British Museum blog

Vikings Live: bringing our shared history to the cinema screen

Bettany HughesBettany Hughes, historian, author and broadcaster, presenter of Vikings Live from the British Museum

When you’re about to handle an archaeological artefact, interesting things happen to your body. In anticipation of the pleasure to come, your heart starts to race a little faster, the hair on the back of your neck might begin to rise, palms can become sticky. And of course there is the nagging knowledge that the security of that unique, precious – sometimes priceless – traveller in time is, physically, in your hands.

Vikings Live presenter Bettany Hughes

Vikings Live presenter Bettany Hughes

This gives the fact that we will be examining world-class Viking treasures live in front of a nationwide audience later tonight a certain piquancy. The combination of outside broadcast satellite trucks, electricians, cameramen, cables and lighting stands with 1,000-plus-year-old artefacts, is not an obvious one.

But there is form – we have done all this once before. Last year, Paul Roberts, Peter Snow, Mary Beard, Rachel de Thame, Gino Locatelli, Andrew Wallace-Hadrill and I risked the world’s first ever live broadcast from a museum exhibition, with Pompeii Live. The British Museum’s notion was that we would develop the blockbuster into a private view for those who couldn’t make it to London; or who wanted a further, in-depth look at the objects. The great thing about these ‘Lives’ is that the camera can get up close and intimately personal to the displays; plus the audience gets the VIP treatment – with world experts gathered together on the night to unravel the significance of the most intriguing pieces. There was a tsunami of support from the public for our first effort. We’ve taken on board feedback (more shots of the objects themselves and less of the presenters’ mugs!).The number of cinemas hosting Vikings Live is up by a third on Pompeii, so hopefully, fingers crossed, we’re doing something right.

Female burial assemblage with a pair of round brooches, chain ornaments, equal-armed brooch, pendants, arm-rings and finger rings, AD 1050 – 110. Grave C23, Kjuloholm, Kjulo, Finland. © Suomen Kansallismuseo, Helsinki

Female burial assemblage with a pair of round brooches, chain ornaments, equal-armed brooch, pendants, arm-rings and finger rings, AD 1050 – 110. Grave C23, Kjuloholm, Kjulo, Finland. © Suomen Kansallismuseo, Helsinki

As an historian this is all truly great news: Memory matters to our species. From before the time of Homer we have chosen to join together in shared space to tell one another stories, to make sense of our world, our past and our shared futures. This is particularly relevant when it comes to the Viking story. My own fascination has always been that here in the UK we tend to think of the Vikings as OUR problem. But of course these men and women (‘Viking’ doesn’t mean a particular ethnic group but refers to an activity, vikingr, or raiding) were raiding and trading across four continents. From Kiev to Constantinople, from Gibraltar to Greenland, the Vikings meant something; they are all our ancestors. One of my favourite pieces in the exhibition is a necklace found in a woman’s grave in Finland. Semi-precious stones from the Baltic are joined by Islamic coins – dirhams. Face to face with that bit of jewellery you can just imagine the pride of the original owner; knowing that her loved ones’ adventures across the seas in Asia or Al-Andalus connected her to a rich, cosmopolitan world.

Odin, or v&oumlaut;va figure, AD 800–1050, Lejre,. Zealand, Denmark, © Roskilde Museum, Roskilde

Odin, or volva figure, AD 800–1050, Lejre,. Zealand, Denmark, © Roskilde Museum, Roskilde

I hear that one of Neil MacGregor’s favourite objects in the exhibition is the small silver figurine of Odin, but particularly the representations of Odin’s pet ravens – Huginn and Muninn – representing Thought and Memory. The British Museum – and indeed museums across the globe – are the custodians, caretakers and communicators of our collective memories. Although slightly terrified, I can’t wait to share these with you (and the screen with my long-time hero Michael Wood (who wrote yesterday on this blog). Oh, and incidentally, honey and dried fish were top Viking dishes; maybe have those as refreshment tonight rather than popcorn: Get in that Viking mood!

Bettany Hughes is one of the presenters of Vikings Live, at cinemas around the UK on Thursday 24 April.
Supported by BP

Follow @Bettany_Hughes and @britishmuseum on Twitter

The BP exhibition Vikings: life and legend is at the British Museum until 22 June 2014.
Supported by BP
Organised by the British Museum, the National Museum of Denmark, and the Museum für Vor- und Frühgeschichte, Staatliche Museen zu Berlin

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Vikings Live on the horizon

Michael WoodMichael Wood, historian and broadcaster, presenter of Vikings Live from the British Museum

Hotfoot back from Shanghai where I am filming The Story of China, and now very excited about tomorrow night at the British Museum! We had a production meeting yesterday going through the script and suddenly the spine-tingling ‘liveness’ of it all felt very immediate. Vikings Live is now really coming together, with a series of very exciting scenes and a team of terrific contributors. Gareth, the exhibition curator, will even be sweltering in full Viking war-gear to explain the ethos of a warrior society. A string of inspiring experts will be your guides through the glitter and violence of the age, led by everybody’s favourite museum director / magician, Neil MacGregor, who has now turned his hand to A History of the Viking World in a Thousand Objects!

Vikings Live presenters, from left: Michael Wood, Bettany Hughes and Gareth Williams

Vikings Live presenters, from left: Michael Wood, Bettany Hughes and Gareth Williams

The British Museum has gathered some really amazing things together for this thrilling exhibition about the turbulent and spacious Viking epoch that extended roughly from the 750s to around 1100. Tomorrow night the cinema audience will be getting privileged close-up access to some wonderful artefacts: designer sword blades, fabulous gold torcs (neck-rings), looted treasure and a jaw-dropping display of headless skeletons of Vikings executed near Weymouth during the disastrous reign of Ethelred the Unready (979–1016) when the Danes conquered England.

An intimate detail? The piece that caught my eye (and I’ll be talking to Gareth about it tomorrow night) is a severed skull with filed teeth that were once coloured. An Arab account of Vikings on the Caspian Sea describes them tattooed and even wearing make-up – the men as well as the women. With their bling and braided hair they were definitely making a statement: Pirates of the Caribbean goes Viking?

At the heart of the exhibition is the wreck of the longest Viking ship ever found – sunk in Roskilde in around 1025, it was discovered in 1996. Only the lower part of the original boat survives, but the elegant curving steel frame over 120-feet long is a staggering sight, which will be explored with dramatic crane shots tomorrow night. Clinker-built, slim and very flexible, such ships travelled west to Greenland, south to Morocco and east to the Caspian Sea: there are even Viking graffiti on the Church of Hagia Sophia in Istanbul. Going further west, there was even a permanent Viking settlement in Newfoundland, and for all we know, some inquisitive summer voyager coasted down the shores of New England. Our own pirate explorers like Sir Francis Drake and Martin Frobisher would certainly have seen them as kindred spirits.

And what about the Vikings themselves? As you’ll see tomorrow night they had a very dark sense of humour – but they also had a very down-to-earth view of life which reminds me a lot of the kind of humour you can still hear in the Yorkshire Dales or the Cumbrian Fells: and not all of it in jest… Take these sample Viking ‘thoughts for the day’ from the famous wisdom text, the Havamal:

Don’t trust a blade until you have tested it in battle.
Don’t trust ice until you have walked across it
Don’t trust your wife until you’ve buried her….

No new men there then!

So there you are: courageous practical, realistic, cruel, curious – the Viking spirit took them across the western world between 750s and the late 11th century. That amazing age is our subject tomorrow night – experts and enthusiasts all. Speaking personally, I must say I am looking forward very much to presenting Vikings Live with Bettany Hughes, who I have known for years, but it’s the first time we have done an event together. What a time!


Michael Wood is one of the presenters of Vikings Live, at cinemas around the UK on Thursday 24 April.
Supported by BP

The BP exhibition Vikings: life and legend is at the British Museum until 22 June 2014.
Supported by BP
Organised by the British Museum, the National Museum of Denmark, and the Museum für Vor- und Frühgeschichte, Staatliche Museen zu Berlin

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

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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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