History and Archaeology. PhD Programme Studies on Heritage, Memory and Cultures - University of Bologna, 2017-2018 (original) (raw)

THE ARCHAEOLOGY FROM THE PAST TO THE PRESENT

The archaeology had started firstly as a discipline concernig the studies abut the classical antiquityies. Across the centuries it extended its research's methods, thus today it concernes the studies of all countries and people. The chronological borders are more broadened too today, so the archaeological methods are used not only for the very past contests, as the preihistorical ones, but they reach the Middle Age, the Reinassance and, at most, even the beginning of the XX century. From the very beginning specific sectors and disciplines grow up from the unique matrix of the archaeology.

2018. Session on "Archaeological education beyond archaeology: looking at the cultural and social relevance of research" (Barcelona 5-8 September 2018)

24th Annual Meeting - European Association of Archaeologists, 2018

The dissemination of music archaeological research calls, even more than in other branches of archaeology, for the negotiation between science, art and entertainment. The reconstruction of musical instruments or acoustic environments can often only be transmitted through experiencial learning, and the public engagement that can be achieved thanks to these musical experiences is remarkable. However, there are certain problematics that need to be discussed. On the one hand, as any other human science, music archaeology proposes particular narratives about music history and human cultures that often project onto the past modern musical identities and concepts, which legitimate contemporary social and political agendas. On the other hand, one of our main objectives as researchers is to question these narratives and preconceptions in the light of archaeological data. However, public engagement can only be achieved by a certain degree of negotiation between this scientific approach and the artistic and entertainment expectations of the audiences. Based on the experiences gathered in the European Music Archaeology Project and the exhibition Archaeomusica, this paper will discuss possible ways of transmitting music archaeological knowledge through art and entertainment and will propose ways of challenging certain harmful narratives and concepts about past music, while trying to offer results that are still significant for the general public and artistically relevant.

Presentation of the First Issue of the International Journal of Student Research in Archaeology

Gonzalo Linares Matás, Lilla Vonk, Ariane Maggio, Amanda Gaggioli, Dylan S Davis, Antonio Sánchez, Bertie Norman, Kelton Sheridan, Richard Takkou, Helen Rayer, Vivian van Heekeren, Sam Hughes, Sonja Dobroski, Alix Thoeming

A rchaeologists are relevant social agents, and they should aim to demonstrably present our work as interesting and useful. We have the social responsibility to make knowledge available for the public engage with our audience, and to reach people outside the discipline. The practical side of archaeology can be one potential scenario. As Lilla Vonk notes, the possibility of interacting and experiencing the past through and engagement with heritage generates fascination and activates imagination, positively impacting the wellbeing of dementia and arguably other mental health patients. Our discipline can provide an invaluable source of motivation for continuing healthcare in a more enjoyable and meaningful way. Another possibility for public engagement is through the presentation of both research and interpretation. Antonio Sánchez, in his study of Roman viae in Hispania, convincingly argues that archaeology is not limited to excavation and recording. The public dimension of heritage ownership demands that it should be known and respected by everyone, and museums can become a platform for this shared exploration of the significance of archaeological remains. The conservation and curation of museum pieces thus become a paramount dimension of archaeological practice due to their relevance in public presentation and heritage display as embodied materiality of historical memory. Wael Gabo Elgat reports the scientific methodology behind the treatment of Khedive Ismail's antique gun at the NMM-Saladin Citadel in Egypt after suffering a certain degree of decay.

Archaeology of archaeology: recostructing history of a profession in Italy

This abstract has been read during European professional associations session during EAA 20th conference in Istanbul : we tried to reconstruct the history of the archaeological profession in Italy after the second WW, focusing on some of the breakthroughs we thought were diagnostic to understand the current situation of Archaeology in Italy; it's an history of divisions and misunderstanding between professionals, but also an history from which we have to learn, if we want to succeed in representing a cathegory.

Session on "Archaeological education beyond archaeology: looking at the cultural and social relevance of research" (Barcelona 5-8 September 2018)

24th Annual Meeting - European Association of Archaeologists, 2018

The dissemination of music archaeological research calls, even more than in other branches of archaeology, for the negotiation between science, art and entertainment. The reconstruction of musical instruments or acoustic environments can often only be transmitted through experiencial learning, and the public engagement that can be achieved thanks to these musical experiences is remarkable. However, there are certain problematics that need to be discussed. On the one hand, as any other human science, music archaeology proposes particular narratives about music history and human cultures that often project onto the past modern musical identities and concepts, which legitimate contemporary social and political agendas. On the other hand, one of our main objectives as researchers is to question these narratives and preconceptions in the light of archaeological data. However, public engagement can only be achieved by a certain degree of negotiation between this scientific approach and the artistic and entertainment expectations of the audiences. Based on the experiences gathered in the European Music Archaeology Project and the exhibition Archaeomusica, this paper will discuss possible ways of transmitting music archaeological knowledge through art and entertainment and will propose ways of challenging certain harmful narratives and concepts about past music, while trying to offer results that are still significant for the general public and artistically relevant.