Last day of the festival Mari Gordon, 2 August 2009 Festival of British Archaeology 2009So the festival ended. After two weeks of almost continuous events across three of Amgueddfa Cymru – National Museum Wales’s sites. And the best was definitely saved until last.With fine weather throughout the day The Vicus put on a fantastic show. They performed a Roman funeral ceremony in the centre of St Fagans before a crowd of two to three hundred people. A young lady played the recently departed and two gladiators fought for her.Then the mourners processed to the funeral pyre, an impressive timber platform around which more rituals were performed, and where the young lady was substituted for a pig.There followed tense moments for the organizers. It’s easy to schedule a cremation ritual, and building the pyre wasn’t too challenging, but with all the wet weather the day before, would it light? With a hundred and fifty people watching as a fire brand was thrust into the middle of the pyre, a fizzle would not have looked good.But good fortune smiled and the pyre lit, smoking heavily before the flames spread. The grave goods on the pyre were quickly burnt or broken, with one glass bottle melting in the heat.It burnt for the rest of the afternoon, until by closing time on the site there was just a bed of ash with the unburnt back of the pig resting on top. By next morning almost all of this had burnt away and we set about recovering the cremated bones and the grave goods for further analysis.Cremated remains are common finds from the Bronze Age and Roman periods and our work here will go some way to helping interpret these finds when they come up in future. So a great spectacle and a useful source of data.
A big day in the Celtic Village Steve Burrow, 1 August 2009 Festival of British Archaeology 2009This weekend is the grand finale of the Festival events, and it started dreadfully. Torrential rain all night and no let-up until eleven o’clock, but much happened before then.First thing in the morning The Vicus, anamazing Iron Age / Roman re-enactment group, arrived in force and took over our Celtic Village and the grounds around it. Our wood shelter became an armoury, the roundhouses were taken over for cooking and crafts, and outside the village our old furnace was fired up and used to smelt iron ore.Things really got under way once the rain had cleared and the ground started to dry. Then it was a continuous stream of visitors for the rest of the day.For me the highlights were:- the trimmed down combat display where the Vicus’s British warriors and Roman soldiers showed off their equipment and demonstrated the various merits of a range of spears. It was a trimmed down display because the rain had left things too wet underfoot for full-scale combat. But the forecast is good for the rest of the weekend, so tomorrow’s performance should be the full extravaganza.- watching the bloom come out of the furnace around 4:30. The Vicus’s blacksmith has yet to pass judgement on the results, but they certainly looked pretty good. And when one considers that things only really got started around midday they seemed almost miraculous.So tomorrow is the big one. In the Celtic Village we have a repeat of all of the above (with bronze casting substituted for iron smelting), and the festival will be brought to a show-stopping conclusion with a reenactment of a Roman cremation cemetery. Fingers crossed the weather stays with us.
Look above: look within Steve Burrow, 30 July 2009 Festival of British Archaeology 2009On Wednesday and Thursday this week (29th and 30th July) Sue Fielding and Geoff Ward from the Royal Commission on the Ancient and Historical Monuments of Wales demonstrated building recording at St Fagans. Thanks to them, visitors had the chance to record a 500 year old house, Hendre’r Ywydd Uchaf, which once stood near Ruthin in the Vale of Clwyd.I couldn't get to the event myself, but Adam Gwilt who helped organise things sent in this report. "Geoff has been getting people to look more carefully at the way the house was built and showing young and old alike how to measure and draw the exposed timbers of a wall partition inside the house.Sue has been enlisting the help of people, using the ‘total station’ survey equipment. Using a laser beam to record the dimensions and details of one of the rooms, a 3D drawing of the room has grown in front of our eyes on the laptop computer screen. On Wednesday, the stream of people was slow but constant, though the torrential rain all day affected the numbers of visitors. After early showers on Thursday, the much improved weather brought people to us in significant numbers, at times queuing to enter the house to see what was going on! We used a red flag banner to let visitors know that something was going on in this house in the large museum grounds, while the additional building trail developed for the Festival has helped some children to hunt for evidence relating to the long use of this building.The event was a great success with Sue commenting: ‘Many children have really enjoyed using our new survey equipment to generate an immediate visual and digital drawing of this historic house. I was really pleased that the Royal Commission was asked to contribute to the Festival events hosted by the national museum.’ "
Durga Puja: Creating a Goddess 29 July 2009 The Goddess Durga ready for the Puja For three weeks in the spring of 2009, two artists from India created beautiful images of the Goddess Durga and her family at St Fagans National History Museum. Week by week, simple materials like clay, papier mache, hay and wood were skilfully transformed into finely detailed sculptures – all with their own symbols and meanings. They were made for the Wales Puja Committee – a Hindu group that has worshipped in Wales since the 1970s. Their existing image of the Goddess Durga was old and worn – so they needed a new one. Durga is the invincible Mother Goddess, riding a lion into battle. Created by the Gods when evil threatened the Universe, she is ‘Shakti’ the divine power to stand against, absorb and fight dark forces. Throughout worship, known as Puja, Hindu people celebrate the defeat of evil by Durga. She is portrayed in all her beauty displaying strength, warmth and motherly love. She stands proud on a lion slaying the demon King, Mahisasura. With her are her two sons, Ganesh and Kartikeya and her two daughters Lakshmi and Saraswati. The two award winning artists - Purnendu and Dubyendu Dey – were from Kolkata, India. Throughout the process of creation certain religious rites were followed. The most important of these is known as Chakkshu Daan - the Painting of the Eyes. Purnendu carefully brought Durga to life by painting her eyes. From this point on the image of the Goddess is worshipped as though she has all the powers given to her by the Gods. The Pujas begin on the sixth day of Navaratri, the nine nights of rites to the Goddess Durga, with the welcoming of the Goddess and her family. Mantras are chanted in Sanskrit and offerings made to seek the Goddess’ blessings to fight evil. After nine days the final day known as Dushera arrives, this is the day to say goodbye to the Mother Goddess and her family. In India, they are placed into the waters of the river Ganges, with hopes of welcoming her back next year. In Wales, they are stored carefully ready for next year. Durga Ganesha's body formed by tying hay to a wire frame Placing a mixture of clay and paper on to the straw to form Ganesha's head The Goddess Durga, her lion, and the buffalo demon formed from straw and wire The artist Dibyendu Dey weaving wire and hay to form a head Using a heat lamp to dry the clay Securing the neck of Sarasvati's swan to the body with string as the clay dries Tylluan Lakshmi Placing a mask, already made by the artists, on the Goddess Durga's face The artist Dibyendu Dey shaping the Goddess Durga, her lion and her foe, the buffalo demon A close-up of the head of Kartikeya's peacock The face begins to dry Ganesha before being painted The Goddess Durga's Lion Rolling the clay to make fingers The clay rolled to form fingers and palms Placing the fingers on the Goddess Durga's hands The image of the Goddess Durga drying before being painted Ganesha's mouse, perhaps a symbol of his keen, quick intelligence Painting glue over a thin layer of cotton to seal to seal the form Mixing the paint The artist Purnendu Dey mixing the natural powdered pigments with water The artist Dibyendu Dey painting the Goddess Durga Ganesha The Goddess Durga victorious over the buffalo demon Lakshmi's Owl Placing a glittering border around the form. The colour red is considered to be lucky by the people of India, and Hindu deities are depicted as having red palms to show their divinity. Lakshmi The artist Purnendu Dey painting the lion's eye The Goddess Durga's lion attacking the buffalo demon The artist Purnendu Dey painting the buffalo's head Placing the hand-painted background behind the Goddess Durga A closer look at the hand-painted background The Goddess Durga after the painting of the eye ceremony. From this point onwards the Hindus believe that the image is enlivened, and the Goddess is worshipped as though she has all the powers given to her by the Gods. Sarasvati, Goddess of Knowledge and the Arts, holding her instrument, the veena. Kartikeya sitting on a peacock Lakshmi Ganesha, the lord of all living things One of Ganesha's four hands Lakshmi, Goddess of wealth and happiness A close-up of Lakshmi's hand and costume Kartikeya, the brave warrior and Ganesha's brother Sarasvati The Goddess Durga The Goddess Durga ready for the Puja Sarasvati and Kartikeya Ganesha and Lakshmi