Showing posts with label anthropology. Show all posts
Showing posts with label anthropology. Show all posts

Wednesday, September 21, 2022

365 Films Across 365 Days — September 21: (Indiana Jones and the) Raiders of the Lost Ark

This series is dedicated to matching memorable movies with the signature day each year upon which I could watch them forever. When I was in college, I started school each year around the third week of September. I wanted to be Indiana Jones. The third Monday of August in 1936 was the 21st, and so…

Indiana Jones and the Raiders of the Lost Ark (1981, Paramount/Lucasfilm, Steven Spielberg)

This places the film right at the end of summer. It's still warm and bright in the northern hemisphere, but days are getting shorter and darker. The plot of the film, and even each sequence, generally starts on a warmer or brighter note and gradually becomes darker in tone, and the heroes have less and less time to forestall their doom. The movie is shot in glowing tones that have a touch of age which gives it a slightly antique look. Raiders feels like it perpetually lives in a late summer afternoon, and I think it's best viewed at that time, with the blinds mostly drawn to create that long, dusty shadow effect on the adjacent walls.

Indiana Jones easily has the most iconic look and sound of any character in film history. The fedora. The leather jacket. The bullwhip. The five-o'clock shadow. Harrison Ford's lop-sided grin. The John Williams theme ("Raiders March"). Even the sound of the punches! Nothing else checks that many boxes. Indy is born fully and wonderfully from the landscape of this film. And while he was inspired by James Bond and the Republic adventure serials of the 1930s and 40s, it's easy to see how there are no other characters (only poor imitators) like him!

The reason for the fertility idol's placement and the giant rolling boulder trap make almost no sense, but they are perfect expressions of pulp fiction adventure storytelling, and you have to lean into that. (Subsequently, if you lean into that enough, all the events that the characters experience in the later films—from hand-plucked out hearts, to fighter planes skating through tunnels, and nuked fridges, etc.—are all easily digestible pieces of pop culture.) Sometimes life doesn't make a lot of sense either, but if we face it with the same level of pluck and tenacity that Indy does, we can do a lot worse!

How dare you, Satipo! Had he not betrayed Indy and helped him escape the temple, it's interesting to think how the Belloq scene would have played out. He was probably doomed either way. Had Satipo been there beside Indy when Belloq took the idol, they probably both would have died stumbling over each other. So, in fact, thank you, Satipo!

This very much is an adult-oriented film, whereas Star Wars was more marketed for youth. Both approaches are valid, and both audiences can enjoy the other, but the "talky" parts of Raiders are more mysterious, cerebral, and plot-driven, seeding for events to come. For example, the whole conversation at Marshall College with the government agents and the history and significance of the Ark is key to the movie's central plot. You might think it's a boring exposition scene, but when you actually listen to how the characters speak and the weight of what they're suggesting (i.e., a doomsday scenario if Hitler gets ahold of the MacGuffin!) is quite compelling.

Major Toht is a super underrated villain. Very methodical. Very scary. At times a bit funny. Great voice and delivery by Ronald Lacey.

It's interesting how the Pam Am Clipper Indy takes from the US to Nepal departs from San Francisco. Historically, that's accurate. But I guess Indy must have taken another plane or train across country to the Pacific Coast, because his academic activities are all based out of New Jersey. Also, the Golden Gate Bridge wasn't complete in 1936. Goes to show: You don't have to get everything right to make a classic piece of Americana.

I am not at all bothered or convinced by the woke claims of recent that Indy is some kind of sexual predator or is an "old world" misogynist. Did he have an "inappropriate" relationship with an underage girl—Marion—when they were younger and dumber? Seems highly probable. Did either of them think it was a bad idea, or that they were doing something wrong at the time? Almost certainly not! "You knew what you were doing," Indy tells her, a bit dismissively. Sure, Marion is hurt. She had her heart broken. That's understandable and wholly valid. And completely believable and human. For both of them. Heroes can make mistakes. Indy sometimes makes a lot of them. And that's a small part of why we love him.

John Rhys-Davies's Sallah is one of the most wholesome and heartening sidekick characters to appear on film. The opening scene on Sallah's veranda overlooking Cairo is such a departure from the cold, dark confines of Marion's bar environs in Nepal, and these scenes really help to illustrate the globetrotting tone of the Indy movies.

Indy's "boss fight" with the sword-wielding Arab is one of the most inspired action encounters in movie-making history. It's a laugh out loud moment if you've never seen it, and perfectly encapsulates "don't bring a knife to a gun fight" without making our hero seem like a cold-blooded killer.

Indy's sorrowful chat with Belloq at the bar is a superb example of how to stage a confrontation without any shots fired or punches thrown. Neither man will concede to the other, and the scene ends in a stalemate (luckily for Indy). Gotta love Indy's line: "You want to talk to God? Let's go see Him together. I've got nothing better to do!"

This line creates a very interesting question in the mind of the discerning viewer. Does Indy believe in God? There is evidence enough in all the films to suggest he may or he may not. I personally think he does, but he wrestles with the idea throughout his life, and in Raiders, he clearly shows a more agnostic approach. Before departing on the adventure, Indy assures Brody that he is not a superstitious fellow, suggesting that he doesn't put a lot of stock into the Biblical lore behind the Ark. This is more bravado than careful thought, on Indy's part. By the end of the third movie, Indy has reconnected more fully with his faith, not surprising given he was raised by a God-fearing father.

That bastard Capuchin monkey got everything that was coming to it when Indy and Sallah visit the old man to decipher the medallion. (Monkeys, next to cats, are some of the most bastardly animals that are also generally regarded as cute and cuddly on the face of the earth!)

There are Bond girls, and then there are Indy girls. To date, Karen Allen's Marion is the best Indy girl. She's tough but cute, full of salt but capable of being sweet, and her chemistry and backstory with Jones makes her the perfect combination of sidekick and damsel-in-distress. Take the drinking scene between Marion and Belloq, for example. It is one of the best comedic scenes in the whole series. It fits perfectly with their characters and there's plenty of motivation for both of them to do what they do in the scene. Toht's whole "three-section nunchaku" which actually turns out to be his coat hanger bit always lands.

The special effects in the Map Room scene are perfect. Amazing that this movie was made years before the advent of computer-generated effects in film.

The entire action sequence from escaping the Well of the Souls, to battling the bald mechanic on the German wing's tarmac, to commandeering the army truck on horseback, to surviving being thrown through the windshield and sliding back under the truck to retake it is easily one of the greatest action sequences. Of. All. Time. One of these days I'm going to make a Youtube video breaking that action sequence down in RPG terms, detailing a round-by-round analysis of the dice rolls and the damage dealt throughout the whole set of scenes. It would be so worthy of that. One of these days.

"It's not the years, it's the mileage." I often use this line myself in real life. Classic.

During the scene when the German U-boat prepares to depart and submerge, I always used to think that the officer in the white hat and the straight black collar who comes into frame near the beginning was Indy. In the novelization (a deleted scene in the film), it explains how Indy clings to the conning tower when the U-boat submerges, and that's why he arrives still wet and without having alerted any of the German sailors during the short voyage. He had to have been holding on for a few hours, at least. If you buy everything else that's happened up till that point of the movie, this part is easy. Besides, it's true that U-boats didn't dive very deep during operations, especially when searching for land by periscope.

I love the exchange between Captain Katanga and his crew member after Belloq and the Nazis make off with Marion and the Ark: 

"Can't find Mr. Jones, Captain. I've looked everywhere." 

"He's got to be here somewhere. Look again." 

"I found him." 

"Where?" 

"There!"

That's action script poetry. And then the music swells! So. Damn. Heroic.

I love the symmetry in Indy's journey throughout the story. Belloq steals a golden artifact Indy found in Peru at the beginning of Raiders; Indy loses a golden artifact to Belloq outside of Cairo later on. And so begins the pattern of Indy acquiring an artifact only to part with it at a critical moment.

You absolutely feel Indy's conflict when he's aiming the bazooka at the Ark near the end. He was never going to go through with it. It was just a desperate ploy to save Marion. Belloq's words to him in that scene are some of the most profound in the whole film. Good writing.

Again, the special effects are second-to-none in Raiders. The swirling spirits when the Ark opens sells even to this day. My kids were fully convinced. This big kid, 40 years on, is still convinced.

Indy basically loses in the end. The bad guys don't really "win," but our hero certainly comes up mostly empty in the final tally, short of having survived to tell the unlikely tale. Except, of course, his relationship with Marion. He wins big there. And so do we the viewers.

September 21 — 2 of 365 logged

Go to next! Go to last!

Sunday, August 9, 2020

Angel of the North in Miniature

What's this?! Two Batmen, their car, a Robin, a Catwoman, a Joker, and his car, in Gateshead, Tyne and Wear, England!? 

Now that's a night-light!

Monday, June 29, 2020

The Dynamic Duo Do Battle with the Clown Prince in a Gothic Church Ruins

Joker looks to bomb the church ruins while Batman positions for a standoff down below. Does Joker even see Robin sneaking up from the roof?
All the same action by nightfall, all aglow!

Monday, April 22, 2019

The Terror of Tower Bridge!

"Tower Bridge will be falling down."
"From here…"
"…down…"
"…down."
"Ok?"

Tuesday, February 26, 2019

Which is more profound: Ancient unsolved mysteries? Or the loving bond of siblings?

"Confound it all, Stonehenge! I will know your secrets!"
"Ya know what? I give up. I have no idea what Stonehenge is all about!"
But, if anybody can get to the bottom of it, it's Batman!
Then suddenly … Paige scores a takedown!
Ewan maintains half guard, while Paige goes for the arm bar!
Then she just opts for a little ground-and-pound!
Only to soften him up for a smoochie hold!
And he's doomed!

Monday, January 1, 2018

…on the Wright foot!

Here's how Ewan and I are starting things off: with our first family build of two of the Egyptian pyramids of Giza, just one of the light-up (and optionally sound-activated) designs in the National Geographic Landmarks & Archaeology set for Laser Pegs that he got for Christmas.
Then we stepped out to explore a new park in our area.
Happy New Year!

Saturday, August 30, 2014

My Date With King Arthur

The last time I presented one of these was almost three years ago. This academic essay also came from the anthropology course I took focusing on myths, rituals, and symbolism. I find myself fascinated with the creation of myth and how it informs us still.

As a child visiting Disneyland for the first time, there were many things I had not expected to encounter when I was there. Growing up in a lower-middle class family, going to Disneyland was not even on our collective radar, but thanks to relatives who worked there, the amazing was made true. Not only did the wonderfully riveting rides like Pirates of the Caribbean and Splash Mountain leave me wanting more, but the lively and warmly-approachable costumed characters of Disneyland captivated me in ways I had not been prepared for. I remember even being too timid to approach them myself thinking that the whole experience was too great, and that I was not deserving enough to experience it more intimately. Nevertheless, I was allowed to experience my first trip to Disneyland in ways I will never forget, thanks to the family I had working there who arranged for me to be chosen during a live noon show as "the one who would pull the sword from the stone”—namely, King Arthur.

We all know the Arthurian legend of how a mere squire boy of ancient “Briton” came forth to pull the magical sword “Excalibur” from a rock, and, by doing so, become the King of Camelot. What is not well known, however, is whether there is any truth to this story. Historians have dated the legend to sometime during the European Dark Ages (c. 8th-9th century CE), and we know that written records during this time were sparse. The story has been relegated to myth for lack of better knowledge, though this has not negatively affected the story, how it is told, nor moreover, what it means to those who hear or read about it.

As the myth goes, Arthur, the squire boy, lives in a pre-medieval society full of men and women who are either not fit to wear the titles and positions they cling to, or are bereft of the social leverage and political savvy necessary to receive the honor and prestige they deserve. Within this, there exists an idea of divinely inspired destiny, a kind of divine or "unawakened magic," that exists in the world to help us achieve our higher calling. One can often never fully understand their higher calling until that divine magic has been released through a pivotal action taken by the person in question. That person may not know what that pivotal action is, when it may come during their lives, or whether it is even possible. From the myth, we learn that the surprising pivotal action is the drawing of a fabled sword, Excalibur (believed to have been embedded in the rock by a local court magician and sage named Merlin), that, upon being lifted from the stone, will indicate the next king.

The myth tells how Arthur is successful in completing the task, even after stronger and more experienced men have failed to do so, and is promptly named the new king. Merlin becomes Arthur’s advisor, and the king and his loyal subjects (among whom are the Knights of the Round Table) go on to engage in numerous quests and adventures, not the least of which is a search for the Holy Grail (which may, in fact, place the myth during the time of or prior to the First Crusade, 1095-1099 CE.)

In any case, the summary provided above carries with it a set of symbols which, beyond the fact that there are scant details known about the story historically, qualify it as myth. For one, the Arthur myth focuses on the object of the sword, an object of war, which plays more of a passive role as that which is sought after, and in referring to the summary above, functions as the fulcrum upon which Arthur’s destiny balances. As part of a backstory to the sword’s origins, other versions of the myth have spoken about how the sword was first given to Merlin by a mysterious but benevolent sorceress known only as the Lady of the Lake, who, in turn, had played a role in Merlin’s destiny. Be that as it may, other symbols found in the Arthur myth are the stone itself, magic, loyal subjects (including the knights), the round table (about which the knights assemble in equal relationship to each other), and the idea of kingship or rulership, which taken together mean different things for those who participate in the myth, even by those who are just listening or watching it play out.

Extending from a structuralist perspective, one must see that in order to view the above symbols according to their respective “models of” and “models for” reality, one must use a lens that is focused on the frame of structure rather than the details, as Levi-Strauss suggests in his work, “Structural Anthropology” (164). Bearing this in mind, the sword in the stone (two symbols at once) is a model of reality, representing that strength which is stuck within the stony confines of human inflexibility and faithlessness. The stone from which the sword is drawn is, of course, that very physical representation of human nature that is defined by inflexibility and faithlessness. By separating these two (drawing forth the sword), a model for reality is formed utilizing the freed symbol of the sword as a signifier indicating the release of divine magic, whereby one’s destiny is fulfilled. The loyal subjects (knights) are indicative of those who are a direct side-effect of the aforementioned model for reality, serving to inform those who participate in perpetuating the myth that there are like minds out in the world whose own destinies are dependent on the occurrence of the pivotal event. So too does the round table serve as a model for reality, depicting an idea of equality not exhibited in the times before the sword was drawn from the stone.

Invariably, kingship is the most difficult symbol to qualify as its relevance is no longer easily seen in modern day. Kingship, as displayed in the Arthur myth, can be taken to mean self-empowerment, creation of an identity, and eventually passes on the idea that each person who follows the myth’s structural model (and not its details) will veritably become “kings” or “queens” of their own domains. In essence, the kingship symbolism acts as a “misguided” model of reality, seemingly always in place, but disguised beneath the presiding model of inflexibility that can only be removed by the realization of the model for reality—namely, pulling the sword from the stone.

The myth stresses a structural basis, but also has a "performative" feature not felt unless one acts the myth out oneself. Having performed the act of pulling the sword from the stone at Disneyland, I can attest to the fact that the modern myth’s characteristics emphasize style, occasions, and how the performance is produced over other competing aspects (Lecture, 10/7/03). In performing the myth in both planned and impromptu theatrical capacities time and time again, one gets the sense that the Arthur legend expresses a challenge to authority that is already in place. This potentially flawed idea of never-ending renewal of authority is then tempered by the myth’s assertion that only those renewals permitted by “the powers that be” (e.g. God) are those that will come to pass. After all, not just anyone has the ability to take the sword from the stone!

The Arthurian legend of the sword in the stone presents a model of and a model for reality that depicts both the state of (local) world affairs and how that can be remedied, if possible. What makes it possible is if the one, shall we say, “predestined” to fix the situation comes forth and takes action, often not knowing the consequences of said action, and thus setting into motion a series of events that will make things better in the doing. One can imagine how those who are not predestined to take such actions may, despite the pattern, do so, creating such ideas as the “anti-hero,” or even bolder proclamations such as the “Antichrist.” One would hope, however, that those involved in any fashion with the Arthurian legend would recognize one of its most important lessons: every great and noble act of mankind is carried out by those who are meant to initiate it—and that is reassuring!

Bibliography

Lecture. “Myth: Structure and Meaning.” Professor Hancock. UCSB. Fall, 2003.

Levi-Strauss, Claude. “Structural Anthropology.” Anthropology 116 reader. Ed.
Professor Hancock. Santa Barbara: UCSB. 2003. 162-174.

Wednesday, October 6, 2010

Plot Summary: Indiana Jones and The Bid for an 'A'

I've been looking at my old papers from college and realized some of them might make for great blog entries. Then again, some of them might work better than Ambien for those of you suffering from sleep deprivation? Either way....

I attended the University of California at Santa Barbara from September 2000 through June 2004. I graduated a double-major with a bachelors in cultural anthropology (emphasis: archaeology) and religious studies (emphasis: Near East), and, thankfully, a lingering interest in the more romantic side of things. Here's a paper I wrote during my junior year for "Anthropology 118TS: Archaeology of the Ancient Near East" (very appropriate, huh!), sources included. The class was taught by Professor Stuart Tyson Smith, an egyptologist and famous for his self-promoted involvement in The Mummy movies (or at least the first two at the time).

Anyway, that's plenty of background I guess. Simply put: this one combines my love of writing stories, Indiana Jones, and a bit of academia into one package. Chickity-check it out!


Prologue

My name: Dohni Ganderlay, British novitiate from the Cambridge University in the study of archaeology. My life: often does not quite work out the way I want it to, or at the very least, the way I had expected. I have to admit though, that my experiences spent over the last few months under the captured employ of the famed adventurer/archaeologist Henry “Indiana” Jones have been anything but what I would have expected—in retrospect that is!

It is the spring of 1934, and in my twenty-second year I have come to learn that when dealing with life’s problems you must swallow the bad with the good. At the beginning of the year I was hired by a swaggering French archaeologist named René Belloq to work with him on a classical period site in the Levant of the Near East as part of my research training. Monsieur Belloq put me to work in two ways: one, by being responsible for constructing the preliminary report of the dig, and two, by snooping around the competing dig of the aforementioned Indiana Jones, located at Bir Abu-Moya, and secretly causing any stifling trouble that I could. I had no idea what I was in for.

After the first week, I was caught while trying to steal from the mule caravan that Dr. Jones used for carrying supplies. I never was a very good thief! Fortunately, the rugged American spared my life and instead of having me imprisoned or worse, put me to work as his own assistant—what better way to keep an eye on me. To my even greater surprise, he started me on his own site’s preliminary report, the very same thing Belloq had bade of me, and I even found out that both competing dig sites were being employed by a powerful Arab antiquities dealer out of Syria. It seemed a challenge had been posed to the two long-standing rivals, by the interested Arab dealer, to see which archaeologist could finish his respective dig first. The rules, however, consisted of doing this one by the book, (as is not always apparently the case with Dr. Jones and Monsieur Belloq). Be that as it may, I found myself right in the middle struggling to avoid the vengeful hand of the Frenchman, and keep up with the hectic pace of the dig set by the intrepid American.

Chapter 1: The First “Step” Towards a Trench of Trouble

The expedition at Bir Abu-Moya began in late January (due to the time constraints laid upon the "contest" by the Arab dealer), and we were often forced to cover the strip of land where the step trench was going to lay on the south side of the Tell with a sloping network of tarps to prevent the occasional rain from swamping our work. Indy, as he has asked us all to call him, spent much of the first few days pacing the site and orchestrating the ten-week dig plan while reminiscing with the lead digger—a large, joyfully baratone-voiced Egyptian named Sallah—about how he wished there was a dungeon to be delved or a tomb to be raided amidst all this. I kept my wits about me though, and tried to remain as professional as I could, eavesdropping on nearby conversations only when I thought it the least dangerous.

On a more archaeological note, pertaining to the beginning of my preliminary report, I have determined that the first area we uncovered at the base of the Tell can be dated at latest to the Natufian Period (ca. 9000 B.C.). The absence of ceramic material and the fact that later periods tend to show more advanced housing structures (bordering on what is present in the Near East today) are clears signs that this step in the trench is dated as thus. The hut we found was also dug a meter deep into the ground, which is consistent with Natfuian style (Roaf, 30). Additionally, the appearance of Einkorn wheat may have something to do with the temporal placement of the site seeing as how rachis was found on the stalks (indicating a wild variety) and wild cereals were specifically a major part of the diet, as opposed to later domesticated kinds, during this period (Roaf, 27). Considering the wheat found, I have surmised that the basalt mortars and pestles were used to process the harvested grain while the notched piece of basalt found was likely used to shuck the tough husk off of the more pesky stalks. Then, as for the more advanced lithic technologies found, it would seem that the lunates were manufactured as sickle heads to harvest wheat and reused through Helwan retouch as a practice of tradition. Most curious of all was the stone “pillow” burial that Sallah and his sturdy-backed diggers uncovered. “Queer,” Sallah had commented, saying that it looked as if the person had been pinned down, though I was not too sure, and decided to comment on this later after some thought.

One thing is sure, however, this first trench has a cultural affiliation all its own, uniquely Natufian. To help illustrate this point the following is a transcript of a conversation Dr. Jones, Sallah, and I had one evening as the sun dipped down into an orange-purple horizon:

“Well, judging from the finds so far, I’d say the people here at Bir Abu-Moya had some ‘contemporaries in the Zagros Mts.’,” Indy announced after a moment’s thought. “We’re probably standing on what was future Palestinian soil” (Roaf, 30).

“Their economy was certainly one of open settlements,” I added. “Semi-permanent agriculturists I would wager, exploiting a vast array of both plant and animal life if what we know of the Natufian is correct.”

“Perhaps, Indy, we are seeing the decline of a Band community?” Sallah asked sternly but with a tentative pause.

“That’s certainly possible,” I answered, looking towards the rugged American. “We know that there was a trend away from familial-based hunting and gathering, to a more interfamily exchange system between settlements.”

Indy merely nodded in silent confirmation, his five-o’clock-shadowed face looking towards the horizon – towards the distant camp where Belloq resided.

...Chapter 5: The Dig Continues

Two weeks after we finished trench 1, we began on trench 2. The going was not easy, however, not after battling a three day storm that kept us to our tents and had half the crew come down with a cold. There is little rest for the wicked though, and Indy has bade me to work quickly and concisely in my documentation so as to keep up with the rabid pace which is to make up for lost time.

Thus, with mounds of time to myself now, I continue the report. At a glance, step #2 would appear to be Natufian as well due to the lack of ceramics, but the sudden appearance of a rectangular house built using domed-topped mud brick, featuring distinctive “herringbone pattern” thumb impressions (which help to key the molds together), lends the trench to be dated during the “Proto-Neolithic” (ca. 7500 B.C.), or Pre-Pottery Neolithic (Roaf, 31). The house appears to have been sieged by fire and then partially reconstructed such that there was now two adjoining rooms (separating families or parts of family) with the hearth moved to occupy the center of what could be a sort of kitchen or commons. Red ochre is often found decorating interiors beginning in the Proto-Neolithic as it is here, and is one of many things used to illustrate pictorials of animals, which among the most common are lions and bulls (Roaf, 36). It is not surprising then that we find the bull image and lion figures, of which the pregnant woman represents a type of fertility worship, as both motifs are indicative of cultural influences out of Mesopotamia. Ultimately, this becomes the forerunner of what is known as the “Proto-Hasunna” and succeeding “Samarra” cultures, emphasizing a “need for storage buildings over housing,” and “reveals a greater degree of possession awareness” where “lines of social/economic divisions appear” (Lecture, 4/15/03).

From the finds we can also conclude that plant domestication is well under way and goat herding (primarily for the meat, hence the longbone finds) indicates a diversification in resource control and economy. The social complexity is structured around “settled farm villages” with the largest ones being almost 1 hectare in size (Roaf, 33). Ancestor worship, as confirmed by the burial with the displaced skull, indicates a belief that “ancestors probably exercised a powerful influence over their descendants and had to be pacified by prayer and sacrifice” offered up to the skull, presumably (Roaf, 33-34). After examining the burial, Indy had commented that, “That sure wasn’t the way to get ‘ahead’ in life...”, to which I could hardly disagree, though it seemed a brilliant way to get ahead in the afterlife.

And with that, I have not even had a chance to catch my breath, for even now, I can hear Dr. Jones calling me to make ready to accompany him on a trip into the nearest town for replacement supplies after what we lost during the storm.

...Chapter 7: The Dog Days of Digging

Damn Belloq! Damn him straight to hell! I will not soon forget the day that a pack of wild dogs stormed our camp forcing us to scramble to higher places and tearing the throats out of two of our workers! Dr. Jones seems disarmingly unfazed, even though he too knows it was Belloq who sent the hounds, and I thought I caught him actually enjoying the charade as he took pot shots with his revolver at the dirty mongrels. At noon, the dogs just seemed to emerge from a dust cloud in the distance closing until it was too late, and while I am truly rattled, Indy has undauntingly demanded that we press on with the dig, and so we must!?

Step trench #3 has brought us into the Early Bronze Age (ca. 3300 B.C.), as far as I can tell, major clues coming from the more advanced building structure and the fact that the Khirbet Kerak ware found is a local style prevalent during this period (Roaf, 82). The absent finds in the sterile soil below this step help to explain the massive leap in time from the previous step, and various cultural and economic elements which I am about to elucidate also point towards the Early Bronze Age.

The cultural affiliation during this period at the site seems almost entirely Egyptian, more specifically the pre-dynastic period of Naqada in Egypt which would respond to the Early Bronze Age in the Levant. Also, the Abydos ware present may have something to do with the export of olive oil which was exchanged and later found in tombs of the Egyptian First Dynasty, hence giving a background and explaining why both of these commodities appear at Bir Abu-Moya (Roaf, 82). Given this, the cylinder seal and mud-brick building found here both point to the site as having been identified as an “Egyptian colony or trading outpost” (Roaf, 82). Furthermore, the material record here shows us that the tanged axe, likely a hold back item from the earlier Calcolithic period, and the lapis lazuli helps to demonstrate the beginning of a luxury item trade. One might even suggest that the economic elite here were taking on a model of “conspicuous consumption” such to the extent that one would expect this trend to continue and increase (Lecture, 4/29/03).

Thus, without a doubt, it is clear to me that the social complexity of the site at this step would be that of an ancient Egyptian outpost community; utilizing indentured servants or slaves at the beck and call of an Egyptian upper class whose goal was to exploit and orchestrate the agricultural and social development of the land. “It holds,” Sallah told me, “that some of the greatest and most enduring legacies have been left by that cradle of the Nile—Egypt!” he finished with a wink. And quite frankly, how can I deny that?

...Chapter 13: From the Middle Bronze to a Bronzed Middle

We began on step trench #4 on the seventh week of the dig, clearly behind schedule but determined to beat Belloq with time to spare. I have to admit, I am fully behind Indy now, finding his slapdash nature quite amusing and often finding myself fantasizing about one day becoming like him...well, um, moving on.

The date for this particular step falls during the time of the Middle Bronze Age with the knowledge that Amenemhet I, whose cartouch was among our finds, reigned from 1991-1962 B.C., but more specifically cerca 1800 B.C. because we know that “after about 1800, almost all Middle Bronze Age sites in the Levant were fortified” (Roaf, 118). My notes on the casemate wall and gate include the fact that it would have been nigh impregnable with its rubble-filled central recesses, and difficult to siege due to the man-made slope (for deterring tunneling, ramming, and tower attempts directed at the walls themselves), while the narrow, three-chambered entrance would have created multiple barriers for enemies to bypass—no easy task! Clearly, though, the destruction of the walls and burnt remains is a testament to how fiercely the city-states of this time were warring with each other.

Indy was quite insightful in helping me piece together parts of the social network that was occurring at the time, mainly that a group known as the Amorites (Semitic interlopers) were migrating in from the south and mixing with groups from the north such as the Hurrians (an Indo-European sect out of the Caucasus Mts.), and lead to, among other things, a synthesis of works in metallurgy and craftsmanship, particularly with bronze weaponry (Lecture, 5/1/03). In turn, I have attributed the “duckbill” axe and trident finds to such a cultural composition. And, so far as the economy appears in this step, there seems to be a crystallization of the concept of increasing conspicuous consumption, what with the finds of lapis beads, the gold falcon’s head, and the decadence in which the inscribed tablet we found went about describing a particular door.

Speaking of which, the tablet bore an incomplete passage dictating the introduction of a communication between what I believe are two remnant city-state rulers of a fallen Egyptian Old Kingdom. Now, undoubtedly, the comparable power between such rulers after the fall of a great dynasty would vary, and as such, one ruler might answer to another, creating a kind of “big king/little king” relationship (Lecture, 5/6/03). In order to sequester aid or resources beyond one’s immediate control, let us say, a little king might have to humble himself either in person or via tablet inscription to the nearest big king, as we have here. This brings the hierarchy of the social order in to view and helps to explain possible alliances or rivalries we might see in future steps.

As a final note for this trench, we also find Tell el-Yahidiya ware sherds among the finds, notable as a style that emerged out of this mixed culture during the Middle Bronze Age that resulted in finely made pottery “featuring a red polish, and black punctate” (Lecture, 5/1/03). As an aside, while we were sifting through the sherds, Indy became startled and jumped back letting out an alarmed breath as he leaned away from something nearby. I do confess, the man is quite intriguing for all his courage, after all, it was only a baby gartner snake! Unfortunately, Indy got the last laugh when I had made the mistake of overindulging in the little bit of sun we had one day, partially under an umbrella, only to have earned a dark and painful tan across my stomach, and the new British colloquial nickname of “The Walking-Fag” (i.e. The Walking-Cigarette). [I think I must have felt uncomfortable here using such a term, so I concluded to clarify my intentions, and the joke was just too good to pass up!]

...Chapter 18: Famous Last Words

I began work on step #5 during the later half of the eighth week, quickly finding myself with growing speculations as to how the overall site here at Bir Abu-Moya impacted the historical scene. Once again, the destruction wrought on a wide-scale here gave us near perfect preservation, and judging from advanced building architecture and artworks found within, namely the appearance of the portico entrance and the base ring ware (both of which are thought to have originated during the same era), we came to the conclusion that this new step was from the Late Bronze Age (Lecture, 5/15/03). The scarab that we recovered was also key in designating the exact time frame to around 1250 B.C., due to the fact that it is inscribed for Ramesses II who is known to have ruled during this period (Roaf, 144).

Semblances of cultural development in this step all point to a syncretism of styles and motifs, mainly through art and remnants of religious practice. Bir Abu-Moya was without a doubt a frontier for converging ivory styles drawing upon both a “Syrian” tradition, as displayed through the remains of the back-to-back women piece, and a “Phoenician” tradition (closely related to the art of Egypt), as embodied by the openwork panels which were also found (Roaf, 156). The Hurrian sealing, alternately, creates an interesting dichotomy with the previous and more absolute Egyptian occupation level, manifesting itself in a seemingly international style wherein the materialization of ideology (i.e. depictions of rituals and the gods involved in a reinforcing manner that has a lasting effect) can clearly be seen.

Economic values are shifting such to the extent that bronze (formerly an extremely valuable commodity used exclusively in weaponsmithing) is now being seen used in the construction of figurines as we have here, suggesting that perhaps more valuable resources are on the way (i.e. the advent of the Iron Age). Beyond that, there are more things I will touch on about this step later, but the social complexity at this point is certainly one of demonstrative opulence held in check by the fact that this site seems to have been on the front lines of ongoing territory disputes and, more locally, solid attempts at multicultural uniformity leading to the creation of new ceramic styles, and new ways of looking at worship.

I think it was Dr. Jones who said, “The people of this time and place were living life the way their superiors adjudicated it for them...mixing together those elements which they often wanted to survive by. That, or become lost in time.” Its ironic, now, that he had said that, for neither I nor any of the crew have seen or heard from him in the last nine hours.

...Chapter 25: The End of a Long Road

We have entered the tenth week and still no sign of the American! Every day at dawn we send out a group to search and see if they can find Indy, but no such luck yet. We are confident Belloq has not beaten us, though there is no way to be sure, and while the digging continues with everyone on edge, we are no less determined now that Sallah has taken over. Nevertheless, I am still committed to doing my part, and so my look at step trench #6 begins.

From what we know of history, the Sea Peoples and Assyrians became increasingly important in the development, for good or for poor, of the Levant during much of the periods which we have already covered. With that in mind, I see the utter destruction at this level akin to that which would have been perpetrated against Assyrian takings in the Levant (mainly because of the interregional hatred that was expressed towards Assyrian rule), and furthermore, the presence of Assyrian potsherds helps to give a material context (Lecture, 5/27/03). Thus, I place this trench during the later half of the Iron Age, sometime during the 7th or 8th century B.C.

I have come to the conclusion that the body under the eastern building was an Assyrian soldier, both the scale-mail armor and blow to the head (with no proper burial) indicate features and the kind of fate one might expect of an unfortunate Assyrian guard. The body under the western wall, however, could have been a priestly dignitary carrying a sacred temple vessel to safety, one which bears an inscription that possibly translates into “ox-head, fence, house,” or “The Sanctuary of the Bovine Altar” (Roaf, 150). Certainly, there was some sort of religious activity going on in the western building as there is a “horned altar” positioned out front where there appears to have been animal sacrifices made judging from the organic residue found (Lecture, 5/27/03). These finds coupled with the “woman with lions stand” and the “cow Kernoi” help to elaborate upon a flourishing international style of syncretist beliefs, meshing both Mesopotamian (from the Assyrian rule) and Aegean (from contact with the Sea Peoples) traditions into a unique motif. It is astonishing how much pressure from outside forces (e.g. the Egyptians from the south, Hurrians from the north, Sea Peoples from the west, and Assyrians from the east) this region was able to endure and ultimately assimilate into an identity of its own.

The economy in this period at Bir Abu-Moya is almost exclusively mercantilism centered around guild-based polities. The evidence of converging pottery styles, cremation practices, and extensive warfare indicates a culture consistent with that of the Philistines during the Iron Age, while the social complexity was likely that of a peripheral imperial city-state. And while our understanding of the Bir Abu-Moya site becomes clearer, so too does the events surrounding Indy’s disappearance. I will not soon forget when he came riding in atop a brown stallion just today exchanging gunshots with a group of pursuing Arabs. A scramble throughout the camp to find a hiding place until the dust had settled ensued, and when we finally got a chance to talk to the dirty and bruised American, he said that he had left fully a week and a half ago to spy on Belloq’s operation. Apparently, the wily Frenchman had hired a group of nomad strongmen to patrol his camp and, for Indy, there had simply been too many eyes to dodge. Subsequently, Indy told us, he had spent the remaining time eluding the nomads in an attempt to get back. The good news was, Belloq’s men had revolted against him (chaffing under the Frenchman’s direction) and Belloq was out of the race. Thus, we had won and our adventure at Bir Abu-Moya was over!

Epilogue: Interpreting The Mysteries

Bir Abu-Moya begins in the Natufian, a time in which there is little else going on as far as historical and archaeological records have thus far shown in the Levant or in many of the surrounding areas. In fact, modern Israel and Palestine constitute some of the only areas that we have knowledge of there even having been a Natufian period (Lecture, 4/8/03). This is partially to explain for why we see an odd example of secondary burial in step trench 1 (the skeleton with the stones) during this time but not in any other, mainly showing how Bir Abu-Moya remained untouched by other cultures, but also how the people kept to their Neolithic beliefs.

At step trench 2, we see a slow departure from more Neolithic modes of thinking wherein family ties are most important, to a linked community where families are dependent on each other. The house’s development shows an evolution from round huts to squarish designs to facilitate adding on, individual walls which are easier to repair in case of fire, and interior walls which help to divide portions of the house between men and women or among different facets of activity that each room in the house serves. This abrupt change coincides with the changing economy from hunting and gathering to farming, and roving band societies to semi-permanent ones based on exchange routes with other nearby settlements.

The odd circular foundation found at step trench 3, which appears during an era after a long time of vacancy at Bir Abu-Moya, is likely a tower (among others) positioned at the edge of the Tell proper to look out for invaders during a tentative time of Egyptian expansion. After all, these are foreign lands to Egyptian rulers and not as secure as their homelands. Then again, the tower could be a sort of storage chamber necessary for large supply depots in an ongoing effort to expand. In either case, Bir Abu-Moya changes after a long period of absent settlement (due to continuing bad weather conditions and drought) where farming is no longer the main drive, but rather outpost links in a long chain of state-controlled trade routes are the purpose.

By the time of step trench 4, a cycle of continual claims and loses by numerous different cultures and states vying for control has begun, each seeking to exploit the established land to its own desires. With the fall of the Old Egyptian dynasty we begin to see how there is a need to hold on to bits and pieces of the past occupations and mesh them with the new, so as the new protective walls come up around the site at this level, so too do we find the older mud brick structure still in place, though it has been relegated by its new rulers to a lesser designation (i.e. the dung depository) as a negative statement aimed at the previous rulers.

Then, as we enter steps 5 and 6 we see how the example of materialization of ideology takes the form of temples set up to reinforce state-oriented codes and religious edicts. The pattern remains the same but there is now a clear sign of “one-upmanship” being expressed by each successive ruling faction. Thus, when we find objects that conflict with the new order winding up discarded in a pit, we can assume that those objects were the things that were meant to be forgotten. In all cases, we still find the society repeating itself: ancestor veneration with the skulls, burnt pits with the remains of enemies and/or sacrifices, and new buildings erected to protect and facilitate survival are all in the later steps. Each time though, the details are included in the growing melting pot of culture that is the Levant in its entirety as it stands today.

Bibliography

Lecture. "Anthropology 118TS: Archaeology of the Ancient Near East." Professor Stuart Smith. UCSB. Spring, 2003.

Roaf, Michael. Cultural Atlas of Mesopotamia and the Ancient Near East. Andromeda Oxford Limited, 1966. 27-156.

[And yes, I got an 'A' on this one. :-)]

Friday, September 24, 2010

Natsu Yasumi

Well, if the weather isn't any indication (it's been rain all week!), September 23rd signaled the Autumnal Equinox here in Japan, and thus the official end of summer.

Here's what mine looked like...

A trio of samurai astride their impressive mounts clop (and occasionally plop) along the streets of Hachinohe City in Aomori during the July festival. Thousands of onlookers, some traveling from as far away as Fukuoka, camped out along the streets for hours before, munching on onigiri, pretzels, and carmel corn in the afternoon sun.
Performers dressed in tiger costumes are popular during matsuri. They typically stalk the edges of the crowd looking for willing participants who offer their heads to be swallowed by the tiger's jaws. This is considered a sign of good fortune, ensuring better health in the year to come. (Do not attempt with real tiger!)
Colorful dancers twirl and whirl through the streets, often playing a set of taiko, or the fue.
Matsuri are incomplete without the splendid decorative floats that parade down streets. All of them have some combination of moving parts, light or smoke effects, and hand-played music to draw spectators. Each of them represents some neighborhood or section of the city it comes from, and many are pulled through the streets by festival goers from those same neighborhoods.
Tanesashi Beach in Hachinohe. Other local ALTs and I went with Sawahashi-san, our supervisor, to spend the day touring the coast.
The cliffs adjoining the beach in Hachinohe. 
In early August, I was privileged enough to join a couple kouko-gakusha (archaeologists) from the town office I work at and go with them to a site they are currently excavating. Their research leads them to believe that this site was occupied by an early pre-Japanese culture living in Aomori around 1,200 years ago. The test pit I'm digging into here has a layer of ash (the light-brown soil ringing the bottom) that was left after a volcanic explosion.
"You wanna dig how deep?"
Here I am setting my spade to work, (and wearing an expression that suggests I may have just ripped my pants for all my efforts). A pleasant cadre of hired laborers, curiously most of them middle-aged to elderly women and one out-of-work college male, are fanned out behind me working on the opposite corner of the trench.
Still August, but now in Towada, here's a picture of the All-Japan High School Sumo Tournament.  These big boys put on a great show, some of the hits they landed causing participants to wrap their heads from minor bumps and scrapes. It was interesting to see how not every sumo wrestler was of the expected sumo-size. Some of them eschewed the added body weight in favor of agility and a speedier technique. Some of them were smaller than me! (I didn't envy those ones.) 
Here I spare you from the delightful "crack shot" to give you a lateral view.
Now the last week of summer in September, a crowd of Oirase's best gather round to watch the first few marchers kick off the Momoishi matsuri parade. Oirase is made up of two smaller towns that merged a few years back: Momoishi and Shimoda. Both halves of the town have their own matsuri. The rope you see on the ground rests slack as we wait our turn to enter the parade grounds by pulling the float behind us.
Undeterred by the rain, a squad of traditional dancers precede our float along the parade route.
A look ahead as the dancers pass.
A fancy headdress of a black cat, eerily creeping down the center of the street, flows back to where a few children guide its long black train. The children's own sways and moves seem to be dictated by the performer wearing the headdress.
A lucky tiger comes to plant a health-inducing bite on the onlookers, while an NHK cameraman films the action.
A float comes to a stop and opens up to reveal a mythical tale woven into Japan's cultural past. The float leader pauses during these moments to sing a traditional song as the taiko drummers play.
This is definitely NOT the way you want to end up riding through the parade. (Or the way you want to end up period!)