HERA - Creativity and Craft Production in Middle and Late Bronze Age Europe (CinBA)
Creativity and Craft Productionin Middle and Late Bronze Age Europe (CinBA) www.cinba.net
Project Partners Academic Partners • Dr Joanna Sofaer, University of Southampton, UK (PL/PI 01) • Dr Marie Louise Sørensen, University of Cambridge, UK (PI 02) • Prof. Lise Bender Jørgensen, Norwegian University of Science and Technology (NTNU), Trondheim, Norway (PI 03) • Dr Ivan Mirnik, Zagreb Archaeological Museum, Croatia (PIARCHAEOLOGICAL MUSEUM IN ZAGREB 04) • Dr Flemming Kaul, National Museum of Denmark, Copenhagen (PI 05) • Dr Anton Kern, Natural History Museum Vienna, Austria (PI 06) Non-Academic Partners • Rachel Brockhurst, Crafts Council, UK • Dr Lars Holten, Land of Legends (Sagnlandet) Archaeological Park Lejre, Denmark
Pottery, Textiles, Metal and Contemporary Attitudes 3) 4)1) 2) 1) Urnfield bowl. Zagreb Archaeological Museum 2) Textiles from Hallstatt. Natural History Museum Vienna 3) Bronze razors. National Museum of Denmark. 4) Neckpiece. Miriam Jones 2011
Pottery1) 2) 3) 1) Anthropomorphic urn. National Museum of Denmark 2) Vatin vessel. Archaeological Museum in Zagreb 3) Encrusted vessel. Osijek Museum
Textiles 2) 1) Egtved burial 2) Skrydstrup embroidery 3) Trindhøj hat National Museum of Denmark.1) 3)
Metal (Bronze)1) 2) 3) 1) Fibula. Archaeological Museum in Zagreb 2) Arm ring. Natural History Museum, Vienna 3) Razor (detail). National Museum of Denmark
1) The Qualities of Materials• What are the characteristics and potentials of each material?• How did the innate qualities of each material inspire, guide and restrict the production of objects?• What specific decisions were required to work with them? Motif on razor from Neder Hvolris, Denmark. National Museum of Denmark. Kaul 1998, cat. No.243
2) Motifs and Skills • What motifs are employed? • How is skill developed and expressed in the creation of 1) motifs? • How do motifs and skills cross 2) between the materials, both in terms of technical relationships and influences through the transfer of knowledge and 3) ideas? 4)Bird motifs 1) Central European Fibula. Metropolitan Museum of Art 2) Chariot pole 5)terminal from Zsujta. British Museum 3) Wagon fittings. Landesmuseum Stuttgart 4) Birdvessels. Aquincum Museum 5) Bird vessel. Hungarian National Museum
3) Spatial and Temporal Trends• How did the practice of each craft develop locally?• How did changes in one region inspire imitations and developments elsewhere? ? ? ?
4) The Perception of Prehistoric Craft Today• How do different contemporary groups respond to the creativity embedded in prehistoric objects?• How do modern craftspeople engage with such objects, interpret the decision-making processes required to make them, and use them as the basis for their own creativity?• For the public, does participating in the reproduction of prehistoric objects inspire people to think about how things are made and challenge their understanding of creativity?• How does the classification of an object as a souvenir affect its Caroline Allen Hand thrown deconstructed vessels. 2011. understanding?
Project OrganisationPOTTERYDr J. Sofaer. University of Southampton CONTEMPORARY ATTITUDESDr Darko Maričević. University of Southampton Dr J. Sofaer. University of SouthamptonS. Coxon. University of Southampton Dr M.L.S. Sørensen. University ofDr I. Mirnik. Zagreb Archaeological Museum CambridgeS. Mihelić. Zagreb Archaeological Museum Prof. L. Bender Jørgensen. NTNUMETAL (bronze) Rachel Brockhurst. Crafts CouncilDr M.L.S. Sørensen. University of Cambridge Dr L. Holten. ‘Sagnlandet’ Archaeological ParkGrahame Appleby. University of CambridgeS. Becker. University of Cambridge ADMINISTRATIONDr F. Kaul National Museum of Denmark Dr J. Sofaer. University of Southampton Dr C. Baker (Administrator)TEXTILES H. Pagi (Computer technician)Prof. L. Bender Jørgensen. NTNU + CinBA Steering CommitteeDr Sophie BergerbrantDr A. Kern. Natural History Museum, ViennaDr K. Grömer. Natural History Museum, ViennaH. Rösel-Mautendorfer. Natural History Museum, Vienna
Creating the Consortium• What does the research need (materials, expertise)?• Create a balanced consortium (research, previous international experience, age, gender)• Understand the risks (known vs unknown)• Like your partners!
Collaboration During Proposal Preparation•Talk to the partners!
Generating International Added ValueFor CinBA this arises through:•Unique combination of pooled Europeanexpertise in fields (archaeology, heritage,craft) that are frequently highly national•Comparative perspective•Thematic approach•Geographical scope: local, regional andtransnational scales
Management and Co-ordinationMy style:•Flexibility, clarity, communication.By means of:•Regular project meetings•Research team meetings•Workshops•Internal reporting system•Website
Know your StakeholdersKT Activities Stakeholders• Books (single and co-authored) • Academics and students• Refereed journal articles (single and co-authored) • Cultural heritage institutions• Interactive website • Tourism and craft centres• Open Access online image database• Open Access online maps • Contemporary craftspeople• On-line exhibition • Wider public• You-tube video• Animation and activity booklets for children• Museum activities: Bronze age fashion show• Policy document on the potential of creative expression for heritage institutions• Project launch (1st June 2010)• Workshops and conference sessions• Closing conference
Unexpected stuff• Finance is complicated at the beginning. Use your contact points and understand your partners’ national rules• Reporting is substantialBut on the plus side• Research has done so much more and has had unexpected reverberations in ways that we could not have predicted