Digging into the Dark Ages Early Medieval Public Archaeologies edited by Howard Williams and Pauline Clarke Access Archaeology eo ha pre rc s A s A y c g c o e l A s o s e A a r h c Archaeopress Publishing Ltd Summertown Pavilion 18-24 Middle Way Summertown Oxford OX2 7LG ZZZDUFKDHRSUHVVFRP ISBN 978-1-78969-527-4 ,6%1 H3GI 7KHLQGLYLGXDODXWKRUVDQG$UFKDHRSUHVV &RYHULPDJHV 7RSOHIW'RQDHOGWKH8QUHDG\·V&DVNHW SRVWHGWR7ZLWWHURQ6HSWHPEHU EDVHGRQWKH)UDQNV&DVNHW :XOJDUWKH%DUG 7RSULJKW¶*DOORV·VFXOSWXUHE\5XELQ(\QRQRQWKHFOLIIVDW7LQWDJHO 3KRWRJUDSK6XVDQ*UHDQH\ %RWWRPOHIW9LHZRIWKHWKLUGVHDVRQRIH[FDYDWLRQVRQWKHZHVWHUQVLGHRIWKHPRXQGEHQHDWKWKH3LOODURI (OLVHJ 3KRWRJUDSK+RZDUG:LOOLDPV %RWWRPULJKW9LŔDUUDQG)HQULUVFDQQHGIURPWKH*RVIRUWK&URVVHDVWVLGH & 6FDQE\'3RZOHVODQGZLWKRYHUOD\ E\5/DQJIURP3DUNHUDQG&ROOLQJZRRG $OOULJKWVUHVHUYHG1RSDUWRIWKLVERRNPD\EHUHSURGXFHGVWRUHGLQUHWULHYDOV\VWHPRUWUDQVPLWWHG in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior ZULWWHQSHUPLVVLRQRIWKHFRS\ULJKWRZQHUV 7KLVERRNLVDYDLODEOHGLUHFWIURP$UFKDHRSUHVVRUIURPRXUZHEVLWHZZZDUFKDHRSUHVVFRP Contents Contributors ...................................................................................................................................iii Acknowledgements ........................................................................................................................ vi Foreword ....................................................................................................................................... vii &KLDUD%RQDFFKL Public Archaeology for the Dark Ages ............................................................................................ 1 +RZDUG:LOOLDPV ZLWK3DXOLQH&ODUNH9LFWRULD%RXQGV6DUDK%UDWWRQ$P\'XQQ-DPHV)LVK,RDQ*ULIÀWKV0HJDQ +DOO-RVHSK.HHODQ0DWWKHZ.HOO\'DYLG-DFNVRQ6WHSKDQLH0DWWKHZV0D[0RUDQ1LDPK0RUHWRQ 5REHUW1HHVRQ9LFWRULD1LFKROOV6DFKD2·&RQQRU-HVVLFD3HQDOXQD3HWHU5RVH$ELJDLO6DOW$PHOLD 6WXGKROPHDQG0DWWKHZ7KRPDV Part 1: Dark Age Debates Keep the Dark Ages Weird: Engaging the Many Publics of Early Medieval Archaeology .............20 $Q,QWHUYLHZZLWK$GULiQ0DOGRQDGR Colouring the Dark Ages: Perceptions of Early Medieval Colour in Popular Culture ...................31 Anne Sassin Why do Horned Helmets still Matter? ...........................................................................................53 6DFKD2·&RQQRU Public Archaeology of Early Medieval Assembly Places and Practices: Þingvellir .......................59 0DWWKHZ.HOO\ Dressing for Ragnarök? Commodifying, Appropriating and Fetishising the Vikings ..................65 0DGHOLQH:DOVK Part 2: The Public Dark Ages The Vikings of JORVIK: 40 Years of Reconstruction and Re-enactment .......................................76 &KULV7XFNOH\ Displaying the Dark Ages in Museums ........................................................................................101 +RZDUG:LOOLDPV3DXOLQH&ODUNHDQG6DUDK%UDWWRQ Where History Meets Legend: Presenting the Early Medieval Archaeology of Tintagel Castle, Cornwall .......................................................................................................................................114 6XVDQ*UHDQH\ Digging up the Dark Ages in Cornwall: The Tintagel Challenge and St Piran’s Oratory Experience ....................................................................................................................................139 -DFTXHOLQH$1RZDNRZVNLDQG-DPHV*RVVLS i Death and Memory in Fragments: Project Eliseg’s Public Archaeology .....................................172 +RZDUG:LOOLDPVDQG6X]DQQH(YDQV Reading the Gosforth Cross: Enriching Learning through Film and Photogrammetry ..............193 5RJHU/DQJDQG'RPLQLF3RZOHVODQG Crafting the Early Middle Ages: Creating Synergies between Re-enactors and Archaeologists 215 $QLQWHUYLHZZLWK$GDP3DUVRQVDQG6WXDUW6WURQJ Part 3: Dark Age Media Archaeology in Alfred the Great (1969) and The Last Kingdom (2015-) ..........................................246 9LFWRULD1LFKROOVDQG+RZDUG:LOOLDPV ‘It’s the End of the World as we Know it …’: Reforging Ragnarök through Popular Culture .....252 0DUN$+DOO The #GreatHeathenHunt: Repton’s Public Early Medieval Archaeology ....................................268 $QLQWHUYLHZZLWK&DW-DUPDQ Vikings and Virality .....................................................................................................................286 0DWWKHZ7KRPDV Old Norse in the Wild West: Digital Public Engagement on YouTube .........................................300 $QLQWHUYLHZZLWK-DFNVRQ&UDZIRUG The Image Hoard: Using the Past as a Palette in Discussing the Politics of the Present ............320 Wulfgar the Bard Afterword: Whose ‘Dark Ages’? ...................................................................................................347 %RQQLH(IIURV ii Contributors Dr Chiara BonacchiLV/HFWXUHULQ+HULWDJHDWWKH8QLYHUVLW\RI6WLUOLQJ'LYLVLRQRI+LVWRU\+HULWDJH DQG3ROLWLFV6KHLVDQDUFKDHRORJLVWZLWKH[SHUWLVHLQGLJLWDOKHULWDJHKHULWDJHDQGLGHQWLW\SROLWLFVDQG SRVWFODVVLFDODUFKDHRORJ\$W6WLUOLQJVKHOHDGVRQUHVHDUFKDQGWHDFKLQJLQWKHVHDUHDV6KHLV&,RIWKH $+5&IXQGHG$QFLHQW,GHQWLWLHVLQ0RGHUQ%ULWDLQSURMHFWDQGWKH3,RIWKH-3,&+&XUDWLQJ6XVWDLQDEOH 8UEDQ7UDQVIRUPDWLRQ7KURXJK+HULWDJH(PDLOFKLDUDERQDFFKL#VWLUDFXN Sarah Bratton SUHVHQWHGDWWKH'LJJLQJLQWRWKH'DUN$JHVFRQIHUHQFHLQDVDÀQDO\HDUVWXGHQW DQGVXEVHTXHQWO\FRPSOHWHGKHU%$ +RQV $UFKDHRORJ\GHJUHHDWWKH8QLYHUVLW\RI&KHVWHULQ Pauline Magdalene ClarkeJUDGXDWHGZLWKD%$ +RQV GHJUHHLQ$UFKDHRORJ\ZLWK+LVWRU\LQ DQGDQ0$3DVW/DQGVFDSHVDQG(QYLURQPHQWVLQERWKIURPWKH8QLYHUVLW\RI&KHVWHU+HU0$ GLVVHUWDWLRQIRFXVVHGRQWKHWDSKRQRP\RISODQWPDFURIRVVLOV(PDLO#FKHVWHUDFXN Dr Jackson CrawfordLV,QVWUXFWRURI1RUGLF6WXGLHVDQG&RRUGLQDWRURIWKH1RUGLF3URJUDP8QLYHUVLW\ RI &RORUDGR %RXOGHU +H KDV SXEOLVKHG WUDQVODWLRQV RI VHYHUDO LPSRUWDQW 1RUVH P\WKLFDO WH[WV ZLWK +DFNHWW3XEOLVKLQJ&RPSDQ\LQFOXGLQJThe Poetic Edda The Saga of the Volsungs DQGD dual-language edition with commentary, The Wanderer’s Hávamál $SLRQHHULQWKHXVHRIGLJLWDO technology as a platform for educational outreach, he shares his expertise on Old Norse mythology and ODQJXDJHDWMDFNVRQZFUDZIRUGFRP Professor Bonnie EffrosKDVKHOGWKH&KDGGRFN&KDLURI(FRQRPLFDQG6RFLDO+LVWRU\DWWKH8QLYHUVLW\ RI/LYHUSRROVLQFH6KHSXEOLVKHVRQODWHDQWLTXHDQGHDUO\PHGLHYDOEXULDOLQ*DXODQGWKHKLVWRU\ RIDUFKDHRORJ\LQPRGHUQ)UDQFHDQGLWVFRORQLDOSRVVHVVLRQV+HUPRVWUHFHQWPRQRJUDSKIncidental $UFKDHRORJLVWV)UHQFK2IÀFHUVDQGWKH5HGLVFRYHU\RI5RPDQ1RUWK$IULFD &RUQHOO ZDVDZDUGHGWKH)UHQFK &RORQLDO+LVWRULFDO6RFLHW\·V$OI$QGUHZ+HJJR\%RRN3UL]H(PDLOERQQLHHIIURV#OLYHUSRRODFXN Suzanne Evans JUDGXDWHG IURP %DQJRU 8QLYHUVLW\ EHIRUH VWDUWLQJ RQ D FDUHHU DV WKH +LVWRU\ DQG $UFKDHRORJ\OHFWXUHUDW/ODQGULOORFROOHJH$IWHU\HDUVLQWKLVUROHVKHUHFHQWO\OHIWWHDFKLQJWRHPEDUN RQGRFWRUDOUHVHDUFKLQ$UFKDHRORJ\DWWKH8QLYHUVLW\RI&KHVWHU+HUPDLQIRFXVLVRQWKHODWHUPHGLHYDO IXQHUDU\PRQXPHQWVLQ)OLQWVKLUHDQGLVLQWKHSURFHVVRIOHDUQLQJDERXWKRZGLJLWDOWHFKQRORJLHVFDQ IXUWKHURXUXQGHUVWDQGLQJRIDUFKDHRORJLFDOPRQXPHQWV(PDLO#FKHVWHUDFXN James GossipLVD6HQLRU$UFKDHRORJLVWZLWK&RUQZDOO$UFKDHRORJLFDO8QLWDQGKDVEHHQZRUNLQJRQDZLGH YDULHW\RIH[FDYDWLRQDQGVXUYH\SURMHFWVLQ&RUQZDOOIRUWKHSDVW\HDUV-DPHVKDVFRQVLGHUDEOHH[SHULHQFH ZRUNLQJZLWKYROXQWHHUVDQGLV3URMHFWGLUHFWRURIWKH6W3LUDQ·V2UDWRU\SURMHFWIRUWKH6W3LUDQ·V7UXVW -DPHVZRQDFRPPHQGDWLRQIRUD&RPPXQLW\$UFKDHRORJLVW$ZDUGIURPWKH&RXQFLORI%ULWLVK$UFKDHRORJ\ LQIRUKLVZRUNRQWKH&DUZ\QQHQ4XRLWSURMHFWIRU7KH6XVWDLQDEOH7UXVW+HLVFRH[FDYDWLRQGLUHFWRU RQ7&$537KHZRUNDW6W3LUDQ·V2UDWRU\FRQWLQXHV(PDLOMDPHVJRVVLS#FRUQZDOOJRYXN Susan Greaney LVD6HQLRU3URSHUWLHV+LVWRULDQZLWK(QJOLVK+HULWDJHZLWKVSHFLÀFUHVHDUFKLQWHUHVWV LQKHULWDJHLQWHUSUHWDWLRQDQGWKH1HROLWKLFRI%ULWDLQDQG,UHODQG6KHLVFXUUHQWO\D3K'FDQGLGDWHDW &DUGLII8QLYHUVLW\DQGZDVD%%&$+5&1HZ*HQHUDWLRQ7KLQNHULQ(PDLOJUHDQH\VH#FDUGLII DFXN Dr Mark A. 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