British Museum blog

Winning Words spoken at the British Museum

British Museum curator, Richard Parkinson looking at a tomb-painting


Richard Parkinson, curator, British Museum

Curators are often requested for media appearances, but not always in the way they might expect. The Museum was recently approached about participating in Winning Words, a project by the Forward Arts Foundation about creating short films of a cross section of Britons reading inspiring poems, to enhance people’s lives through poetry as part of the Cultural Olympiad 2012. I happen to work on Ancient Egyptian poetry, and particularly on how such works can be performed, doing for example ‘experimental philology’ sessions at an academic conference with the actress and novelist Barbara Ewing. Poetry lies at the heart of my research and because Sian Toogood, the Museum’s Broadcast assistant knew this, she approached me.

The poem I was asked to read was ‘Leisure’ by the Welsh poet W. H. Davies (1911 AD), with the famous opening couplet ‘What is this life if, full of care, we have no time to stand and stare?’. I must admit that the poem does not appeal to me in terms of style, but every academic would applaud its sentiment about time, as the lack of time for research is always the hardest part of our daily experience.

Sian and I suggested that the filming could be done in Gallery 61, with the famous Ancient Egyptian wall-paintings from the tomb-chapel of Nebamun (1325 BC). The importance of looking and staring at them was central to the concept of the gallery, and we thought that various details of the paintings could relate to the poem’s mentions of trees, cows and female beauty. Both the poem and the paintings express the wonder of experiencing the world around us, despite their different cultures and dates.

The film crew arrived before the galleries open to the public, and were a joy to work with; the whole session took about 20 minutes. ‘Leisure’ was recorded in two takes (I was too fast in the first as I was worrying that I’d sound too bitter and sad when talking about lack of time!), and I also read a few lines from Sean O’Brian’s ‘Dignified’ (a poem that was new to me and which I admire immensely). This became part of a very evocative mash-up film of 12 people across London speaking it in a single day.

This is a very inspirational project, and marvellous to have been part of – and for someone who works with ancient texts it is always useful to be reminded how poems work so differently with the voice than just on the page: performance is the very essence of their life no matter how old they are.

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

Filed under: At the Museum, Collection

One Response - Comments are closed.

  1. tankonyves says:

    Great, thank you.

    Like

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

Join 16,341 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

#onthisday in 1939, just before the outbreak of the Second World War, archaeologists discovered the treasures of #SuttonHoo. It was one of the most important historical discoveries of the 20th century, and contained a wealth of Anglo-Saxon objects which greatly enhanced the understanding of the early medieval period. One of the most significant things to be found was an undisturbed ship-burial, the excavation of which can be seen in this photo. The 27-metre-long impression the ship left in the earth is highly detailed and was painstakingly recorded. The centre of the ship contained a burial chamber housing some spectacular objects – we’ll be sharing some highlights today.
#SuttonHoo #AngloSaxon  #archaeology #archive #blackandwhite This photograph shows a mountainside in #Angola featuring large engravings which may be thousands of years old. This rock art is found at Tchitundu-Hulu Mulume, one of a group of four rock art sites located in the south-west corner of Angola, by the edge of the Namib desert. The area is a semi-arid plain characterised by the presence of several inselbergs (isolated hills rising from the plain). Of the four sites, Tchitundu-Hulu Mulume is the largest, located at the top of an inselberg, 726 metres in height. There are large engravings on the slopes of the outcrop, most of them consisting of simple or concentric circles and solar-like images.

Our #AfricanRockArt image project team have now completed cataloguing 19,000 rock art images from Northern, Eastern and Southern Africa, and will be completing work on sites from Southern African countries in the final phase of the project. Follow the link in our bio to find out more about our African #rockart image project and the incredible images being catalogued.
Photograph © TARA/David Coulson. Our #AfricanRockArt project team is cataloguing and uploading around 25,000 digital images of rock art from throughout the continent. Working with digital photographs has allowed the Museum to use new technologies to study, preserve, and enhance the rock art, while leaving it in situ.

As part of the cataloguing process, the project team document each photograph, identifying what is depicted. Sometimes images are faded or unclear. Using photo manipulation software, images can be run through a process that enhances the pigments. By focusing on different sets of colours, we can now see the layers that were previously hidden to the naked eye.

This painted panel, from Kondoa District in #Tanzania, shows the white outline of an elephant’s head at the right, along with some figures in red that it is possible to highlight with digital enhancement.

Tanzania contains some of the densest concentrations of rock art in East Africa, mainly paintings found in the Kondoa area and adjoining Lake Eyasi basin. The oldest of these paintings are attributed to hunter-gatherers and may be 10,000 years old.

Follow the link in our bio to learn more about the project and see stunning #rockart from Africa. This week we’re highlighting the work of our #AfricanRockArt image project. The project team are now in the third year of cataloguing, and have uploaded around 19,000 digital photographs of rock art from all over #Africa to the Museum’s collection online database.

This photograph shows an engraving of a large, almost life-sized elephant, found on the Messak Plateau in #Libya. This region is home to tens of thousands of depictions, and is best known for larger-than-life-size engravings of animals such as elephants, rhino and a now extinct species of buffalo. This work of rock art most likely comes from the Early Hunter Period and could be up to 12,000 years old.

Follow the link in our bio and explore 30,000 years of stunning rock art from Africa. © TARA/David Coulson. Watch the incredible discovery of this colossal statue, submerged under the sea of thousands of years. This colossal 5.4-metre statue of Hapy was discovered underwater in what was the thriving and cosmopolitan seaport of Thonis-Heracleion. It once stood in front of a temple and would have been an impressive sight for traders and visitors arriving from the Mediterranean.

Come face to face with the ancient Egyptian god Hapy for yourself in our‪ #SunkenCities exhibition, until 27 November 2016.

Colossal statue of Hapy. Thonis-Heracleion, Egypt. About 380-250 BC. Maritime Museum, Alexandria. © Franck Goddio/Hilti Foundation. The discovery of this stela, which once stood at the entrance of the main entry port into ancient Egypt, was an extraordinary moment. Its inscription detailing taxes helped solve a 2,000-year-old mystery!

This magnificent monument was crucial to revealing that Thonis (in Egyptian) and Heracleion (in Greek) were in fact the same city. The decree was issued by the pharaoh Nectanebo I, regarding the taxation of goods passing through the cities of Thonis and Naukratis, and it originally stood in the Temple of Amun-Gereb. The inscription states that this slab stood at the mouth of the ‘Sea of the Greeks’ (the Mediterranean) in Thonis.

A bilingual decree found in 1881 refers in its Greek inscription to ‘the Temple of Heracleion’ and in hieroglyphs to ‘the Temple of Amun-Gereb’. Together these objects revealed that Thonis and Heracleion were the same place.

Learn more about the deep connections between the great ancient civilisations of Egypt and Greece in our #SunkenCities exhibition.
Stela commissioned by Nectanebo I (r. 380–362 BC), Thonis-Heracleion, Egypt, 380 BC. © Franck Goddio/Hilti Foundation.
Follow

Get every new post delivered to your Inbox.

Join 16,341 other followers

%d bloggers like this: