed by rationing, clothing retailers sought to retain and even expand their customer base during the Second World War. Britain's high street adapted in response to wartime conditions, and this was reflected in their retail ranges. The government intervened in the mass manufacture of high street fashions with the arrival of the Utility clothing scheme in 1942. Shoppers carefully spent their precious clothing coupons and money on new clothes to make sure their purchases would be suitable across spring, summer and autumn and winter. Despite the restrictions, the war and civilian austerity did not put an end to creative design, commercial opportunism or fashionable trends on the British home front.

#FashionontheRation exhibition runs @imperialwarmuseums until 31 August.

Discover more stories from London’s museums with #MuseumInstaSwap. For our final day of #MuseumInstaSwap we’re learning about the Second World War @ImperialWarMuseums, and discovering the impact of the war on ordinary people. 
Clothes were rationed in Britain from 1 June 1941. This limited the amount of new garments people could buy until 1949, four years after the war's end. The British government needed to reduce production and consumption of civilian clothes to safeguard raw materials and release workers and factory space for war production. As with food rationing, which had been in place since 1940, one of the reasons for introducing civilian clothes rationing was to ensure fairness. Rationing sought to ensure a more equal distribution of clothing and improve the availability of garments in the shops.

As this poster shows, the rationing scheme worked by allocating each type of clothing item a 'points' value which varied according to how much material and labour went into its manufacture. Eleven coupons were needed for a dress, two needed for a pair of stockings, and eight coupons required for a man's shirt or a pair of trousers. Women's shoes meant relinquishing five coupons, and men's footwear cost seven coupons. When buying new clothes, the shopper had to hand over coupons with a 'points' value as well as money. Every adult was initially given an allocation of 66 points to last one year, but this allocation shrank as the war progressed. © IWM (Art.IWM PST 8293) This week on @instagram we’ve joined up with other London museums to highlight our shared stories. Our partner is @imperialwarmuseums, whose incredible collection brings people’s experiences of modern war and conflict to life. Follow #MuseumInstaSwap to discover some of the intriguing historical connections we have found, as well as insights into everyday life during wartime. As part of our #MuseumInstaSwap with @ImperialWarMuseums, we’ve been given special access to the Churchill War Rooms – located deep below the streets of Westminster.
This is Prime Minister Winston Churchill’s bedroom, which includes his private desk, briefcase and papers, his bed and chamber pot and even an original cigar! The bedroom is located close to the Map Room, keeping Churchill as close as possible to the epicentre of Cabinet War Rooms.
Following the surrender of the Japanese Forces the doors to the War Rooms were locked on 16 August 1945 and the complex was left undisturbed until Parliament ensured its preservation as a historic site in 1948. Knowledge of the site and access to it remained highly restricted until the late 1970s when @ImperialWarMuseums began the task of preserving the site and its contents, making them accessible to as wide an audience as possible and opening them to the public in 1984.
Discover more stories from London’s museums with #MuseumInstaSwap
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