British Museum blog

World Cup match of the day

Andrew Shore, Marketing Editor, British Museum

Sometime back in March I saw the football World Cup advertised on a pub chalkboard. Later that week, I had the idea that the British Museum was ideally placed to join in this global tournament – few other places can boast objects from all 32 countries taking part.

The plan was to tweet images of a pair of objects for each match, one from each of the countries represented. This way we could showcase the Museum’s collection, but also the art and culture of those countries. I soon realised my own knowledge of the cultures of countries such as Algeria, Honduras and Costa Rica was limited at best. With the help of Steff Maxwell, our Marketing Assistant, we spoke to various curators across the Museum, and began to search the collection database. The scale of what we had taken on soon became clear – it would involve 64 matches and 128 objects, some from countries where the collection is not as well represented as others.

It was a simple notion, but seems to have captured the Twittersphere’s imagination. The response has been almost overwhelming. Many people have tweeted about their enjoyment of the posts, and some of them have been retweeted over 300 times. The Washington Post blog even called it ‘the best World Cup Twitter strategy of all the World Cup Twitter strategies.’

Ultimately, we hope that it has engaged people with the collection – perhaps introducing some to its breadth and depth for the first time. Some of the objects have been iconic, such as Dürer’s Rhinoceros for Germany and Leonardo da Vinci’s bust of a warrior for Italy. Some of the objects have been much less well known – a stone figure from Costa Rica, a beautiful jar from South Korea, or a drinking cup from Argentina. But really the tournament has shown what’s best about the Museum – telling new and surprising stories, sometimes in unexpected places. It’s been fun to do, and hopefully fun to follow.

The British Museum is perhaps unique in being able to tell the human story through objects. In the recent Annual Review, the Chairman of the Trustees set out his vision to make the British Museum ‘the digital museum of the world’. Social media and the availability of the collection online means that we have a fantastic opportunity to engage people with the collection all over the world – people who may never be able to come to London to see things in the flesh. To use a football cliché, at the end of the day, perhaps this is what social media is made for.

You can see all of the British Museum’s World Cup tweets in a Storify.

You can follow the Museum on Twitter, and do also check out our official accounts on Facebook, Instagram, Pinterest, YouTube, Google+ and Tumblr.

Filed under: Collection, , , , , , ,

A day in the life of a lot of archaeologists


Daniel Pett, Portable Antiquities and Treasure, British Museum

The 29 July marks the first Day of Archaeology, an online social media experiment that coincides with the Council for British Archaeology’s Festival of Archaeology (an annual event, this year running from the 16-31 July).

The idea for this project came from a conversation between two PhD students, Matthew Law (Cardiff University) and Lorna Richardson (University College London), and builds upon a successful project called Day of Humanities, which documented the daily work of people working in a field now known as ‘Digital Humanities’.

So what is happening?

The idea is very simple, over 350 archaeologists from around the world have signed up to document their working day via the use of social media. They will be submitting blog posts, photographs, video footage or a combination of these to demonstrate to anyone interested how varied the archaeological profession is. All these submissions will be moderated and released through the project’s website and disseminated through different social media networks – for example, on Flickr, Facebook, and Twitter (the hashtag for the project is #dayofarch). Some project members will also be making use of the latest entrant to the social media fray, Google+, and will be using a ‘hangout’, to promote archaeology digitally (details for this will be published later).

Unearthing a hoard of coins. Image: Portable Antiquities Scheme

Unearthing a hoard of coins. Image: Portable Antiquities Scheme

The project now has expressions of interest from people working on excavation in Belize, scientists working in laboratories, archaeologists talking about how cuts have affected their work, community archaeologists leading workshops and museum educators teaching the next generation about the magic of archaeology. The very first post to be published, at 00:01 on the 29 July, will be from Maev Kennedy, who writes about archaeology – among other things – for the Guardian newspaper, about why she is in awe of archaeology.

Once complete, the experiment will form part of Lorna’s PhD research and will also be written up for academic publication and be used as a model for public engagement at this year’s Theoretical Archaeological Group conference in Birmingham.

So if you are an archaeologist, or have been, or you are even becoming one, there’s still time to sign up. Send the project team an email at dayofarchaeology@gmail.com or find out more by visiting the website.

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

Filed under: Archaeology, Portable Antiquities and Treasure, , ,

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Construction of St Peter’s Basilica began #onthisday in 1506. It was completed 120 years later. This print by Giuseppe Vasi was made in 1774
#print #art #history #Rome #Italy Happy 134th birthday @natural_history_museum! Here’s the British Museum before the natural history collection moved to South Kensington
#giraffe #history #BritishMuseum #museum Most Greek sculpture that survives from antiquity is carved from white marble, of which the Mediterranean has many natural sources. A relationship has often been assumed between the pure white of freshly cut marble and the idealism of Greek art. In fact, the opposite is true. Colour was intrinsic to ancient ideas of beauty. For centuries this has been a subject of fascination and controversy. The great Italian Renaissance sculptor Michelangelo revived the Greek idea of the human body but denied the use of colour. This was partly due to negative associations with the painted saints of the medieval period. During the European Enlightenment of the 1750s onwards, and increasingly into our own time, the preferred aesthetic was a truth to materials. Painting and gilding were seen as unnecessary and undesirable.

Sculpture in antiquity was often adorned not only with colour but also with different materials. The Greek marble statue of an archer reconstructed here was drilled and fitted with metal attachments. The figure originally held a bronze bow and arrow and a quiver was fixed to his left hip by a metal dowel. Individual locks of hair were made of lead. The colourful design of the man’s knitted all-in-one garment, often worn by peoples from the east, is clearly seen weathered into the marble surface under controlled lighting.

You can see this wonderful object in our exhibition #DefiningBeauty, until 5 July 2015.
#exhibition #BritishMuseum #ancientGreece #sculpture #art

Plaster cast of archer with reconstructed paint, based on a Greek original of about 490–480 BC, from the Temple of Aphaia at Aigina. Staatliche Antikensammlung und Glyptothek, Munich. Uta Uta Tjangala's masterpiece Yumari is a highlight of‪ #IndigenousAustralia, opening a week today
#exhibition #art #history #BritishMuseum #Australia #museum Hans Sloane's collection also ended up as the basis of the @natural_history_museum and the @britishlibrary!
To make more room for the increasing collections held by the British Museum, the natural history collections were moved to a new building in South Kensington in the 1880s. This eventually became the Natural History Museum. These images show some of the natural history specimens on display, including giraffes and a mastodon!
In 1997, the library departments left the Museum to be re-housed at the new British Library in St Pancras.
#history #BritishMuseum #collection #animals #books Hans Sloane's encyclopaedic collection became the cornerstone of the British Museum.
This drawer was once part of the materia medica - a sort of pharmaceutical cabinet - in the collection of Sloane. The cabinet had several drawers, each carefully constructed to keep out destructive insects. Some drawers had small compartments like this example, others contained glazed boxes with seeds, fruit, bark, roots, gums and resins inside. Each had a label written by Sloane with a catalogue number. The botanical or medicinal name of the subtance, where it came from and who collected it were then recorded in his catalogues of his collection.
As Sloane's interest in natural history grew along with his income, he was able to widen the scope of his collection from being primarily medical to being more encyclopaedic, representing the widest possible variety of substances and artefacts for his own reference and for others to consult.
© 2003 The Natural History Museum @natural_history_museum 
#history #BritishMuseum #collection #museum
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