Category Archives: Posts from the field

Posts about fieldwork

Who Gets a Tan in Alaska?

Celeste Jordan

I write to you from the depths of Western Alaska, along the Bering Sea in the large (by Alaskan standards) village of Quinhagak. It is a coastal community of about 700 people (City-Data 2011) that has a long and rich history.

The Quinhagak archaeological site is located right on the coast, about 6.5km from the village itself. The site is under serious threat from coastal erosion and lead investigator, Dr Rick Knecht, says that it all could slide into the Bering Sea with one major storm (Rick Knecht, pers. comm. 2013).

Quinhagak, Alaska. (City-Data 2011)

Quinhagak, Alaska. (City-Data 2011)

With 3 excavation seasons in the last 4 years, the site has produced some amazing artefacts and yielded unexpected information. The site was occupied between 1350 AD and 1630 AD, pre-contact (1820’s for Quinhagak) (Knecht 2012:21). The 1630 AD occupation period ended abruptly when the village was attacked by a neighbouring village in what is known as The Bow and Arrow War (Knecht 2012:23).

(White tent marks the site locale. Knecht 2012:34)

(White tent marks the site locale. Knecht 2012:34)

Over the last 10 days, 19 people from Scotland, the US, Canada, Lithuania and Australia have been working on two separate areas of the site: area A and area B.  Samples of fur, hair and seeds are being taken in most contexts. Below the tundra sod level, broken pottery, animal bones, mask fragments, labrets (cheek and lip plugs), broken shafts, dolls of various sizes, a toy bow and arrow, and lance and harpoon points are being excavated regularly.

De-sodding the site. Photo: Celeste Jordan 2013

De-sodding the site. Photo: Celeste Jordan 2013

The focus of my Directed Study is to understand the maritime subsistence and settlement pattern of Yup’ik culture through artefact study from in situ remains, and site and material culture analyses. This will help not only in my understanding of Yup’ik culture but also, with further investigation, the Quinhagak community in understanding their heritage as well.

So far, last Saturday has been the most exciting day. After many days of removing sod, beautiful artefacts emerged including:

  • An entire and complete bowl
  • A decorated labret
  • A carved ulu handle with what looks like 2 Palraiyuks either end
  • Several dolls
  • A fish and seal mask attachments
  • Mask fragments

These artefacts are a good indication that we are now truly down into the cultural layers—Finally!

Today was beautiful and sunny. Most of us worked in t-shirts, except when the mosquitoes (that are the size of small semi-trailers) and ‘no-see-ums’ (midges) forced us to wear sleeves. I’m anticipating coming home with a tan! We mainly focused on moving through the contextual layers with carefully excavating and screening.

A glorious day on site. Photo: Celeste Jordan 2013

A glorious day on site. Photo: Celeste Jordan 2013

Only the north part of area A produced anything of note today and boy did it produce! In quick succession this is what was excavated:

  • A small wooden box
  • A big wooden transformation doll – female to wolf
  • A labret
  • An almost complete mask
  • Snow goggles
  • Fur
Snow goggles in use by excavator Chas Bello. Photo: Colleen Lazenby 2013

Snow goggles in use by excavator Chas Bello. Photo: Colleen Lazenby 2013

Transformation doll with excavator Chas Bello. Photo: Celeste Jordan 2013

Transformation doll with excavator Chas Bello. Photo: Celeste Jordan 2013

Transformation doll with excavator Chas Bello. Photo: Celeste Jordan 2013

Transformation doll with excavator Chas Bello. Photo: Celeste Jordan 2013

Other artefacts were recovered today, but nothing like what was excavated in north area A by Chas Bello, one of our most experienced archaeologists. We still have 11 days left of excavation. Who knows what amazing artefacts still await us in the dirt?

There are blog posts everyday at http://nunalleq.wordpress.com

References

City-Data 2011 Quinhagak, Alaska. Retrieved 8 August 2013 from <http://www.city-data.com/city/Quinhagak-Alaska.html>

Knecht, Rick 2012 Introduction to the Nunalleq Site. Presentation given to field crew, Quinhagak, Alaska

The Cultural Maritime Landscape of Ramsey Bay, Hinchinbrook Island

By Daniel Petraccaro, Master of Maritime Archaeology Student (Flinders University)

Introduction

The maritime archaeology fieldwork on Hinchinbrook Island (figure one) was conducted by the Queensland Department of Environment and Heritage Protection (DEHP) with the grateful support of the Hinchinbrook National Park. The aim was to locate, identify and record the maritime heritage sites on and around Hinchinbrook Island. This blog will discuss two sites investigated: The wreck of Belle in Ramsay Bay (figure one; figure two) and a nearby concentration of possible ships’ fittings to the south of Belle. Masters students and staff from the Flinders University Archaeology Department were lucky enough to assist DEHP with the recording and interpretation of maritime archaeological sites on the island.

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Figure One: Map of Hinchinbrook Island and Location of Belle in Ramsey Bay. Google Earth.

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Figure two: Belle after Cyclone Yasi in 2011. http://www.townsvillebulletin.com.au/article/2011/09/03/263161_news.html. Accessed 25/07/13.

Using the archaeological results of the fieldwork, I will discuss in this blog how the sites investigated at Ramsey Bay are interconnected within the concept of a maritime cultural landscape. I will also hopefully show how human behaviour and the natural landscape play a part in the maritime setting. The maritime cultural landscape signifies human utilisation (economy) of maritime space: boats, settlement, fishing, hunting and shipping (Westerdahl 1992: 5).

Background: Hinchinbrook Island

Hinchinbrook Island is the perfect tropical paradise. The island is part of the Great Barrier Reef Marine Park and protected within the Hinchinbrook Island National Park. Hinchinbrook Island is eight kilometres east from the Queensland coast at Cardwell (figure three). Spectacular natural vegetation includes mangroves, scrublands and tropical rainforests. Sandy isolated beaches and the view from the prestige coastline are breathtaking! If you are interesting in visiting the island, the only way to access Hinchinbrook Island is using shipping transport launched from Cardwell or Lucinda; if you are prone to seasickness, I suggest you bring some medication along!

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Figure three: Sunrise at Cardwell. Hinchinbrook Island in the distance. Photo courtesy of Daniel Petraccaro

Historical Background: Hinchinbrook Island    

I found most of the historical research on Hinchinbrook Island in Douglass Barrie’s book: Minding My Business; an interesting read. Hinchinbrook Island contains natural resources extracted by European Australians from the 1850s until the early 1930s. Cedar oak, a valuable hardy timber, was logged during the 1850s (Barrie 2003: 120). Shell middens were also mined during the 1860s and processed into lime (Barrie 2003: 121). The lack of jetty structures, the isolated conditions of the island, and shallow bays (figure four) made for difficult access, which in turn prevented the further development of these industries. Sugar plantations were also established on the island during the late 1800s but were abandoned due to seasonal cyclone damage and gale force winds (Barrie 2003: 121 – 123).

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Figure four: Flat tidal zone ( tide is out) at Ramsey Bay. Photo courtesy of Daniel Petraccaro

The Hinchinbrook Channel was also an important shipping route from the 1850s until the early 1900s (Barrie 2003: 114, 117, 124). The 22 kilometre channel separates the mainland from the island (figure one). The channel was an important trading route for vessels shipping cedar from the great forests in Cairns and Atherton to Melbourne and Sydney (North Queensland Register 1900: 31). The Hinchinbrook Channel was also an important route, as much of the surrounding Great Barrier Reef was uncharted and exposed by strong winds and waves.

The Shipwreck Sequence at Ramsey Bay, Hinchinbrook Island

Ramsey Bay was of interest to this field study due to historical accounts of four ships known to have wrecked while attempting to retrieve a cargo of cedar washed up on shore after the Merchant wrecked on the 5th March 1878 (North Queensland Register 1900: 31). Merchant was a steamer built in the USA in 1862. While Merchant was en route to Melbourne from Port Douglas, the ship hit a reef and vanished. The exact wreckage location of Merchant was never found. Once reports reached Cardwell of the cedar logs washing up in Ramsey Bay, the Harriet Armitage (Barque) was sent to retrieve the cargo (North Queensland Register: 1900: 31). The cedar was considered more valuable than the lives sent on the salvage mission (Barrie 2003: 111). Despite the efforts of Harriet Armitage, gale winds in Ramsey Bay caused the ship to run ashore and wreck in July 1879. Three other ships followed Harriet Armitage, unfortunately, strong gales caused all three ships to wreck in Ramsey Bay. Charlotte Andrews (Barque) wrecked in October 1879, Rebecca Jane (Brigantine) wrecked in July 1880 and Belle (figure two; figure five) (Brigantine) wrecked in February 1880 (Morning Bulletin 1925: 5). The cedar was eventually salvaged by a fifth shipping vessel and sold at auction in Townsville (Morning Bulletin 1925: 5).

The Natural Landscape at Ramsey Bay, Hinchinbrook Island

The natural landscape played a crucial role in the wreckage sequence and process at Ramsey Bay. While Merchant struck a reef hundreds of kilometres away, winds and strong surf caused the cargo to drift until it finally beached at Ramsey Bay.  One survivor from the Harriet Armitage noted the tremendous surf on the beach and claimed the wind and sea rose extremely rapidly (North Queensland Register 1900: 31). Without any jetty infrastructures, the shallow waters also proved to be a difficult task for ships trying to reach Ramsey Bay, the only logical access point for the vessels trying to retrieve cargo washed onto shore. Ramsey Bay is naturally encompassed by mangrove forests to the north-east and south (figure one; figure five), which is impossible to travel through by foot or sailing vessel.

ramsey bay arial

Figure five: Ramsey Bay showing the location of Belle and southern artefact concentration. Google Earth.

The Maritime Cultural Landscape at Ramsey Bay

You would be surprised to hear of the amount of rubbish washed up on Ramsey Bay. The dunes were littered with bottles, plastic, iron drums, wood and the largest variety of thongs I have ever seen. While one might only see rubbish, I saw a landscape and a deposition event that has occurred within the bay for the past 150 years. It was an interesting task rummaging through the rubbish hoping to find the remains of a wreck! No luck, however. Similar to how the rubbish had washed up on  shore, it is easy to forget the cargo of cedar timber followed the same pattern when it washed up in Ramsey Bay in 1878.

It is also interesting to note that Cyclone Yasi in 2011 (figure six) drastically altered the maritime landscape. The cyclone caused a drastic change in the sand dune, exposing the wreckage of Belle (figure two) (Waterson 2012) and a site called ‘Southern Artefact Concentration’, located eight-hundred and fifty meters south from Belle. However, during the current fieldwork, shifting dune sands had covered most of Belle and the remains of ‘Southern Artefact Concentration’ under a minimum of 10 cm of sand, suggesting the sand dune has recovered since the cyclone two years ago. The remains of Belle identified during previous surveys include the frames, metal brackets and windlass (Waterson 2012). Iron cable was also identified west of the ship’s bow. During the current fieldwork, the remains of iron bolts, rods and mast caps (courtesy of Paddy Waterson who helped with the identification) (figure seven; figure eight) were identified within the upper tidal zone and sand dune at ‘Southern Artefact Concentration.’

yasi

Figure six: Path of cyclone Yasi in 2011. bom.gov.com.au. Accessed 25/07/13.

Discussion: The Maritime Landscape at Ramsey Bay, Hinchinbrook Island

The results of both Belle and the ‘Southern Artefact Concentration’ suggest there is evidence of interaction between the sea and the wreckage history of shipping vessels at Ramsey Bay. The identification of Belle within the tidal zone at Ramsey Bay supports the theory that strong winds and surf caused the ship to wreck. One newspaper article states that Belle, when fully loaded, parted her cables and drifted ‘whole’ onto the beach (Morning Bulletin 1925: 5). The location of the cables east of Belle were identified during the study and therefore conform to the historical accounts regarding how the ship wrecked. Furthermore, the lack of any remains from Belle conforms to historical accounts that the cargo was eventually salvaged. The mast caps identified from  ‘Southern Artefact Concentration’  are from either Belle or another wreck (figure seven; figure eight). The results support the theory that remains such as  wood and other cargo was salvaged, while the mast caps and another other iron items were left behind.

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Figure seven: (LEFT) Mast Caps from ‘Southern Artefact Concentration’. Photo Courtesy of Paddy Waterson.
Figure eight: (RIGHT): Mast caps. (Paasch 1890: plate 93).

The natural landscape could aid in identifying the possible location of the other known wrecks in Ramsey Bay. Belle was known to have wrecked during strong gale winds so there is no surprise the ship ended up stranded in the tidal zone (figure five). The three other wrecks known to have wrecked in Ramsey Bay are also most likely to be located in the tidal zone. The three other ships all were wrecked during strong winds while trying to salvage timber. They are most likely to be located within the same vicinity as Belle. These wrecks are also likely to be salvaged and therefore few archaeological remains would be present.

Summary: The Cultural Maritime Landscape of Ramsey Bay

The sea and the maritime cultural landscape of Hinchinbrook Island have influenced the economic development and wrecking process of shiping vessels at Ramsey Bay. Merchant wrecked while attempting to travel from Cairns to Melbourne following charted trading routes and the Hinchinbrook Channel. It is clear that the sites and shipwrecks identified at Ramsey Bay have resulted from salvage events, commencing with the cedar timber cargo from Merchant. The only way to salvage cargo at Ramsey Bay is via ship. However, the shallow coastline, gale winds and tides at Ramsey Bay caused the wreckage of four ships. The cedar and the shipwrecks were eventually salvaged. Items with little monetary value, such as iron, were left behind. Therefore, when examining a maritime landscape, it is important to include all factors relating to, and influencing, the maritime activity within an area. Overall, this type of archaeological investigation shows how human behaviour and natural landscapes play an important part in the maritime setting. In summary, I hope you have all learnt something about the cultural maritime landscape history of Ramsey Bay!

Acknowledgements

A special thanks to the Department of Environment and Heritage Protection (DEHP) for allowing the Flinders students to participate in the fieldwork, and, the Hinchinbrook National Park for granting access. A warm thanks goes out to Paddy Waterson (DEHP), Amelia Lacey (DEHP) and Ed Slaughter (Queensland Museum).

References

Barrie, Douglas 2003.  Minding my Business: The History of Bemerside and the Lower Herbert River District of North Queensland Australia. S and D Barrie, Ingham, Queensland.

Morning Bulletin 1929. http://trove.nla.gov.au/ndp/del/article/54641887. Accessed 22/07/2013.

North Queensland Register 1900. http://trove.nla.gov.au/ndp/del/article/82342975. Accessed 22/07/2013.

Paasch, Hermann 1890. Illustrated Marine Encyclopedia. Argus Books, England.

Waterson, Paddy 2012. Shipwreck Heritage: The Belle. Unpublished powerpoint report. QEHP, Queensland.

Westerdahl, Christer 1992. The maritime cultural landscape. The International Journal of Nautical Archaeology 21(1):5-14.

From Ship to Shore to Hawthorn: Flinders University Maritime Archaeology Field School, 2013.

Figure One: Group photo in Port MacDonnell, SA. Photo taken by Nita von Stanke. 16/02/13.

By Daniel Petraccaro, Masters in Maritime Archaeology Student Flinders University.

Introduction

Nothing can compare to the field school experience offered this year to the graduates enrolled in the Flinders University Maritime Archaeology Programme. The Maritime Archaeology field school was based at Port MacDonnell, in South Australia’s Southeast region, and was held from the 3rd to 16th of February. The rigorous two-week program offered students an introduction to techniques from underwater surveying, mapping, and photography to recording (figure 2).

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Figure Two: Students Daniel Petraccaro and Hunter Brendel with Supervisor Gay Lascina start mapping the ketch Hawthorn. Photo by Chelsa Pasch. 06.02.13.

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Tugging at the Heartstrings: ST Yelta, Port Adelaide

By Cassandra Morris

Yelta was built in 1949 by Cockatoo Docks and Engineering Co., Sydney for Ritch and Smith, Port Adelaide. Yelta spent its active life guiding vessels in and out of Port Adelaide, making local headlines on more than one occasion. Originally coal fired, the tug was converted to oil in 1957. After a busy life on the Port River, the tug was retired in 1976, purchased by the Port Adelaide branch of the National Trust of South Australia. Left moored outside the CSR Refinery at the ‘Sugar Wharf’, the vessel was left unattended with little maintenance performed for nearly a decade. Put up for sale again, the South Australian Maritime Museum made a bid for the historic vessel and, in 1985, added the tug to their collection as a floating museum. Volunteers were asked for to help restore Yelta to its former glory. After extensive restoration and refitting, including preparing the vessel to modern safety standards for staff and passengers, Yelta was relaunched. Currently Yelta sails the Port River several times a year, allowing passengers to experience a piece of Port Adelaide’s history, the Port River itself, and life onboard the vessel.

Yelta, thought to be in Cockatoo Docks while being constructed. (Pre 1964)

After 27 years in the SA Maritime Museum’s collection, Yelta still holds many secrets. In an attempt to broaden current knowledge of the vessel, research was recently undertaken to investigate questions often asked and facts confused by newspaper articles and photographs. Aspects of concern were the colour scheme, historical presentation of the vessel, and general life of the tug and its crew. To uncover the truth of these concerns, slipping reports, requisition reports, monthly maintenance reports, museum documentation and log books were consulted, in addition to newspaper articles and photographs. Two interviews held with former crew members were also undertaken, providing a personalised view of the tug and its working life.

Yelta steaming, before deck changes (Pre 1964)

Through this research, a timeline was successfully compiled. From 1948 to 1953 Yelta featured in newspapers across Australia, linked with the movement of many vessels in and around Port Adelaide. Slipping and requisition reports follow, from 1956, providing details on maintenance and changes made to the vessel. These reports also allowed for the correct colour scheme to be implemented with confidence; red below the waterline, black hull above the waterline, green or red decks, and white deck structures. Two major changes to deck construction occurred in the mid-to-late 1960s. Yelta’s wheelhouse was overhauled in 1964, downsizing the cabin and adding starboard and portside entrances. Furthermore, in 1967, the Crew’s Accommodation entrance was changed from a hatch to a deckhouse. These two major changes assisted in the approximate dating of photographs held by the museum. Information about Yelta’s movements are commonly known from 1976 onward. Retiring from service in 1976, the vessel was purchased by the National Trust of South Australia and later the South Australian Maritime Museum in 1985.

Yelta after deck changes. Note changes to the wheelhouse and the addition of a deck house aft. (Post 1967)

This is the results of my internship with the South Australian Maritime Museum. When first entering the position, I was assigned to work on the HMAS Protector research focusing on creating a Flickr group and contacting the public to gather further information. However, this was where my first lesson was learnt: you do what your boss thinks is important. So I was moved to work on confirming information on Yelta; discovering whether the colours it was currently painted were the correct ones, what the general history of the vessel was and conducting interviews with members of its previous crew. While I was not immediately excited about the task at hand, I launched myself head first into all the records kept by SAMM—and Yelta grew on me. Discovering that all the images of Yelta were undated (I later discovered a handful that had dates associated with them) led me to look for something that had changed at some point and that could be seen in the images. This led to many hours of reading and making notes on the tug’s slipping reports. From these reports I was also able to trace the changes in paint colour across the entire vessel for almost its entire working life. However, answering all the questions left me with one last task: interviewing some of the previous crew.

Yelta outside the CSR Refinery. The tug can be seen here painted many colours, occurring after its retirement. (Post 1977)

Conducting interviews was not something I had any experience in beforehand, and with only a vague idea of what I wanted to achieve I set off with a camera in hand. Two previous crew members were available to be interviewed at the time. Both of these I conducted slightly differently. With a short list of prepared questions, I took both interviewees, on different days,  for a tour of Yelta to refresh their memories. The first interviewee I filmed on the vessel, allowing for their memories to be caught with the corresponding background. While this produced a wonderful choice of memories for use in a 5 min clip (the desired end result) the film was fraught with bad lighting and minor sound problems. Conversely, for the second interview, after the tour of Yelta I filmed the clips within the SAMM offices. While this fixed the sound and light issues, there was less material to record without the visual stimuli. Between the two interviewees there was also a difference in personality and their comfort levels while being filmed. This would have been the biggest learning experience I undertook while with the museum, and has made me a fraction more comfortable with directing and filming questions, asking someone “can you repeat that?” endlessly, and realising that not everything planned is going to work.

Yelta as it can be seen today.

My time with SAMM showed me a different side to museums. While I began with an interest in collections management and producing exhibitions, I was given the opportunity to work on the research aspect of these interests. My research may in future lead to a small exhibition on board Yelta, focusing on it history within Port Adelaide and has already led to the development of a poster for the upcoming ASHA/AIMA Conference in September/October of this year. In future I hope I can work further with SAMM and with other museums and collections in Australia.

Photos are courtesy of the SA Maritime Museum.

Yourambulla Caves Rock Art Trail: Natural vs. Human Intervention

The Yourambulla Caves are an Indigenous rock art site located 13 kilometres south-west from the town of Hawker within the southern Flinders Ranges, South Australia. Yourambulla is a name that is derived from the words ‘yura bila’, which means two men in the language of the Andyamathana people, the traditional owners of this region. The cave paintings are made from manganese, charcoal, red ochre and white ochre. Figures include animal tracks (emu and kangaroo), hand stencils, human figures, camps and ceremonial depictions (FIGURE ONE).

FIGURE ONE: Rock art at Yourambulla Cave One. Photo by Daniel Petraccaro.

The Yourambulla caves are one of the most accessible rock art sites within the Flinders Ranges, attracting hundreds of tourists every year. The Yourambulla Caves trail was constructed in 1995 by member of the Iga Warta Aboriginal Corporation and the Bungala Aboriginal Corporation. The project was funded by the Department of State Aboriginal Affairs, Environment Australia, the Department of Environment and Natural Resources and from Commercial Minerals. The Yourambulla cave trail encompasses three rock shelter sites within a radius of one kilometre. A path has been carved allowing access, while interpretation signs are also present to enhance the visitor’s experience.

There are a number of natural processes affecting the rock art at the Yourambulla caves. The rock art at Yourambulla Cave One is suffering from water damage (see FIGURE ONE). Water is seeping through a crack in the overhang and trickling over the art. The area of rock art affected by the water exposure is significantly faded compared to the rest of the site. There is also are a number of old wasp nests on the rock face at all three overhang sites. The wasp nests appear to have been destroyed but not completely removed.

The barriers around the rock shelter sites were established to protect the sites from animals and human interferences (FIGURE TWO). The barrier around Yourambulla Cave Three, in particular, is in very poor condition. The base is eroding out of the sediment (FIGURE THREE) and the top bars have been intentionally bent back. While the barriers have been successful in keeping feral goats and kangaroos out of the shelter, it has not prevented humans from drawing graffiti on the site. Graffiti is present at all three rock shelter sites. The graffiti is either in the form of imitation Aboriginal art or in the form of human figures (FIGURE FOUR). The graffiti is drawn with white chalk or scratched on the rock surface. The staircase leading to Yourambulla Cave One has some nails missing and there are cracks in the wooden planks. It is recommended that visitors are not to use the staircase until repairs have been done.

FIGURE TWO: Eroded fence post at Yourambulla Cave Three. Photo by Daniel Petraccaro

FIGURE THREE: Fence cage at Yourambulla Cave Three. Photo by Daniel Petraccaro.

FIGURE FOUR: Graffiti at Yourambulla Cave Two. Photo by Daniel Petraccaro.

There has been no management plan established for the Yourambulla Caves determining who is responsible for the long term management of the site. Pastoral leases and tourism companies develop rock art trails in the Flinders Ranges for financial gain. However, neither party really understands about the long term management and conservation issues of these sites. Neither the land owners nor the tourist groups contribute to the management of the site.

The failure of site management has resulted in a number of conservation and liability issues. The graffiti needs to be removed to prevent encouragement from the public to vandalise the site. The barrier around Yourambulla Cave Three also requires significant repair. Further, this site needs to be monitored in another few years to determine whether the area of water damage over Yourambulla Cave One is expanding or receding. The Yourambulla Caves should have a management plan detailing relevant stakeholders who should be contributing funding to the management of the site.

By Daniel Petraccaro (Masters in Archaeology Student)

Tennis court tent society at Mallala

“How was the tent?” was one of the first questions my husband asked me during my time at the Flinders Uni Mallala Field Methods Field School (ARCH 8801).  The question arose because of the minor dilemma I had suffered when deciding whether or not to lug my tent to Malalla from Sydney. The Archaeology Department kindly offered one of the Uni tents to aid my plight and, despite my immediate vision of a 2 man pup tent over used by successive generations of Uni students, I was pleasantly surprised to learn that I would be comfortably housed in a brand new 3 man dome tent.  Excellent!  Dilemma over.

Our ‘Tennis Court tent society’ at Mallala  was a delightful conglomerate of shapes and sizes, all forming a temporary society consisting of strangers sleeping next to one another, separated by the merest of thin nylon walls.  One of the largest tents, occupied by gentleman Matt, was a suitably impressive family size tent, allowing the luxury of a full standing position (see picture 1). Gentleman Matt appeared quite proud of his comparatively king-like structure as seen by his Napoléonesque poise for the photo.

de Palais Matto

Next door to ‘de Palais Matto’ and previously lived in by Jessica, stood the saddest member of the Tennis Court tent society. A pup tent of dubious nature which had been ‘borrowed’ (see picture 2). Not only was this tent the smallest tent on the block but it failed its prime directive; to stay up and provide shelter. The disappointment is obvious on Jessica’s face.

So sad......

Jessica was able to abandon the premises within a couple of nights of our arrival thanks to the preparedness of Rhiannon. Thankfully, as picture 3 shows, a newer, roomier abode at the other end of the street put a smile on Jessica’s face.

But now much happier!

The Tennis Court tent society was not without its famous residents. Temporary refuge was sought by visiting ABC Radio journalist, Ann. Embracing the spirit of BYO ideology, Ann’s imported lodgings brought lightness and colour, as did her very presence, to the tennis court society (with the possible exception of her fashion choices in pull overs)(see picture 4).

Anna from the ABCRegretfully, the assigned word limit of this blog prevents me from further espousing my thoughts on the  Tennis Court tent society, but special mention must be made of Bob’s true blue, real man swag (picture 5) and, of course, I must assure you that my lodgings, courtesy of Flinders, were extremely comfortable. However this doesn’t stop me from pondering an upgrade next time round. Where did you get your tent from Mick?

Bob, who was my most delightful next door neighbor
Mark obviously didn't want to be photographed with his tent

Di's, like de Palais Matto was also at the high end of the street and just as wonderful

Fashions in the Field

Strutting their stuff on the ‘Red Dust Carpet’ at Redbanks for the April 2012 Field Methods Field School were archaeology students, staff and helpers. Little did anyone realise that as a first time Arch student I was rating the dress sense of my more seasoned colleagues for ‘Fashions in the Field’ Awards. Unlike the red carpets of Paris and Milan, my points were awarded for being practical, safe, dustproof, sun-smart, bite- proof, as well as imaginative and stylish. Participants needed to follow the basic clothing requirements in the course handbook: long sleeve shirt, long pants, wide brim hat, sturdy shoes.

This season’s trends were Akubra style hats and check shirts worn with various shades of khaki; the new black! Those familiar with Munsell Soil Colour Charts know that khaki is dirt camouflage colour. Popular hair styles were short, no nonsense cuts and practical ponytails. But who dared to be different?

Bonnet of distinction – Heather, with her chic beige linen, and Rhiannon, with her embroidered little black Archaeology Society bucket hat, were strong contenders, but the winner was Jess looking a treat in floppy black hat accessorised with green peg!

Artistic Accessories – Bob, with his green anticancer gloves, Matt, with his burnt orange Egyptian scarf, and Viki, with mauve polished nail, were eye catching. Britt, with rings on her fingers and bells on her toes, lost points when her precious metal interfered with readings on Julie’s and Rob’s matching WW1 era compasses.  But accessory princess was Amanda, who matched her blue & white bandanna with her nail decal on perfect acrylic nails.

 

 

 

 

 

 

 

 

 

 

Lovely Locks – Antoinette, with her short, glossy, stylish cut, and Mick, with his ‘no more tears no more tangles’ upstyle pony, looked the part and were practical, but they were outshone by Clare’s wash and wear dreadlocks resplendent with beads and threads!

The overall winner of Fashion in the Field 2012  was Sam, for her delightfully stylish and personalised outfits. The tie-dyed T-shirts, embroidered Nepalese pants, fly-netted hats and arm adornments prove that archaeologists can match function with fashion when in the field.