PHOENICIAN EXPLANATION: EXAMINATION OF PUBLIC INTERPRETATION FOR THE BAJO DE LA CAMPANA SHIPWRECK EXCAVATION

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1 PHOENICIAN EXPLANATION: EXAMINATION OF PUBLIC INTERPRETATION FOR THE BAJO DE LA CAMPANA SHIPWRECK EXCAVATION Joshua Y. Jones Department of Archaeology Flinders University, South Australia August 2012

2 DECLARATION I certify that this thesis does not incorporate without acknowledgement any material previously submitted for a degree or diploma in any university, and to the best of my knowledge and belief does not contain any information previously published except where due reference is made in text. Joshua Yarnall Jones September

3 ABSTRACT Phoenician Explanation: Examination of Public Interpretation for the Bajo de la Campana Shipwreck Excavation investigates the use of a naturalistic paradigm to evaluate the public interpretation of the Bajo de la Campana shipwreck excavation near Cartagena, Spain. The Institute of Nautical Archaeology (INA) working with The Spanish Ministry of Culture began studies of the site in 2007 with a preliminary investigation to determine the site s potential. Follow up excavations occurred from and have produced a plethora of artefacts from three distinct ancient vessels. The focus of this thesis is the Phoenician vessel and the use of public interpretation by the National Museum of Underwater Archaeology (ARQUA) in Cartagena, Spain. The public interpretation was assessed by comparing interpretation strategies of four case studies, selected by commonalities to the Bajo de la Campana excavation. The case studies were evaluated under a post-processual perception and were utilized to compare the interpretation of the Bajo de la Campana shipwreck with other successful projects. A naturalistic paradigm was utilized to study the ARQUA museum in Cartagena, Spain. A naturalistic approach utilizes no particular strategy but rather is formed naturally from what the researcher observes in the field. Conclusions are drawn from field notes and comparisons to other known successes. This thesis adds to the current knowledge of public interpretation in the field of maritime archaeology and aids in the connection between fieldwork and public learning. 3

4 TABLE OF CONTENTS Declaration Pg.2 Abstract Pg. 3 Table of Contents... Pg. 4 List of Figures.. Pg. 7 Chapter 1: Introduction and thesis aims Pg. 10 Introduction. Pg. 11 Statement of Purpose Pg. 12 Case Studies Pg. 14 Defining Public Interpretation Pg. 16 Post-processual Archaeology, Museum Display Theory and Naturalistic Paradigm. Pg. 18 Introduction to Phoenician History. Pg. 20 Approach and Methods Pg. 22 Significance. Pg. 23 Limitations. Pg. 23 Chapter Outline Pg. 24 Chapter 2: Post-Processual Archaeology, Museum Display Theory and Naturalistic Paradigm. Pg. 25 Introduction... Pg. 26 Post-processual Archaeology. Pg. 26 Museum Display Theory Pg. 27 Naturalistic Paradigm... Pg. 29 Theory Application to this Thesis Pg. 30 4

5 Chapter 3: Methodology Pg. 31 Introduction. Pg. 32 Case Study Analysis. Pg. 32 Bajo de la Campana Shipwreck Excavation Analysis.. Pg.32 Chapter 4: The Uluburun Shipwreck Pg. 35 Introduction. Pg. 36 History of the Uluburun Shipwreck Excavation Pg. 36 Archaeological Finds.. Pg. 36 Public Interpretation Tactics Pg. 38 Significance.. Pg. 42 What Can We Take Away From the Uluburun Shipwreck Excavation Pg. 43 Chapter 5: La Belle.. Pg. 44 Introduction. Pg. 45 History of the La Belle Excavation.. Pg. 45 Summary of Finds Pg. 47 Public Interpretation Tactics Pg. 48 Significance... Pg. 50 What Can We Take Away From the La Belle Excavation? Pg. 51 Chapter 6: The Pepper Wreck Shipwreck Pg. 52 Introduction.. Pg. 53 History of the Pepper Wreck Excavation. Pg. 53 Archaeological Finds Pg. 54 Public Interpretation Tactics.. Pg. 55 Significance Pg. 56 What Can We Take Away From the Pepper Wreck Excavation. Pg. 57 Chapter 7: The Kyrenia Shipwreck. Pg. 59 Introduction.. Pg. 60 History of the Kyrenia Ship Excavation Pg. 60 Archaeological Finds. Pg. 61 Public Interpretation Tactics. Pg. 62 5

6 Significance Pg. 64 What Can We Take Away From the Kyrenia Ship Excavation Pg. 65 Chapter 8: The Bajo de la Campana Shipwreck and the ARQUA Museum Pg. 66 Introduction Pg. 67 History of the Bajo de la Campana Shipwreck Excavation Pg. 67 Archaeological Finds Pg. 68 ARQUA.. Pg. 69 ARQUA Exhibit Observation and Analysis.. Pg. 71 Chapter 9: Interpretation and analyses... Pg. 88 Introduction Pg. 89 Public Interpretation Techniques analysed Pg. 89 The ARQUA Museum Public Interpretation Tactics Pg. 93 Chapter 10: Conclusions.. Pg. 96 Introduction Pg. 97 Interpretation vs Outreach.. Pg. 97 Interpretation of the Case Studies and Their Application to the Bajo de la Campana Shipwreck Excavated Material Pg. 98 Thesis Aims Revisited Pg.100 The Future of Bajo de la Campana Shipwreck Interpretation Pg.101 Conclusions and Final Thoughts.. Pg.103 Acknowledgements.. Pg.104 Bibliography. Pg.105 6

7 LIST OF FIGURES Figure 1: Google Earth image of Spain displaying the approximate location of the Bajo de La Campana excavation site. Google Earth Figure 2: Close up Google Earth image of the Bajo de la Campana Shipwreck Area, and the ARQUA museum. Google Earth Figure 3: Map of Phoenician trade routes and major ports. University of Texas Figure 4: Uluburun exhibit in the Bodrum Museum of Underwater Archaeology. Archaeological Institute of America Figure 5: A reconstruction of the Uluburun ship sunk for dive tourism and public interpretation. Vasquez 2009, Photo courtesy of Coskun Tezic. Figure 6: Museum exhibit cover photo showing artefacts, the MET and a diver working on the Uluburun site. Institute of Nautical Archaeology Figure 7: Cofferdam excavation site of La Belle. Maritime Executive Figure 8: Reconstruction of La Belle hull in conservation tank at Texas A&M University. Texas Parks and Wildlife Figure 9: La Belle reconstruction for public interpretation. Grieco Figure 10: Artefact display of finds from the Pepper Wreck excavation in the collection of the Musue Nacional de Arqueologia and Arqueonáutica. Texas A&M Department of Anthropology Figure 11: Three-dimensional display of the Pepper Wreck digital reconstruction. Wells Figure 12: Digital reconstruction of the Pepper Wreck to show internal holds. Wells Figure 13: Digital reconstruction of the Pepper Wreck to show ship construction. Wells Figure 14: The Kyrenia ship s hull remains located in the Kyrenia Shipwreck Exhibit, Girne Castle, Cyprus. Cypnet Figure 15: Kyrenia III replica housed in Fukouka, Japan. The Kyrenia Shipwreck Project Figure 16: Kerynia Liberty on a test run. Archaeology News Network

8 Figure 17: Entrance to the ARQUA museum. Joshua Jones Figure 18: LCD display screen displaying underwater work with divers and bubbles in the background providing the feeling of being underwater. Joshua Jones Figure 19: UNESCO Protection of Underwater Cultural Heritage display which explains the importance of the convention and its purpose in the protection of underwater cultural heritage. Joshua Jones Figure 20: Mazarrón shipwreck site reconstruction for public interpretation. Joshua Jones Figure 21: Close up of artefacts on Mazarrón shipwreck reconstruction. Joshua Jones Figure 22: Interactive display explaining the laws of dive physics and what archaeologist must overcome working underwater. Joshua Jones Figure 23: Anchor display showing the stages before and after conservation. Joshua Jones Figure 24: Amphora display showing the states before and after conservation. Joshua Jones Figure 25: Display demonstrating what ivory tusks look like before and after conservation. Joshua Jones Figure 26: Map showing the trade routes of the Phoenicians and their influence in the Mediterranean. Joshua Jones Figure 27: Interactive touch screen map of the ancient world ports. Joshua Jones Figure 28: Reconstruction of a Phoenician ship and its cargo. Joshua Jones Figure 29: Reconstruction of a Punic ship and its cargo. Joshua Jones Figure 30: Interpretive display of Phoenician port. Joshua Jones Figure 31: Interpretive display of Roman port. Joshua Jones Figure 32: Stone anchor interpretive display in the Phoenician exhibit. Joshua Jones Figure 33: Phoenician exhibit showing common items found on board a Phoenician vessel. Joshua Jones

9 Figure 34: Interactive interpretive display demonstrating magnetometer surveying and sub bottom profiling. Joshua Jones

10 Chapter 1 Introduction and Thesis Aims 10

11 Introduction With the increase in maritime archaeological projects worldwide, the importance of public interpretation has become paramount in the education of the public. It is imperative to educate and engage them to teach them why maritime archaeology has become so important, and to enlighten them on the detrimental effects of treasure hunting. Underwater archaeological sites are a non-renewable resource, which is why it is important to conserve them and study them (McManamon 2000: 5). Underwater sites have suffered from the effects of treasure hunting, as well as other pressures including technological developments both in recreational diving and how sites are found, commercial development of waterways and coastal shores, cultural and ethical pressures, administration and management of sites and restricted resources for research (Kenderdine 1997: 13 14). Shipwrecks should be considered as national monuments underwater. The need to protect these heritage sites both nationally and internationally is urgent, and can only be accomplished through the education of the public as to why they are so important. With the increase of treasure hunting stories in the media, it is difficult for the public to distinguish between the scholarly methods of projects conducted by archaeologists and the detrimental methods employed by treasure hunters. Military sites have been given protection under international law, but the importance that all sites have as global heritage should be demonstrated to the public (Naval History and Heritage Command 2005). The interpretation of archaeological sites provides the public with a link to the archaeological material and the history learned from excavation. Museum exhibition is one of the best ways that scientific archaeological investigations can display finds to the public and create links from the history, to the public. This thesis will focus on the work of the Bajo de la Campana shipwreck excavation near La Manga, Spain as a central case study to better understand how public interpretation undertaken by the National Museum of Subaquatic Archaeology (ARQUA) located in Cartagena, Spain creates a link to the public. Four additional case studies will be assessed in terms of their public interpretation approaches. These case studies are the Uluburun, the Kyrenia, La Belle and the Pepper Wreck shipwreck excavations. 11

12 These case studies represent a variety of approaches to public interpretation and were selected for their importance both historical and archaeological. It is important to better understand interpretation approaches so that the history behind the archaeology can be most effectively shared with the public and links created between modern cultures and past. Hopefully, in time the differentiation between treasure hunters and archaeologists will become clear through the education of the public. Statement of Purpose Figure 1. Google Earth image of Spain displaying the approximate location of the Bajo de La Campana excavation site. Google Earth During the 1950s and 1960s, salvage divers discovered three possible shipwrecks within one area while exploring and working near the Bajo de la Campana rock outcrop salvaging iron shipwrecks (Roldán 1995: 966; Polzer and Reyes 2007:58). The Spanish Ministry of Culture collected much of the material that 12

13 was recovered by the salvagers. After they were collected and studied, it was determined that the artefacts may have come from three separate ancient shipwrecks (Roldán 1995: 966; Polzer and Reyes 2007:58). The Institute of Nautical Archaeology (INA) began its investigation of the site in 2007 under the direction of Mark Polzer and Juan Pinedo Reyes with the cooperation of the Spanish Ministry of Culture (Figure 1 and 2) (Polzer and Reyes 2007: 58; Polzer 2012). It was determined that there were in fact three separate ancient shipwrecks on site, a Phoenician vessel from the Middle Iron Age, a Roman Vessel from the Republican Period and another Roman vessel from the Imperial Period (Roldán 1995: 966; Polzer and Reyes 2007:58). Initial surveys yielded archaeological material, in particular Phoenician, which led to the full-scale excavation and investigations from 2008 to 2011 (Polzer and Reyes 2008: 5 ; Polzer and Reyes 2011: 7). Figure 2. Close up Google Earth image of the Bajo de la Campana Shipwreck Area, and the ARQUA museum. Google Earth

14 The subsequent excavation and investigation are what has led to this study of the material and public interpretation of the Bajo de la Campana excavation. The principal research question of this thesis is: How does public interpretation after a scientific archaeological excavation aid in informing the public of the significance of underwater cultural heritage sites? Five case studies will be used to examine the principal research question. The Bajo de la Campana shipwreck excavation is utilized as the central case study to understanding public interpretation, and will be supported using four other excavations. With the analysis of these case studies, several important research aims will be addressed. These aims are: o To define what constitutes public interpretation; o To comprehend museum display theory and show its importance; o To understand how museum display and exhibition aid in engaging the public; o To identify what public interpretation approaches have been utilized in the five case studies; o To identify what constitutes successful public interpretation. Case Studies This section serves to introduce the case studies and the reasoning behind their selection for the purpose of this thesis. They will be discussed in further detail in Chapters 4 through 8, but it is important to state why they were selected and what purpose they will serve in this thesis. The case studies selected for this thesis are the Bajo de la Campana, the Uluburun, the Kyrenia, La Belle and the Pepper Wreck shipwreck excavations. The primary reason for the selection of these shipwreck sites as case studies is that each one has a specific museum or museums associated with their excavation, all of which have continued to play a major role in the public interpretation of the finds. 14

15 The Bajo de la Campana shipwreck was selected as the central case study because of personal involvement with the project, and its importance as submerged cultural heritage. The ARQUA maritime museum (Formally known as National Museum of Maritime Archaeology (MNAM) and its associated National Centre for Underwater Archaeological Research (CNIAS)) located in Cartagena, Spain has played a major role in the interpretation, preservation and display of artefacts recovered from the Bajo de la Campana excavation (Bernal et al. 1995: 11 13; Polzer and Reyes 2008:6). This institution is significant within Spain because it was created in the image of the Museo Arqueológico Provincial de Alicante (MARQ) located in Alicante, Spain, which has created a new philosophy of thought in museum display and public interpretation. Since the ARQUA museum was created in light of a new philosophy in museum display and interpretation, it is essential to evaluate this modern museum in terms of its importance in creating public interest in maritime archaeology. The ARQUA museum has become an icon for how a maritime archaeological institution should be designed. The Uluburun shipwreck excavation was selected because it was one of the earliest maritime archaeological excavations of a Bronze Age vessel in the Mediterranean, and is also considered one of the oldest wrecked seagoing ships to be discovered (Pulak 2008: 289). The techniques and approaches used by the Bodrum Museum of Underwater Archaeology (BMUA) were some of the first attempts at maritime public interpretation and are still significant today. The BMUA is still considered one of the world s great maritime archaeological museums, and provides a solid background for beginnings of public interpretation within a maritime archaeological museum. The Uluburun shipwreck is also significant because of the breadth of material recovered and how it changed the history books about everything we know of the Bronze Age (Pulak 2008: 289). It is also considered to be one of the top ten archaeological discoveries of the twentieth century (Fagan 1999). The Kyrenia shipwreck excavation was chosen because of public interpretation that has caused this shipwreck to be a national icon of Cyprus. It is nearly impossible to travel through Cyprus without confronting an image of the Kyrenia shipwreck. 15

16 This in itself proves the success of the public interpretation of the vessel which was the reason it was selected as a case study. The Kyrenia shipwreck and artefacts are housed in the Kyrenia Shipwreck Exhibit (KSE) in the Girne Caste, which to this day plays a major role in the public interpretation of the shipwreck remains (Cariolou 2012). The KSE has also had a hand in creating a number of sailing reconstructions, which has aided in stimulating public interest in the project and continued research of an ancient sailing vessel (Cariolou 2012). La Belle excavation was selected as an additional case study because of its unique public interpretation tactics and modern technology employed by researchers to teach the public about the wreck and its history (Hamilton 2006: 2 3). This well documented shipwreck was excavated in a unique way, using a cofferdam to create a dry excavation platform (Hamilton 2006: 2 3). This allowed for researchers to employ unique methods of public interpretation that will be discussed in Chapters six. La Belle artefacts and hull remains are being displayed and cared for under the direction of Texas A&M University, which has created a variety of digital public interpretation tools that make this project significant and necessary to study (Hamilton 2006: 2 3). The final case study being analysed in this thesis is the Pepper Wreck excavation near Lisbon, Portugal. The principle reason this project was selected was for its digital reconstructions of the hull (Steffy 2007). While the hull was excavated and studied, it was never raised from the seabed. This is important because of public interpretation tactics used to teach the public about the wreck without actually having hull remains to see as physical objects. While there is a dedicated museum exhibit in the Museu de Marinha in Lisbon, Portugal, the most important aspect is the three-dimensional digital modelling that has been produced to garner public interest without actually visiting the museum in person. Defining Public Interpretation In order to proceed with this thesis, a general understanding of what public interpretation entails is absolutely necessary. Public interpretation has a variety of definitions and can be understood in a variety of ways. One great definition of public 16

17 interpretation comes from Della Scott-Ireton and John H. Jameson in Out of the Blue (2004): We believe that one of the primary purposes of public interpretation in maritime heritage management is to foster the understanding that cultural resources are fixed points or inalienable objects in the public conscious. The placement of inalienable objects in museums behind glass, spotlighted, or otherwise specially treated signifies inherent value through the mode of display. Sites such as shipwrecks provide special challenges in that they are rarely entirely raised, conserved, and placed in an exhibit. The vast majority of shipwrecks and other submerged maritime sites that are interpreted at all are in situ at their resting place on the ocean floor. Thus, in order to be effective, archaeologists, resource managers, and interpreters must employ innovative and provocative interpretive strategies that go beyond traditional exhibition techniques in illustrating and emphasizing the heritage values associated with shipwrecks and other sites within the maritime landscape [Scott-Ireton and Jameson 2004: 2]. This quotation helps to explain what public interpretation involves and what role it plays within maritime archaeology; however, it does not completely define what interpretation is. The role of interpretation is to create interest in a cultural or historical resource by imparting accurate information about the resource in an entertaining way (Scott-Ireton 2004: 23). Good interpretation does not just give facts but integrates the resource into a larger historical picture and describes what impact the resource had on local cultural identity (Scott-Ireton 2004: 23). Since public interpretation is somewhat of a catchall phrase, it is important to explicate just when it is relevant and what it entails. In order to get a full grasp of when interpretation and outreach tactics come into play, one must first understand the process of an archaeological excavation. Once the excavation has commenced, public outreach is used to teach locals about the importance of the excavation to provide site protection and garner interest from the local inhabitants or populace to 17

18 keep the site free of external influences. These activities come under the guidance of the program director and are usually funded by the project itself. It is important for project funding to consider additional requirements and opportunities for public outreach while the project is being conducted, to educate the public and protect the site from looters (Souter 2006: 164). Once the material has been excavated and the work on site concluded, the material goes into the next stage, which is conservation. At this point public outreach is no longer occurring to promote the site and its protection in general, unless material still remains on site in situ. In some cases where in situ monitoring is the case, public outreach is still occurring for the main purpose of site protection. As the artefacts are being processed and preserved the public interpretation begins. This is when an institution begins the planning and interpretation of the archaeological material. This thesis focuses on this stage. It is important to differentiate between the public outreach occurring during the excavation and the public interpretation after. For the purpose of this thesis public interpretation will be defined as: The use of media, exhibitions, museums, pamphlets and other informational tools that occur after an excavation to instil interest and provide education about a cultural or historical resource that has been given value by the inherent nature of the resource and its importance historically and culturally. Post-Processual Archaeology, Museum Display Theory and Naturalistic Paradigm Post-processual archaeology is a theoretical approach to archaeological interpretation that utilizes freedom of value from the researcher (Shanks and Hodder 1998: 69 70). Michael Shanks and Ian Hodder (1998: 70) suggest that the renaming of post-processualism to interpretive archaeology might give archaeologists a better suiting and more definitive name of what the end goal of post-processual archaeology implies. Post-processual archaeology in this thesis is defined as the interpretation of archaeological approaches without being hindered by predisposed values, but rather allowing value to generate naturally as the researcher discovers what is inherently valuable. To interpret something is to 18

19 discover what it means. In the case of this thesis, interpretation of museum exhibits is to discover or explain what the meaning behind the exhibitions is and what it conveys to the public. This is where museum evaluation and museum display theory come into play. There has been a great advancement in the way that museum exhibitions are evaluated in recent times (Dean 1996: 91). Museums have been classified as a leisure activity and now compete with establishments like malls, cinemas, sporting events etc. (Dean 1996: 91). To evaluate is to rate or measure something, and to evaluate exhibitions is to examine their effectiveness and learn from their successes and failures (Dean 1996: 91). It has become increasingly clear that improving the appeal of exhibitions and museum experiences without sacrificing intellectual integrity is needed to better the public interpretation from such institutions (Dean 1996: 92). The question then becomes how do we evaluate these institutions? One of the first methods was simply to count the number of visitors to judge the institution s success at garnering public interest; however, mere numbers say little about a museum s display and what it conveys to the public (Dean 1996: 92). It is therefore necessary to examine a number of other variables that may better describe how well an institution is conveying its message. Some evaluation questions that might better answer how well the museum is portraying public interpretation are: o Does the exhibit attract and hold visitor attention, and if so for how long is the audience engaged? o Are visitors learning? o Does the exhibit meet the needs of the public and does the exhibit address and answer the public s questions? o Do visitors feel the museum experience is personally rewarding? o Does the exhibit promote continued interest in the subject being displayed? o Will a visitor return to the museum and why or why not? (Dean 1996: 93) 19

20 These are merely examples of some of the questions a researcher might ask when evaluating an exhibition or museum. The next question is how to actually go about evaluating an exhibition or institution. This thesis will utilize a form of evaluation known as the naturalist paradigm or naturalistic evaluation. The naturalistic paradigm is usually approached by means of ethnographic techniques, meaning that it uses descriptions of people and places to draw conclusions (Berry et al. 1989: 238). In most circumstances the results of a naturalistic approach produce field notes, interviews and unstructured observations (Berry et al. 1989: 238). Evaluators using a naturalistic paradigm almost always conduct their studies in the natural setting or in the field (Berry et al. 1989: 238). Generally the design of the studies are not planned prior to entering the field, and generally evolve from the information and observations gathered in the field (Berry et al. 1989: 239). Conclusions from naturalistic research are generally presented in a case study, in which the researcher interacts with the participants and the environment to interpret the beliefs, values, and behaviours in order to construct reality from the researcher s point of view(frey 1994:562). While the evaluators are aware that theories and ideas exist prior, they would rather see what evolves from the study and what is generated naturally in the field (Berry et al. 1989: 238). This thesis uses this method in order to evaluate and interpret the ARQUA museum. Museum display theory is used in this work to interpret and analyse the four other case studies by determining the effectiveness of their public outreach. A more in depth review of museum display theory, Post-processual archaeology and the naturalistic paradigm will be discussed in chapter two, as well as what criteria are used to evaluate museum exhibits and institutions. Introduction to Phoenician History During the first millennium the Phoenicians suffered a variety of misfortunes causing them to change directions in their trading habits and to focus the majority of their trade efforts to the west (Aubet 2001: 26). As they were forced westward for trade, the Phoenicians began to set up trading posts throughout the Mediterranean west of their home in Tyre, or what is now modern day Turkey (Figure 3) (Aubet 2001:26). The Phoenicians left behind relatively few written 20

21 records of their history from this time period; however, what we do know about this time period can be attributed to Assyrian annals, Biblical texts and references passed down by a few classical authors (Altamira 1930:14; Aubet 2001: 27; Sherratt 2010: ). While the Phoenician history is vast, this thesis will focus in particular on the Phoenicians role within Spain. Figure 3. Map of Phoenician trade routes and major ports. University of Texas The primary reason that the Phoenicians expanded their trade as far west as Spain, Northern Africa and the Atlantic, was the demand from Assyrians for raw materials (Albright 1941: 14 15; Aubet 2001: 70 71, Pappa 2008: 57). Trading posts were set up along the coastline of southern and eastern Spain usually in places where safe harbor was easily accessed (Moity et al. 2003: 10). The earliest trading post set up in Spain was in Gadir or modern day Cadiz, which was established in 21

22 1110 B.C.; however, there is still speculation as to the exact date (Moity et al. 2003: 9). The Phoenicians excelled in textiles and working with metals, wood, glass and stone (Moity et al. 2003:9). The primary reason for the Phoenicians trade in Spain was metals, in particular iron ore, which was used in the process of smelting (Aubet 2001: 315). This is particularly significant due to the large amounts of metals that were excavated from the Bajo de la Campana shipwreck site (Polzer and Reyes 2008: 9; Polzer and Reyes 2009: 4; Polzer and Reyes 2011: 9; Polzer 2012). Approach and Methods This thesis uses museum display theory in order to evaluate the public interpretation approaches used by the five case studies. It also uses the theoretical approach of Post-processual archaeology. Evaluation and analysis will be conducted using a naturalistic paradigm in combination with museum display theory to understand and evaluate the public interpretation of the Bajo de la Campana case study. The naturalistic paradigm was used in the field to evaluate the effectiveness of the ARQUA museum exhibit and how well the public interpretation was exhibited to the public visiting the museum. Museum display theory is the base of comparison for the naturalistic paradigm used in this study. While museum display theory helps to explain how best to interpret material to the public, the analysis of the Bajo de la Campana exhibit was evaluated using naturalistic paradigm theory. The first goal of this thesis is to understand the ideas behind museum display theory and comprehend the concepts of what is ideal for museum interpretation. A literature review of museum display theory is conducted and helps to explain the theory behind interpretation within an institution. The next step is to analyse the four case studies tactics and methods of public interpretation, both within the projects and the museums. These case studies will be evaluated through excavation reports, material studies and related publications, such as exhibition catalogues and websites, recreations of sites, reconstructions of excavated materials, etc., to try to determine what made these projects successful. This will be followed by an analysis 22

23 of the Bajo de la Campana exhibit located in the ARQUA museum located in Cartagena, Spain using a naturalistic paradigm. Finally thorough analyses of public interpretation techniques are discussed and interpreted using a combination of museum display theory and naturalistic paradigm theory. Significance Scientific archaeological investigations and museums are meaningless without public interest; therefore, the primary goals of any such work should be increased knowledge and to connect the public to the history and archaeology, i.e. site and material. This thesis will provide a better understanding of what public interpretation methods have shown to be successful, and will build upon archaeologists knowledge of how to approach the public so as to garner support through increased public awareness and appreciation of historical sites and their significance. The Bajo de la Campana shipwreck site is of particular significance because it provides a case study of how the public can be effectively approached using public interpretation tools to link the community to the site and its historical significance. The public interpretation also allows the society to have a direct link to the site and take part in the discoveries as they are established. This thesis also provides a foundation within the archaeological community to improve public interpretation methods and better understand what techniques have shown to be successful. While inevitably the methods selected for public interpretation are dependent on the circumstances of the project, this work can provide insight into possible techniques. This paper also provides a written record of methods for garnering public interest that can be referred to for insight on public outreach. Limitations The main limitation to this study is the question of how to quantify what techniques are to be deemed as successful and how a museum or display is to be 23

24 rated as effective. Judging the effectiveness is a difficult task because it is nearly impossible to quantify success. While visitor attendance can be quantified, it gives a limited perception of success. One way to determine success is to perform surveys and interviews, which were not performed for this study. In order to manage this limitation, a naturalistic paradigm was utilized to try and quantify success by visitor satisfaction observed in the study. Another limitation is how to gauge the impact of a particular archaeological site on the public. The public in this case refers to the local inhabitants near where the wreck was found, residents of surrounding regions, the national audience and the international audience. Each group of publics will have differing opinions on the site s significance, their experience with material, their relationship to the site and the knowledge learned from experiencing the public interpretation provided. It is difficult to judge merely from observation what they took away from the public interpretation. An attempt at managing this limitation was to try and observe as diverse a public on site as possible. Chapter Outline This thesis uses a ten-chapter analysis of public interpretation techniques with a focus on the work of the Bajo de la Campana shipwreck excavation. The first chapter is an introduction to the history of the site, the Phoenicians, museum display theory and the case studies selected for the analysis of public interpretation. The thesis continues by conducting an in depth literature review of museum display theory. The paper then moves to the approaches and criteria for analysis of the case studies selected and discusses the importance of post-processual archaeology and naturalistic paradigms and their relationship to this thesis. Data is presented in the ensuing chapters and what methods of public interpretation have been utilized in the five case studies selected for this work. Finally, an analysis of the techniques used and conclusions of the importance of public interpretation are reviewed concluding this thesis. 24

25 Chapter 2 Post-Processual Archaeological Theory, Museum Display Theory and Naturalistic Paradigm 25

26 Introduction Following is a review and defence of the archaeological and museological approach used in this thesis. The theories used in this thesis will be described and reviewed. A review of the post-processual theoretical approach will be reviewed first. This review will then proceed to discuss museum display theory and will conclude with an overview of naturalistic paradigm theory. This chapter will conclude with a discussion of how each archaeological theory applies to this thesis. Post-processual Archaeology Post-processual archaeology is a movement in archaeological theory that developed, as the name suggests, after the processual movement, although beyond that the name bears little relevance to its subject (Shanks and Hodder 1998:69). Processual archaeology was one of the earliest forms of the discipline that used science as its foundation for discovery and hypothesis testing (Shanks and Hodder 1998: 69). Since the 1970s, however, there have been disagreements with the processual approach to material culture(shanks and Hodder 1998: 69). The result of these controversies was the birth of the post-processual movement, which fundamentally stipulates that value of a study is in the eye of the beholder (Shanks and Hodder 1998: 69 70). However, this emphasis on subjectivity in observation and interpretation has led some to argue that post-processualism is anti science and celebrates subjectivity (Shanks and Hodder 1998: 69 70). Christine VanPool (1999: 34) and others, however, believe that both theories rely on the scientific method and that such disagreements generally are based on misconceptions. Michael Shanks (2008:134) suggests that the advent of the processual postprocessual debate has led to the search for a more thoughtful and inclusive archaeology with the best properties of the old and the new. Shanks (2008: 134) also contends that professionals labelled as post-processualists are generally only found within academic institutions and remain absent from most fieldwork and museum positions. Post-processualists extol the freedom that their approach allows in exploring all possible meanings and outcomes, while opponents deride the same for being unwilling to label something while the outcome is still uncertain (Shanks 26

27 2008: 134). Joe Flatman (2003:144) suggests that while others may fear that a postprocessual approach in maritime archaeology will increase debate and controversy and ultimately leave questions unanswered, it is possible to apply postprocessualism without the field disintegrating into one without absolute truth. He argues that not only is Post-processual maritime archaeology not deficient of answers, it applies scientific methodology and evaluation of evidence (Flatman 2003:144). While most argue that Post-processual archaeology differs greatly from processual archaeology, Shanks (2008: ) points out the fundamental characteristics they have in common. First and foremost both critically evaluate the status quo, secondly both theories depend on the value of critical debate. Both theories are fundamentally based in research methods; however, processual archaeology is primarily concerned with the methodology rather than its meaning. These two approaches also agree that social archaeology has something significant to say about past societies and cultures rather than just documenting what is found from excavation. Finally they both have an anthropological or sociological outlook. Thomas Patterson (1989:555) also agrees that while these two theories are distinctly different, they share many overlapping ideologies. While postprocessualism is generally considered one theory, Patterson (1989:556) argues that there are in fact many different types of post-processualism, even though the fundamental aims and ideas are essentially the same. Museum Display Theory There have been great advances in the way that museum exhibitions are evaluated in recent times (Dean 1996: 91). Museums have been classified as a leisure activity and now compete with establishments like malls, cinemas, sporting events etc. (Dean 1996: 91). The public in the twentieth century has striven to devote some of their time to leisure activities that are designed as mental diversions rather than physical relaxation (Falk 2009: 41). In the twenty-first century, however, larger numbers of the population are devoting time to expanding their understanding of themselves and the world around them (Falk 2009: 41). To evaluate is to rate or measure something, and to evaluate exhibitions is to juxtapose 27

28 their effectiveness and learn from their successes and failures (Dean 1996: 91). It has become increasingly clearer that improving the appeal of exhibitions and museum experiences without sacrificing intellectual integrity is needed to better the public education from such institutions (Dean 1996: 92). To the contrary John Falk (2009: 58 59) suggests that it s not the amount that people learn within a museum that is important so much as that they walk away having learned something of value. Falk (2009: 181) also suggests that most museums still operate on a business model that more is better and that the museum experience is a one size fits all approach. The question then becomes how do we evaluate these institutions? One of the first methods was simply to count the number of visitors to judge the institutions success at garnering public interest. However, mere numbers say little about the museum s display and what it conveys to the public (Dean 1996: 92). With the increasing change in how the public views leisure activities especially museums, the typical visitor and one size fits all model is no longer a valid way to assess a museums success (Falk 2009: 182). It has become important to consider multiple variables in how a museum display is assessed. Some of the questions that should be considered when evaluating a museum and its display techniques are: o Why do people visit the museum and what is required for them to get there? o Does the exhibit attract and hold visitor attention, and if so for how long is the audience engaged? o Are visitors learning anything? o Does the exhibit meet the needs of the public and does the exhibit address and answer the publics questions? o Do visitors feel the museum experience is personally rewarding? o Does the exhibit promote continued interest in the subject being displayed? o How are new audiences being attracted to the museum? o What is something that the museum is not providing the public that is desired? 28

29 o Will a visitor return to the museum and why or why not? (Dean 1996: 93; Falk 2009: 184) These are only some examples of questions a researcher might ask when evaluating an institution. In the twenty first century marketing has become one of the most important aspects of the museum institutions and has created the need for full time marketing professionals (Falk 2009: 185). Without the audience, museums would be for nought, so it is therefore vital for these institutions to consider how best to attract their audience. Therefore, the evaluation of current institutions should be based on how to best attract an audience, and to consider what that audience will get out of the museum experience. Naturalistic Paradigm Paradigm is a word that has come to describe research traditions, which are characterized within the social sciences (Grant and Giddings 2002: 11). A paradigm is a theoretical and methodological belief that permits selection, evaluation and criticism (Grant and Giddings 2002:11). The advent of the naturalistic paradigm occurred during the 1960s, when educators and museum curators had become dissatisfied with the scientific, or traditional, positivist paradigm (Berry et al. 1989: 224). This approach originated in the social sciences, as teachers were becoming less satisfied with the evaluation of testing and student achievement without considering their student s environments or pre-existing conditions (Berry et al. 1989: 224). The foundation for this is that perceptions of, or evaluations of human behaviour can be influenced based on the environment in which the observation occurs, and that the perspective can bring different interpretation to any setting (Berry et al. 1989: 224). This paradigm became increasingly accepted by museum curators and evaluators, as it allowed for the incorporation of many beliefs, views, interpretations and emotions to be recorded and compiled, creating a better understanding of the overall picture (Berry et al. 1989: 224; Grant and Giddings 2002:17). The naturalistic paradigm approach uses ethnographic techniques, basing conclusions upon descriptions of people and places (Berry et al. 1989: 224, Grant 29

30 and Giddings 2002:17). In most circumstances, the results of a naturalistic approach produce field notes, interviews and unstructured observations (Berry et al. 1989: 224). Observers record everything they see and hear, while interviewers record responses verbatim (Berry et al. 1989: 224; Grant and Giddings 2002:17). Evaluators using a naturalistic paradigm almost always conduct their studies in the in the field (Berry et al. 1989: 224). The designs of the studies typically are not planned prior to entering the field, and evolve from the information and observations gathered (Berry et al. 1989: 225). Studies of naturalistic research are presented as case studies, in which the researchers interacts with participants and the environment to interpret what is important, in order to draw conclusions from the researchers point of view (Frey 1994:562). While evaluators are aware of preexisting theories and ideas, they prefer to see what evolves from their study and what is generated naturally (Berry et al. 1989: 225). Theory Application to this Thesis The theories described in this chapter are utilized in the analysis of museum display and interpretation methods of the five case studies. A post-processual approach is described in order to help demonstrate its use within a methodological approach to the analysis of public interpretation. Museum display theory is used in this thesis to help evaluate the museum and website display of the ARQUA museum in Cartagena, Spain. Observations were made within the ARQUA institution using a naturalistic paradigm. 30

31 Chapter 3 Methodology 31

32 Introduction The method and limitations of assessing public interpretation efforts employed by museums and educational institutions are discussed, as well as how particular elements of such efforts can be applied to the Bajo de la Campana shipwreck assemblage. Case Study Analysis Once case studies were selected for this thesis, it was important to analyse and assess the success of the methods of public interpretation used in each. The first step was to understand the history of each case study and to study what was found. With an understanding of the history and finds, it would be easier to identify the significance of the project and the methods used for public interpretation. Since public interpretation is what occurs after the excavation has taken place, it was important to first understand what occurred during the excavation. A review of what was done after the excavation was performed for each case study, with an emphasis on the public interpretation approaches performed by each. Since each project utilized differing techniques, this was an important aspect of the research. The interpretation techniques were assessed in terms of their usefulness for the Bajo de la Campana excavation. The significance of each is described in the ensuing chapters and discussed. The success of each project s interpretation was determined by the nature of interpretation tactics and their overall impact on the local and international publics. Bajo de la Campana Shipwreck Analysis As the central case study, it was important to analyse the importance of the excavation and research to the local and international community. As a participant in the 2011 field season of the Bajo de la Campana shipwreck excavation, the author had a first-hand perspective of how the artefacts were treated from their unearthing, to their raising, recording and transportation to conservation. This process was vital to understand in terms of what happens during and after they are uncovered from the sea floor. While half of the museum is dedicated to 32

33 archaeological finds, the other half of the museum is dedicated to the archaeological process in an ancient shipwreck excavation. Due to the fact that this museum will be the primary source of public access and interpretation of the materials, it was necessary to observe and analyse the museum s approach to artefact display and site interpretation. During the excavation, frequent trips were made to Cartagena, Spain to visit and explore the Museo Nacional Subacuática Arqueológica (National Museum of Underwater Archaeology, or ARQUA) of Spain, located in Cartagena in the Autonomous Region of Murcia. The ARQUA museum plays an important ongoing role in the project by continually both assessing and conserving artefacts. All of the previous finds from the excavations of Bajo de la Campana are housed and conserved in the local museum. ARQUA also is the primary source for public interpretation within this region of Spain. A critical analysis of the ARQUA museum where the artefacts would eventually be displayed as part of an interpretive exhibit was also important to an understanding of how the artefacts would fit into the overall message that the ARQUA museum was trying to convey to the public. Analysis of the ARQUA museum was performed using non-intrusive observations in the form of a naturalistic paradigm. Observations of the museum exhibits and communication with museum staff and project directors aided in the overall understanding of the museum s approach to public interpretation. The museum was observed in a stepwise progression from the entrance to the exit and analysed in terms of its usefulness to the overall desired message of the ARQUA museum. This included recording museum design, exhibits, interactive displays, colours, artefacts and language. Non-intrusive observations of visitors to the museum aided in the author s understanding of which exhibits kept visitor attention the longest, and which exhibits were the most popular. Visitors were observed from the time they entered the museum exhibits until the time they exited. Each visitor was timed for the amount of time they spent in each exhibit. Observations were only taken at the ARQUA museum without any prior knowledge of the visitors background. An examination of the website and digital media available from the ARQUA museum was also performed, in order to understand what other interpretation was 33

34 available for the public. This involved reviewing the website design, language, user friendliness and techniques employed to garner public interest and teach the public about the archaeological work performed at the institution. Both the website design and museum design were important to observe and discuss due to the new techniques being employed for museum display and the new trends employed within this Spanish institution. While both the website design and museum design were evaluated using variables, these variables differed greatly. 34

35 Chapter 4 The Uluburun Shipwreck 35

36 Introduction The purpose of this chapter is to describe the case study of the Uluburun shipwreck excavation. This section covers the history of the excavation, a summary of what was found, what aspects of the project were particularly significant, what was done with the material found and what lessons we can take away from this case study. History of the Uluburun Excavation The Uluburun (or Grand Cape) shipwreck dates to the Late Bronze Age and was found off a promontory with this name in Turkey (Pulak 2008:289). The shipwreck site lies in c. 60 meters of water and is situated about 9 kilometres southeast of the town of Kaş (Pulak 2008: 289). A local sponge diver discovered the shipwreck and reported it to the authorities, after which archaeologists first visited the site in 1982 (Pulak 2008: 289). Immediately visible were dozens of ingots, still arranged in discernable rows and having a particular shape termed oxhide which allowed archaeologists to tentatively date it to around 1300 B.C. (Pulak 2008: 289). The Institute of Nautical Archaeology (INA) and the Bodrum Museum of Underwater Archaeology (BMUA) began excavations of the site in 1984 (Bass 1986: ). The site was situated in deep-enough waters to protected it from looters and pillagers, which meant much of its original cargo remained in-situ (Bass 1986: ). Excavations continued until 1994 in a joint operation by INA and the BMUA under the direction of George Bass and Cemal Pulak (Manning, et al. 2009:163; Pulak 1997:235). In more than 22,400 dives spanning 11 summer campaigns, the Uluburn shipwreck site was completely excavated revealing a unique cargo from the Late Bronze Age (Bass 1996: 60; Pulak 1998: 188). Archaeological Finds The large number of artefacts from the Uluburun shipwreck site consisted mostly of raw materials (Bass 1996: 63). Many of the items found were known to be common in trade; however, many of the artefacts have no been found on other shipwreck sites or in land excavations and were only known from ancient cuneiform 36

37 texts and Egyptian tomb paintings (Bass 1996: 63). The major cargo of the ancient vessel was ten tons of copper ingots, and nearly a ton of tin ingots (Bass 1996: 67). With these ingots, there was enough copper and tin to make eleven tons of bronze (Bass 1996:67). There were also one hundred and fifty glass ingots, which varied in colour from cobalt blue, turquoise and lavender (Bass 1996:67). Logs of Egyptian ebony (now known as blackwood) and cedar were also raised from the site. Archaeologists also excavated one ton of terebinth resin carried as a cargo in Canaanite amphorae it was the first time this substance had been found in an archaeological excavation (Bass 1996: 70). Additional raw materials excavated included ivory, both hippopotamus teeth and elephant tusks, murex opercula, tortoise carapaces, and ostrich eggshells (Bass 1996: 70). In addition to the raw goods discovered on site, there was a plethora of manufactured goods including amphorae, pottery, jewellery, a gold goblet, assorted beads, carved ivory, copper cauldron and bowls, bronze weapons and tools, stone anchors as well as the largest collection of Bronze Age zoomorphic weights for trade (Bass 1996: 72 77). 37

38 Public Interpretation Tactics Figure 4. Uluburun exhibit in the Bodrum Museum of Underwater Archaeology. Archaeological Institute of America The BMUA museum plays a much larger role in the grand scheme of things then just a house for the artefacts of an ancient shipwreck (Marciniec 2009). When the museum was created, it was created with the intentions of creating a cultural centre for Turkey where education, history and public interpretation could have a tangible connection with the public (Marciniec 2009). A life size diorama of the shipwreck was constructed to be housed in the museum as well as a site reconstruction (Figure 4), which shows what the excavation would have looked like underwater (Marciniec 2009). Creating a diorama in a museum provides a firsthand impression of what divers might have seen underwater while excavating the site. It also gives information to the public about the history of the vessel, the history of the time period and links the modern site to the ancient world. The BMUA acted as a catalyst for Turkey, creating a desire and interest in maritime heritage 38

39 (Marciniec 2009). The Bodrum museum proved to be an invaluable resource in the quest for public interpretation throughout Turkey. Figure 5. A reconstruction of the Uluburun ship sunk for dive tourism and public interpretation. Vasquez 2009, Photo courtesy of Coskun Tezic. 39

40 Even though a diorama was already housed in the BMUA, an independent group of maritime and dive enthusiasts called 360 Degree History Research Association created a reconstruction of the wrecked ship underwater for dive tourism to promote conservation and protection of underwater cultural heritage(figure 5) (Oldale 2008). The site s reconstruction provides an excellent way for divers to see what an underwater maritime site might look like (Oldale 2008). The dive site also provided archaeologists with additional research as to what happens after a ship has sunk (Varinlioglu 2006). While this reconstruction is unique, it only benefits the diving community. Since the majority of the public does not dive, the museum provides an alternative way to see what a site might look like (Marciniec 2009). The BMUA also has an interactive website that allows users to take a 360 tour of the reconstructed shipwreck site in the museum and provides some information about what is in the exhibit (Marciniec 2009). A life size working reconstruction of the Uluburun ship was also constructed starting in 2004 and set sail in 2005 (Turkish Daily News 2006). The reconstruction was displayed in Bodrum in correlation with a local celebration, which provided the perfect scene to promote maritime heritage, public involvement and teach visitors about the history and importance of the Uluburun ship (Turkish Daily News 2006). Reconstructions or visualisations of ships are an excellent way to garner public interest by providing a life size and tangible version of the vessel. While replicas are important for public outreach, it is important to consider the limitations of replicas in terms of their usefulness from an archaeological perspective. There is no doubt that they are aesthetically important and pleasing for garnering public interest, but additional functions of the replica for experimental archaeology are necessary to consider when determining cost effectiveness. Many of the artefacts excavated and conserved were donated for a period of time to a travelling exhibitions in Germany and the United States (Figure 6) (Bergbau Museum Bochum 2005; Turkish Daily News 2008). The exhibition first went to Germany from 15 October, 2005 until 16 July, 2006 and was housed in Deutschen Bergbau- Museums Bochum (Bergbau Museum Bochum 2005). The travelling exhibition next went to the Metropolitan Museum of Art on November 18, 40

41 2008 and remained until March 15, 2009 ( Aruz, et al. 2008; Turkish Daily News 2008). The exhibit was titled Beyond Babylon and contained nearly four hundred artefacts from various museums in the Levant and Near East (Turkish Daily News 2008). Ninety eight artefacts from the Uluburun shipwreck exhibit were lent to the collection and provided an opportunity for visitors to the Metropolitan Museum of Art (MET) to learn about the Bronze Age and how the Uluburun shipwreck was importance to maritime archaeology as one of the oldest wrecked ships ever excavated (Turkish Daily News 2008). Figure 6. Museum exhibit cover photo showing artefacts, the MET and a diver working on the Uluburun site. Institute of Nautical Archaeology Travelling exhibits provide an excellent way to reach out to the public on an international level. It is important though for the creators of a travelling exhibit to consider the material and its overall importance to the international community and its historical importance. When international travelling exhibits are created, it s extremely important to consider the audience and what positive and negative 41

42 impressions can be taken from the exhibition. It is vital for any exhibition or permanent exhibit to make sure they follow a strict archaeological ethics code. A colourful and elaborate book was also published regarding the exhibit and describes the importance of the artefacts on display and their history and importance (Aruz, et al. 2008). Within the book created for the exhibit, there is a chapter dedicated to the Uluburun wreck which provides both pictures and descriptions of the excavation and artefacts found (Pulak 2008: ). This collection highlights Phoenician and Levant culture during the Bronze Age and highlights the importance of archaeological excavations for our understanding of history and culture from that period. Another approach that has been utilized to teach about the Uluburun shipwreck is an online activity created by The Ellis School in Pittsburgh, PA (The Ellis School 2002). The website provides students with the opportunity to learn about maritime archaeology and what is involved in a scientific underwater investigation. It also provides information about the wreck its significance historically (The Ellis School 2002). The simple interactive website is a great way for archaeologists to teach the masses about a site and its significance for the field or maritime archaeology. Significance The archaeological finds and the meticulous excavation of this shipwreck site are undoubtedly what made this project so special. The artefacts uncovered are what changed the history books about what we know of Bronze Age trade. Many of the artefacts uncovered are unique and until the shipwreck s excavation were only known from Egyptian tomb paintings and cuneiform texts (Bass 1996: 63). The Uluburun shipwreck has been described as one of the top ten finds of the twentieth century and is still providing information to this day (Fagan 2001). The combination of the archaeological finds and the museum display tactics give the public a firsthand account of what an archaeological site would look like underwater and provides public interpretation to increase the understanding of what archaeology involves, as opposed to treasure hunting. The diorama and ship reconstructions aid 42

43 in the public interpretation and site protection of historically significant sites, and also help to deter site looters and treasure hunters. These methods are crucial for bridging the gap in the public s perception of treasure hunting and archaeology by differentiating between the meticulous work of archaeologists and destructive techniques used by treasure hunters. What Can We Take Away From the Uluburun Shipwreck Excavation? The Uluburun shipwreck excavation provides this thesis with public interpretation tactics primarily used for public awareness in the differentiation between treasure hunting and archaeological work. The public interpretation tactics take the form of site reconstructions that help to show the visitors what a site might look like and what to do if one is found. Another method employed for public interpretation of this historically significant site is the international press and travelling exhibits that helped highlight the discoveries and their importance to our understanding of Bronze Age trade. The Beyond Babylon exhibit that travelled to New York and was housed in the MET gave an international audience a look into one archaeological investigation of a shipwreck, and relayed the importance of site protection and maritime archaeology. This exhibit highlighted not only the finds but also what archaeological work is required when excavating underwater. The importance of a public understanding of archaeological excavation in contrast to treasure hunting is necessary for any scientific work conducted underwater. In order to change the image of maritime archaeology and show how it is different from treasure hunting, it is necessary to instil interest in archaeology and prove to the publics that there is in fact a huge difference between the two. If this can successfully be done, it will be possible in the future for people to hold archaeological investigations in high regard and demote treasure hunting to nothing more than a destructive and insignificant method of investigation whose primary motive is monetary gain. An easy way that this lesson could be taught is through interactive websites like that of The Ellis School (2004). 43

44 Chapter 5 La Belle 44

45 Introduction The purpose of this chapter is to provide a case study of the La Belle excavation. This section covers the history of the excavation, a summary of what was found, what aspects of the project were particularly significant, what was done with the material found and what lessons we can take away from this case study. History of the La Belle Excavation Using old world maps, a team of maritime archaeologists narrowed a search area down to where they thought La Belle might be located. Funding was approved in 1978 for a magnetometer survey; however, they did not discover La Belle s shipwreck site. With limited funding it was not until 1995 that another archaeological survey eventuated with the aid of private funding (Arnold 1996:66 67). This time however, they were successful in locating anomalies with more modern surveying equipment (Arnold 1996:67). The researchers prioritized their survey anomalies with the most likely to be La Belle. However, since magnetometer surveys are not always clear, they needed diver teams for direct diver analysis. This proved difficult since the waters of the Matagorda Bay are often filled with silt and sediment causing blackout conditions for diving (Bruseth and Turner 2005: 38). The depth was shallow, four meters, but proved to be challenging because they had to feel for clues rather than visually locate them. The first significant find was a cannon. However, it could not be taken to the surface due to the limitations of the survey vessel (Bruseth and Turner 2005: 40). They returned to the site to raise the cannon using a barge, and to determine whether or not they had actually found La Belle (Bruseth and Turner 2005: 40-44). As the cannon was lowered onto the deck of the barge, archaeologists crowded around the cannon to look for evidence of the origin of the cannon (Bruseth and Turner 2005: 40-44). Inscriptions found on the cannon revealed that it was French and belonged to La Belle (Bruseth and Turner 2005: 40-44). With the discovery of La Belle came the threat of treasure hunters who could destroy archaeological evidence. Even though La Belle was protected under state antiquities laws, 45

46 protecting the remote site proved to be a difficult task (Bruseth and Turner 2005: 131). Another problem was finding a way to excavate in blackout conditions. Even the most experienced divers and archaeologists could not possibly save all the artefacts or prevent damage to delicate artefacts (Bruseth and Turner 2005: 47-63). The novel technique of building a cofferdam around La Belle could potentially solve many of the problems related to traditional underwater excavations (Figure 7). While this was not the first time this technique was used, the dam was the largest of its kind and proved to be a valuable tool for excavation in shallow waters (Bruseth and Turner 2005: 47-63). One year after the discovery of La Belle, construction of the cofferdam began (Bruseth and Turner 2005:47-63). The next seemingly impossible task was designing a way for the hull to be removed and taken to the Texas A&M University for study and conservation. Although seemingly impossible, a plan was devised to deconstruct the whole ship on site and rebuild it once at the laboratory (Figure 8) (Bruseth and Turner 2005: 132). While this technique is not commonly used it did prove useful for increased information about shipwreck construction. 46

47 Figure 7. Cofferdam excavation site of La Belle. Maritime Executive Archaeological Finds La Belle is one of the most recognized French colonial shipwrecks in the world, and yielded an important artefact collection from a single French period vessel. Like everything involving La Salle, La Belle s cargo was extensive and elaborate containing more than was necessary for the initial start-up of a colony (Parkman 1963:298). When the ship was excavated, more than one million artefacts were uncovered, which gave archaeologists a good idea of what was deemed necessary to start a new colony (Bruseth and Turner 2005: 82). Artefacts from the La Belle shipwreck site include personal objects such as crucifixes, belt buckles, glass beads, combs and coins; items for trade, including gold beads, necklaces, rings and other gold objects; supplies and tools including plates, cutlery, silverware, mugs, barrels, tools, food stuffs and pottery; arms and munitions including cannons, guns, swords, cannonballs, bullets and knives; navigation equipment (Texas Beyond History 2008). 47

48 Figure 8. Reconstruction of La Belle hull in conservation tank at Texas A&M University. Texas Parks and Wildlife Public Interpretation Tactics Like many shipwreck excavations, La Belle has dedicated museum exhibits; however, what sets this shipwreck apart is that there are seven museums that display artefacts and tell the story of La Salle s tragic voyage to start a new colony. All of them are located within close proximity and promote a heritage trail called The Odyssey Trail (Texas Beyond History 2008). This heritage trail gives visitors a different perspective on varying aspects of the history and archaeology. It promotes local and national heritage, as well as local businesses and history. Each museum has an interactive website with information about the exhibit and bits of history regarding La Salle and La Belle (Texas Beyond History 2008). These exhibits aid in 48

49 one of the biggest issues within maritime archaeology within the United States, the differentiation between archaeology and treasure hunting. The Odyssey heritage trail promotes good archaeology and helps to provide the public with a better understanding of what it means to practice archaeology as opposed to treasure hunting. The hull remains were excavated and placed into conservation, where they still remain today (Figure 8) (The Maritime Executive 2012). While the actual hull remains in an oversized freeze drier, several reconstruction models were built for study and eventually for display in museums. Glenn Grieco built two 1:12 scale models of the whole ship and one 1:6 scale model of a cannonade (Figure 9) (Grieco 2003). These models garner interest from the visitors who visit the museum and provide an idea of what the ship might have looked like before its wrecking event. The models not only provide public interpretation of the shipwreck, but also give the public a tangible connection to the history of the project and relate the history of the vessel to them. Another way that they brought in public interest and interpretation was to create a website to allow interested people to monitor the progress and read about the excavation, preservation and reconstruction (Hall et al. 1997). The interactive website allows the public to view the excavation site as it was seen by archaeologists, view the painstaking process of conservation of artefacts at the Texas A&M University conservation research laboratory, and view an artefact gallery including two unique sets of artefacts including a mystery chest and a group of odd tools and items that may have belonged to La Salle himself (The History Blog 2008). While this shipwreck is not considered ancient, it is an important example of how public outreach can be incorporated into an excavation and some other methods of how to get the public involved. 49

50 Figure 9. La Belle reconstruction for public interpretation. Grieco Significance Perhaps the most significant aspect of this archaeological investigation is what can be learned from the dissection and reconstruction of the hull. Since the preservation of the hull was incredible, it allowed archaeologists to learn more about ship building techniques. The history of the wreck is also significant to Texas. If La Salle had in fact been able to set up a colony within Texas, the Spanish influence found there today might have been non-existent. Instead of a Spanish based culture, Texas would have a French derived culture similar to that of Louisiana. It was therefore vital for the project to relay this message to the public of Texas and teach them about their history and what could have been if La Salle had in fact been successful in his colonial endeavours. 50

51 Many of these interpretation techniques provided some of the first attempts at digital interpretation. With the use of live video feeds of the excavation and conservation, the public was able to participate in the excavation and this also allowed for archaeologists outside of the project to participate and provide input on what was being uncovered. The digital media that was utilized for the public interpretation of this project was the first of its kind and has laid the groundwork for future excavations and public interpretation. What Can We Take Away From the La Belle Excavation? Several important lessons can be taken away from this case study. Since this was one of the first projects to employ digital interpretation techniques, much can be learned about the positives and negatives regarding methods of conveying the history. The digital interpretation allowed the public to have a first-hand perspective of both the excavation and the conservation. While the excavation of the Bajo de la Campana site is complete, similar live feeds could be provided on the ARQUA website for the conservation of the artefacts unearthed. If not video footage, photographs of the stages of conservation could be of great use for public interpretation. The Odyssey maritime heritage trail could also be a model for south-eastern Spain. While there is only one museum there, there are a number of important heritage sites that could be incorporated into a heritage trail that would promote the public interpretation not only of the Bajo de la Campana site, but also of regionally significant sites. The public interpretation model described could be implemented to utilize regional heritage using displays and other interpretive media to promote local heritage and the heritage s historical importance. 51

52 Chapter 6 The Pepper Wreck Shipwreck 52

53 Introduction The purpose of this chapter is to describe the case study of the Pepper Wreck shipwreck excavation. This section covers the history of the excavation, a summary of what was found, what aspects of the project were particularly significant, what was done with the material found and what lessons we can take away from this case study. History of the Pepper Wreck Excavation A team of archaeologists discovered the Pepper Wreck site in 1994 near the mouth of the Tagus River near Lisbon, Portugal (Castro 2003:6; 2005:110). The ship dated to the seventeenth century and wrecked near the fortress São Julião de Barra (Castro 2003:6). The site was approximately 200 x 100 m, and it was tentatively identified as that of the Portuguese nau Nossa Senhora dos Mártires, that wrecked in front of the castle returning from India with a cargo of peppercorns (Castro 2003:6). It is likely that most of the ship s cargo was salvaged because of its close proximity to shore, which seems to be confirmed by contemporary accounts detailing the wrecking event (Castro 2003:8 10). The site was subsequently excavated in 1996 and 1997 under the guidance of Dr Alves (Castro 2003:10). While preliminary excavations recovered a myriad of artefacts, perhaps the most important aspect of the site, the hull, was not investigated (Castro 2003:11). INA and the Instituto Português de Archaeologico conducted additional excavations and surveys of hull remains in 1999 and 2000 (Castro 2003:11). In 1993 the Portuguese government passed a law that allowed treasure hunting in Portuguese waters (Castro 2005: 87). This law was finally reversed in 1995 and was reappealed in 1997 (Castro 2005: 87). All archaeological excavations were put on hold, which is why the Pepper wreck excavation was dormant until During this time period a campaign to fight against treasure hunting was undertaken by the Museu Nacional de Arqueologia y Arqueonáutica (Castro 2005: 87). Using the model of the British Nautical Archaeological Society, they battled against the public perception of treasure hunting and instilled the importance of 53

54 good archaeological investigations. When the law was finally reversed, work continued on the Pepper wreck excavation. Archaeological Finds The most prolific find on site was the omnipresent layer of peppercorns (Castro 2005: 89). Other artefacts found on site include three nautical astrolabes, two dividers, sounding leads, porcelain, stoneware, earthenware, brass, copper, pewter, silver, and gold objects (Castro 2005: 89). A plethora of organic material was discovered on site including peppercorns, peach pits, ropes, fabrics, leather and straw (Castro 2005:89). Manufactured goods discovered on site included pewter plates, green and yellow Chinese glazed earthenware, Martaban stoneware, cannonballs, lead shot, iron guns and porcelain dishes (Castro 2005: 91 92). In addition to the finds listed above, much of the time spent excavating was focused on recording the hull remains. During the 1999 and 2000 field seasons, some of the timbers were raised and drawn in a dry environment (Castro 2005: 95). After the hull had been accurately recorded, the remains were covered with sandbags and left to rest (Castro 2005: 95). 54

55 Figure 10. Artefact display of finds from the Pepper Wreck excavation in the collection of the Musue Nacional de Arqueologia and Arqueonáutica. Texas A&M Department of Anthropology Public Interpretation Tactics The digital modelling and three-dimensional reconstructions are the most important aspects of this project due to their implications for public outreach(castro 2007). While full-scale models of the site and ship are extremely useful for public outreach they are limited by the number of people able to travel to see them. Digital reconstructions, however, can be viewed by the public online allowing interaction and participation on an international level (Figure 11). The Pepper wreck also has a dedicated museum exhibit in Lisbon, Portugal at the Museu de Marinha (Castro 2007; Portuguese Navy 2004;). The museum houses a small exhibit that displays some of the artefacts found during excavation (Figure 10) (Portuguese Navy 2004). It also contains the first model that was built in 2001 as a representative of the ships suspected construction(portuguese Navy 2004). The museum has an interactive website run by the Portuguese navy; however, it is only 55

56 in Portuguese which limits the usefulness of the site to potential visitors (Portugues Navy 2004). Many websites are multilingual, which is crucial to attract international visitors. Another issue with the website is that it is run by the Portuguese Navy instead, of by the museum itself, which could create problems when website updates are needed. Significance The three-dimensional modelling and public interpretation of the Pepper Wreck is by far the most significant aspect of this project. The modelling is not only beneficial for archaeologists to understand how the interior of the ship was utilized (Figure 12), but also is valuable as a teaching tool for the public. Archaeologists started working on the three-dimensional modelling in order to understand how merchants would have packed the interior of the ship (Figure 12 and 13). There were such a large number of items stored on the ship that it was difficult to understand how it was loaded, without being able to visualize the interior. Archaeologists have been utilizing digital three-dimensional modelling to render the ship s interior, which was based on the on site observations and recording of the ship s hull. The end goal of the three-dimensional rendering is to use it as a teaching tool for public interpretation. 56

57 Figure 11. Three-dimensional display of the Pepper Wreck digital reconstruction. Wells What Can We Take Away From the Pepper Wreck Excavation? The most important lesson we can take away from this project s public interpretation tactics is the potential of three-dimensional modelling (Figure 11). While there were no hull remains for the Bajo de la Campana shipwreck excavation, there is still potential for three-dimensional modelling of artefacts, the site and the exhibit. Three-dimensional technology could be implemented onto the ARQUA website to give the interested public a better idea of what the museum is like before visiting. While the current ARQUA website does make an attempt at threedimensional modelling of their museum, the current interpretation could be improved, and could also include individual artefacts that have been rendered for public interpretation. Additionally a three-dimensional site reconstruction could be performed and implemented into a display to give the visitors a better idea of what it would have been like to work on the Bajo de la Campana shipwreck site. Overall there is much potential for three-dimensional modelling and its implementation as a tool for public interpretation. 57

58 Figure 12. Digital reconstruction of the Pepper Wreck to show internal holds. Wells Figure 13. Digital reconstruction of the Pepper Wreck to show ship construction. Wells

59 Chapter 7 The Kyrenia Shipwreck 59

60 Introduction The purpose of this chapter is to describe the case study of the Kyrenia shipwreck excavation. This section covers the history of the excavation, a summary of what was found, interpretation techniques, significance of the excavation and what lessons we can take away from this case study. History of the Kyrenia Ship Excavation A copious mound of amphorae was discovered on the bottom of the Mediterranean ocean in 1965 off the coast of Cyprus (Katzev 2008:76). In the ensuing years, Michael Katzev led the expedition of one the most influential and difficult excavations in maritime archaeology. While the techniques seem ancient in comparison to modern technology, the Kyrenia shipwreck excavation pioneered some of the most inspirational and innovative techniques in maritime archaeology(katzev 2008:76). Since this project was conducted during the formative years of maritime archaeology, its importance in terms of the field is monumental and should not be overlooked, when considering recent research and excavation techniques employed to study the site and lift the hull. Approximately three hundred and fifty amphorae were mapped and recorded using photography and robotic technology(katzev 2008:77). As the team began to excavate, the once golden timbers began to quickly decay after being exposed to the oxygen rich environment(katzev 2008:77). All focus turned from the artefacts and site to the hull itself. A cunning plan was devised to raise the hull using a crane, which was successfully undertaken. Today the hull remains are on display in the Kyrenia Shipwreck Exhibit of the Girne Castle, Cyprus, where is has been successfully preserved, reconstructed and maintained in a temperature and humidity controlled environment (Figure 14) (Katzev 2008:77). 60

61 Figure 14. The Kyrenia ship s hull remains located in the Kyrenia Shipwreck Exhibit, Girne Castle, Cyprus. Cypnet Archaeological Finds The most prominent archaeological finds included the hundreds of amphorae of eight different types (Steffy 1985:72). In addition to a cargo carried in these amphorae, the ship had a cargo of almonds more than nine thousand almonds were excavated from the site (Katzev 1978: 295). Other artefacts discovered on site included hopper-type millstones, a larger copper cauldron, course and fine pottery, 61

62 three small black glazed pitchers, two casserole lids, mixing bowls, fish weights, wooden utensils, tools, and a few coins (Katzev 1978: 297; Stefy 1985:72). Public Interpretation Tactics Similar to other projects, this case study used replicas of the shipwreck that were constructed for both archaeological and public interpretation applications (Katzev and Katzev 1985:164). Three sailing reconstructions were built of the Kyrenia ships. The first was named Kyrenia II, the second Kyrenia III which was an exact replica of Kyrenia II and the final one was named Kerynia Liberty. Each reconstruction was built for a different purpose. Figure 15. Kyrenia III replica housed in Fukouka, Japan. The Kyrenia Shipwreck Project Kyrenia II was the first to be constructed, and the vessel was built applying its ancient construction techniques following its original hull shape concomitant with the archaeological evidence (Katzev and Katzev 1985:164). Shipbuilders commenced construction on November 1, 1982 and completed the vessel on May 9, 1985 when it was launched for sailing trials and testing its sailing properties 62

63 (Katzev and Katzev 1985: ). Sailing trials of the Kyrenia II began in September of 1986 on a maiden voyage from Piraeus, Greece to Paphos, Cyprus(Katzev 1990:245). This voyage mimicked a common ancient trade route and it Kyrenia II s crew over 25 days in which they covered 600 nautical miles (Katzev 1990:245). After Kyrenia II had successfully sailed on its maiden voyages, it also went on several other voyages to prove its sea worthiness. It travelled to New York in 1986, Japan in 1988 and West Germany in 1989 (Modiano 1986). As a result of this voyage, the Japanese built a replica of Kyrenia II for display purposes. Kyrenia III was built in 1990 and since it has been on permanent display in Fukuoka, Japan (Figure 15) (Cariolou 2012). This not only solidified international interest, but also provided additional research on ship construction and building techniques. The final Kyrenia reconstruction, the Kerynia Liberty, was started in 2001 and was completed in 2002 using modern construction techniques (Figure 16) (Cyprus News Agency 2004).They Kerynia Liberty was constructed to take part in the Olympics, an international cultural event watched all over the world, and intended for the purposes of experimental archaeology in which the shape of the vessel and sailing ability play a more important role than its original construction method (Cyprus News Agency 2004). Symbolic gifts were transported on board to the birthplace of the Olympics. Kerynia Liberty transported copper for the bronze medals as well as wine, almonds and oil that are all symbolic of ancient trade (Cyprus News Agency 2004). The reconstruction would make several stops along the way and participate in various ceremonies and celebrations of culture. While these reconstructions were built specifically to answer archaeological questions, they were also in turn great for public outreach and sparking local interest. They not only provided information about ancient techniques for sailing, storage and life on board, but they also provided great interpretation for the community. Even though the excavation of the Kyrenia shipwreck occurred decades ago, it remained in the public s eye the participation of Kerynia Liberty in the Olympics is a prime example of this. 63

64 Figure 16. Kerynia Liberty on a test run. Archaeology News Network Significance Overall the most important and successful approach to public outreach for the Kyrenia shipwreck project has been the sailing reconstructions and trials. They created an international audience and provided information about the project to people who would have otherwise never heard of it. This project was clearly a great success, because it is nearly impossible to travel through Cyprus today without seeing some form of the Kyrenia ship. The ship has been placed on coins, stamps, passports and other everyday items, such as for example on the Makkas winery labels, which display the pride the nation has for the archaeological work conducted on this ancient shipwreck (Makkas 2012). The promotion of a good archaeological excavation like this is paramount in the battle against treasure hunting. When projects, such as this, can show the public what good archaeology is and instil a 64

65 national interest, it becomes much easier to protect and study archaeological sites from the danger of treasure hunting. What Can We Take Away From the Kyrenia Excavation? The public interpretation tactics of the Kyrenia excavation were clearly a great success, due to the national interest created. The important thing to take away from this case study is the use of international media to instil interest in the public. Showcasing some of the work on archaeological reconstructions proved to be beneficial for the public interpretation of this historic shipwreck. This case study shows us the importance of utilizing the international audience to garner interest and teach the difference between true archaeology and treasure hunting. It is important to provide the public with information on how an archaeological excavation is conducted and what it can bring both the local populace and the international audience. This case study shows that it is possible to create a sense of ownership within a country of its maritime heritage and an eagerness to protect it, and how that heritage can be incorporated into the culture. 65

66 Chapter 8 The Bajo de la Campana Shipwreck and the ARQUA Museum 66

67 Introduction The purpose of this chapter is to describe the case study of the Bajo de la Campana excavation and the associated ARQUA museum. This section will cover the history of the excavation, a summary of what was found and an analysis of the ARQUA museum in Cartagena, Spain which is responsible for the public interpretation of the material recovered. History of the Bajo de la Campana Excavation The Bajo de la Campana site is located 40 km northeast of Cartagena, Spain and is 2.5 km off shore of La Manga del Mar Menor, Spain(Polzer 2008:5). The site itself lies in 15 to 20 metres of water and is approximately 20 metres wide by 20 metres long (Polzer 2011; Polzer 2008:5). The location of the shipwreck lies just below a submerged rock outcropping (Polzer 2011). The rock reef forms part of a small island chain consisting of three small landmasses(polzer 2011). This island chain runs north to south and is located in the Mediterranean Sea on the eastern side of Spain. Isla Grossa is the largest of the three islands and is the southernmost landmass in the chain. Today it serves as a bird sanctuary. The middle island is called Farallón Rock, which in Spanish translates to cliff or rock face. The final island and northern most point of the island chain is Bajo de la Campana, meaning shallow of the bell (Polzer 2008:58). The name stems from a bell which was mounted on top of the island to warn ships of the navigational hazard (Polzer 2011). While today the island lies approximately 5 metres below the surface of the water, it used to break the surface and protrude over a meter until demolitions took place (Polzer 2011). Demolitions undertaken by the local Spanish government tried to reduce the risk of the navigational hazard; however, vessels continued to strand themselves on the small rock island (Polzer 2011). Additional explosives were placed on the island by scrap iron salvagers to blow up more modern wrecks and collect scrap metals from them (Polzer 2011). This created a plethora of large boulders that were spilled onto the site, which destroyed some and protected others of the artefacts (Polzer 2011). 67

68 Commercial divers and scrap iron salvagers discovered the site as early as After its discovery, recreational divers picked up artefacts and took souvenirs from this submerged rock island, which is and was a popular dive site (Polzer 2011). Much of the initial material taken from the site by early looters and pillagers was turned over to the Spanish Ministry of Culture (Polzer 2011). After the material was returned and further studies were conducted, it was determined that there were actually three historical wrecks on the site (Polzer 2011). The first was a seventh or early sixth century B.C. Phoenician vessel. The other two were Punic/Roman vessels, one dating to the second century B.C. and the other to the first century A.D. (Polzer 2011). The materials recovered eventually led to a study of the area that started in 2006 with the Institute of Nautical Archaeology (INA) communicating with the Spanish Ministry of Culture and reaching an agreement in 2007 (Polzer 2011). In 2007 the Iron Age Phoenician shipwreck project officially began with an intrusive survey to determine the extent of the site and how much material remained (Polzer 2011; Polzer 2007:58). The excavation at the Bajo de la Campana site commenced in 2008 and continued until 2011 (Polzer 2011). There has been a variety of material discovered, which has shed light on the mercantile activities of the Phoenicians in the west during that era and could provide even more new insights with further study. Archaeological Finds The archaeological finds discovered during the excavation are very significant, and will provide the ARQUA museum with a rich trove of material for a formal museum exhibit when it is made for the Bajo de la Campana excavation. A variety of raw and finished goods were discovered on site (Polzer 2012: 6). The most recognized find on the site was the large number of ivory elephant tusks (Polzer 2011). Fifty-four complete tusks have been recovered as of the end of the 2011 excavation season (Polzer 2011). Other items found on site include worked ivory pieces, metal ingots, galena, pottery, luxury items, wooden combs, Baltic amber, pine nuts, seeds, ballast stones, dunnage, wood fragments, amphora, plates, 68

69 tripod bowls, oil lamp, jugs, pitchers, a pedestal, bronze and wooden furniture, a green stone rod, and a bronze object (Polzer 2011). ARQUA Figure 17. Entrance to the ARQUA museum. Joshua Jones When discussing the Bajo de la Campana shipwreck project, it is vital to also discuss the aid of the ARQUA maritime institution in the excavation and its role in the public interpretation within the region. Without ARQUA the project would not have been possible. ARQUA has aided in everything from transportation to artefact conservation and restoration. This museum is dedicated to the protection of underwater cultural heritage and the study/display of ancient vessels from the Iron Age to the medieval period. The ARQUA museum has become famous throughout Spain for its museum display techniques and modern architecture (Figure 17). 69

70 Following closely in the footsteps of the MARQ museum, ARQUA has featured a simple yet appealing design that highlights the importance of both the excavation techniques and the artefacts themselves. The History of the region is vast and dates back to ancient times. The important role of the ARQUA museum is to teach and promote the history of the region so that there is a public awareness of the work and how it could benefit Spain. Like many European countries, Spain relies heavily on tourism as an income source. ARQUA both provides a tourist destination, and serves as a resource for the local population to learn about their heritage and the history of the region. The museum exhibition area itself is a very striking and effective combination of elegance and ambiance. It appeals to visitors with varying cultural backgrounds by providing multiple languages on all displays. The Phoenician exhibit gives a fair representation of artefacts that are common among various Phoenician shipwreck sites including the Bajo de la Campana. While most of the finds of the Bajo de la Campana excavation are still in conservation, a small representation of artefacts from the site are on display, mostly of items recovered by the Spanish Ministry of Culture. It provides a representation of what might have been common on a Phoenician trading vessel travelling the Mediterranean thousands of years ago. In combination with the exhibits, there is a digital reconstruction of the museum and its exhibits available on the ARQUA website. This is a great tool for public interpretation, and can provide a museum experience without ever leaving home (ARQUA 2012). The ARQUA website is by any measure one of the most comprehensive and visually appealing museum websites in the world today. Like the building itself, the website provides a simple yet appealing design. Not only is it visually appealing, it is packed full of information about the museum, the exhibits, resources and upcoming events. It is presented in five languages that are commonly used in Spain. The attempt to make the website user-friendly is unrivalled by most of the world s museum websites. The website also does something that most museum websites do not; it provides links to other museum websites related to maritime archaeology. This is both educational and fundamental for collaboration with professionals in the field. The website provides crucial information regarding 70

71 the legislation and protection of underwater cultural heritage, and sources to contact if there are any additional questions or if something of note is found. All the museum publications and articles concerning the museum are also available on the website; however, only a selection is available in full for the public due to copyright restrictions. ARQUA also posts dates to seminars and classes that are aimed to teach the locals about the importance of maritime archaeology and maritime heritage. These classes are held at ARQUA in dedicated classrooms and learning centres. ARQUA Exhibit Observations and Analysis Figure 18. LCD display screen displaying underwater work with divers and bubbles in the background providing the feeling of being underwater. Joshua Jones This section serves to describe the ARQUA exhibition area and the observations that were made by the author in the field. As the ARQUA museum is approached the first thing of note is the unique design of the building. The building from the ground level actually looks like two separate buildings; however, the two 71

72 structures are connected underground. To enter the museum, visitors pass between the buildings and are greeted on one side with the signage for the museum (Figure 17), and the other with windows that allow them to view the hanging models of the Kyrenia ship and an Iberian ship from the age of Global Seafaring. To enter the museum, visitors pass next to the sign and begin their descent into the museum. The entire entrance mimics the descent that divers make underwater when visiting archaeological sites. Before visitors enter the museum, they thus experience something unfamiliar. Upon entering the museum visitors enter a large open space with the ticket booth to the left as well as the gift shop. The museum has a darker colour scheme, symbolic of an underwater environment. Upon entering the exhibition gallery, the first exhibit that visitors experience relates to the history of maritime archaeology, underwater cultural heritage legislation, and it explains why and how archaeology is different from treasure hunting. This section is important for immediately informing the public as to why this kind of work is done and how it differs from treasure hunting. This is perhaps one of the most important aspects of the museum because it provides the legislation and reasoning behind all the archaeological work conducted within the institution and also the importance on an international level. The UNESCO convention is discussed and displayed for its importance within the field of maritime archaeology (Figure 19). After the initial displays regarding what maritime archaeology is and why it is done, the visitor is encouraged to continue by following the divers that are displayed on large screens on wall which aid in the atmosphere of the museum and help to give the feeling that the visitor is in fact underwater and participating in one of the archaeological dives (Figure 18). As the divers are followed the visitor proceeds to the next exhibit, which is an interpretation of how maritime archaeology is performed. This exhibit uses interactive displays to explain the physics of diving and how the work is performed. 72

73 Figure 19. UNESCO Protection of Underwater Cultural Heritage display which explains the importance of the convention and its purpose in the protection of underwater cultural heritage. Joshua Jones

74 Figure 20. Mazarrón shipwreck site reconstruction for public interpretation. Joshua Jones Figure 21. Close up of artefacts on Mazarrón shipwreck reconstruction. Joshua Jones

75 A large reconstruction of the Mazarrón shipwreck site is the centrepiece of this exhibit, and displays the shipwreck and its cargo in situ (Figure 20 and 21). This is important for the experience of visitors who do not dive and do not know what a maritime archaeological site might look like underwater. In addition to the site reconstruction, a variety of interactive displays help to explain how archaeological sites are found and what should be done if one is discovered (Figure 34). The explanation of dive physics is also important to portray the dangers and difficulties of working and excavating underwater (Figure 22). From the observations taken in the ARQUA museum this exhibit usually keeps visitors attentions the longest. This is in part due to the interactive displays, which allow the visitor to play with the displays and come to understand the meaning behind them. These displays are also the most worn displays, showing their success as an interpretation tool. This section is also the most successful in garnering youth interest. Younger visitors, especially children, tend to spend the most time interacting with these displays and are generally more interested in understanding the science behind the displays than are older visitors. As the visitors move along, they come to the next exhibit, which is interpretation regarding the conservation of the materials found. This exhibit uses moulds and reconstructions of artefacts to show what an artefact would look like before and after conservation (Figure 23 and 24). It also provides an interactive display of the equipment used to conserve the artefacts after they reach the museum. This is vital for the public s understanding of the work required after an artefact is found on the seabed. An understanding of the entire process from excavation to conservation provides a better understanding of the overall process required to place artefacts within an exhibit. The progression of interpretation of the first half of the museum is essential for a public understanding of the process and what it means for an artefact to be raised from the sea bed with an end goal of being displayed in a museum. The displays also aid in showing the difference between treasure hunting and true archaeology. 75

76 Figure 22. Interactive display explaining the laws of dive physics and what archaeologists must overcome working underwater. Joshua Jones

77 Figure 23. Anchor display showing the stages before and after conservation. Joshua Jones Figure 24. Amphora display showing the states before and after conservation. Joshua Jones

78 The museum displays then move from interpretation of archaeology to artefacts that have been found during scientific investigations. It is important to note that the interactive interpretation does not end here. Additional interactive displays continue all the way to the exit of the exhibition area. This is one area of museum display where the ARQUA museum rises above the traditional methods. This also keeps the visitor intrigued and interested in both the artefacts and the archaeology involved. The museum is not all glass cases with artefacts and treasures found on archaeological sites. The engagement with the audience was shown to be successful by the observations taken. Generally, visitors spent more time with the interactive displays than they did looking at the artefacts. The more time spent interacting with displays the more likely that the visitor left with more knowledge of underwater archaeology than they previously had. Figure 25. Display demonstrating what ivory tusks look like before and after conservation. Joshua Jones

79 The artefacts exhibit a progression of ancient cultures and technologies. The first exhibit that the visitor encounters in the Phoenician exhibit, which displays some of the artefacts that were recovered from the Bajo de la Campana shipwreck site by the Spanish Ministry of Culture (Figures 25, 32 and 33). Many of the artefacts displayed were some of the original finds by scrap iron salvagers and divers on the Bajo de la Campana shipwreck site. This display will surely be altered and changed as the artefacts from the excavation complete conservation and are ready to be displayed (Figures 32 and 33). Hopefully additional interpretation will be added to describe the Bajo de la Campana shipwreck site and its significance in Phoenician history. The display as it exists now, however, does give some explanation of whom the Phoenicians were and what their role in Spain was. Maps of where they were from and who they were help to give the visitor a better understanding of how the material being displayed would have been utilized by them (Figure 26). Figure 26. Map showing the trade routes of the Phoenicians and their influence in the Mediterranean. Joshua Jones

80 The next exhibition relates to the Romans, which includes the most extensive collection of artefacts. These artefacts are centrally located in the museum and are surrounded by interactive interpretation (Figures 27, 28, 29, 30 and 31). As the visitor comes to the end of the Roman exhibition, they are presented with a unique interactive display. The display is a digital map of the ancient world and historical ports and harbours (Figure 27). A projector above the display projects an image onto an interactive touch screen. When the visitor touches one of the cities listed on the map, a blow up of the area appears with additional information about that particular city (Figure 27). Figure 27. Interactive touch screen map of the ancient world ports. Joshua Jones The map includes Phoenician, Greek, Roman and other ports that were crucial for the trade and interaction of people in the ancient Mediterranean. This 80

81 display is also one of the most utilized interpretation techniques within the museum. It is also extremely valuable because it will not wear out quickly, unlike many of the other interactive displays. Since it is digital, and the only interaction the visitors have with the display is the hard touch screen surface, it is likely to last a long time. More touch screen displays like this should be incorporated into museums, in order to garner interest and teach the public about the history involved within the museum. From the observations taken, most visitors spent a good deal of time interacting with the display, once they realized it was a touch screen display. It was, however, noted that many visitors did not realize it was a touch screen until informed by museum staff. Once they were aware, they generally spent five to ten minutes playing and interacting with the display. As visitors approach the exit, a large model of a ship hangs above, which is the model that can be seen from the glass windows on the ground floor. Below the ship model are computers dedicated to interactive digital media. This brings them back to the original exhibit, which portrays the importance of maritime archaeology and its context within scientific research. It again emphasizes the importance of archaeological research and again differentiates treasure hunting from scientific research. Visitors then exit the exhibition area and begins their ascent back up to the ground level. From the general observations taken while in the field, visitors spent the most time using the interactive displays and spent little time observing the actual artefacts. This is important to note, because the interactive displays generally provided more information than the displays themselves. In terms of museum display, the focus of the ARQUA museum was based on interactive displays to teach the public about maritime archaeology. The emphasis was on the importance of the exhibits in answering questions about the history of the region and what might be learned from future research. The focus on the history learned from the interpretative displays is essential to the success of this museum. ARQUA utilized these well, and promotes the future of maritime archaeology, both in terms of history and research. Overall, the museum is successful at public interpretation and will surely become even better with the addition of the Bajo de la Campana 81

82 shipwreck material. It will be important for ARQUA to also incorporate additional interactive displays once the Bajo de la Campana shipwreck material is added, to provide the visitor with valuable information regarding the history of the Phoenicians and show what can be learned from an archaeological investigation. 82

83 Figure 28. Reconstruction of a Phoenician ship and its cargo. Joshua Jones Figure 29. Reconstruction of a Punic ship and its cargo. Joshua Jones

84 Figure 30. Interpretive display of Phoenician port. Joshua Jones Figure 31. Interpretive display of Roman port. Joshua Jones

85 Figure 32. Stone anchor interpretive display in the Phoenician exhibit. Joshua Jones