Teaching with CREWS

Do you want to learn more about writing in the ancient world? Then read on!

I am excited to tell you that we recently received a small grant to develop some teaching materials based on our research on ancient writing systems and practices! Firstly, we want to make as many resources as we can available to the wider public, and we hope that lots of people will enjoy and learn from these – especially in these dark times when so many of us are isolated from each other, looking for something to take our minds off the news, and so many children are learning at home. This post is going to give you an idea of resources that are already available, and ones that are coming soon.

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Lego Pippa and Philip demonstrating ancient writing techniques to a crowd of fascinating onlookers. Lego tableau by Philip Boyes!

Eventually we aim to release packages of materials aimed at children aged 8-11, so do look out for more news on this if you teach in primary education or have children the right age! Continue reading “Teaching with CREWS”

Our Ancient Writing Display, and Other Ancient Writing at the Fitzwilliam Museum

Today is International Museum Day, a good day to celebrate the stellar work done by museum staff to make museums the places of learning and inspiration that we all know and love. It has been a real privilege to witness this in action through our special writing-themed display at the Fitzwilliam Museum in Cambridge (a collaboration between the CREWS project and the Fitzwilliam and British Museums).

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If a display on ancient writing sounds interesting, do come and visit – it finishes on 10th June so there is still some time left. You can find it in the Cypriot Gallery at the Fitzwilliam. If coming to Cambridge isn’t easy for you, on the other hand, I hope you can have a sort of virtual tour by looking through our blog posts on each item: the whole list is HERE. Continue reading “Our Ancient Writing Display, and Other Ancient Writing at the Fitzwilliam Museum”

When Ancient Writing Is an Art, Science, and Snack

Philip has just given an interview for Atlas Obscura, all about his adventures in making Ugaritic cookies. As regular readers will know, this is more than just baking – this is a lovely opportunity to work on replica Ugaritic cuneiform tablets, think about how they were inscribed, and then eat the results afterwards!

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You can read the article here:

When Ancient Writing Is an Art, Science, and Snack

Continue reading “When Ancient Writing Is an Art, Science, and Snack”

Learning about ancient writing

We recently had the pleasure of being involved in a number of outreach events organised through the Cambridge Festival of Ideas. That meant talking to the public about our work and showing people (especially groups of children) how to write in ancient writing systems. These are more than ‘just’ outreach events for us – they are a valuable opportunity to put our theoretical work into practice and share it with others!

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You don’t have to be present at these events to join in! If trying your hand at ancient writing appeals to you, have a look at our ‘write your name’ sheets HERE. Currently available are the ‘standard’ Greek alphabet, the Cretan alphabet, Phoenician, Ugaritic cuneiform, Linear B and Egyptian hieroglyphics. They can be downloaded and used for free so please do have a look and try writing your name or a message.

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First up was the Prehistory and Archaeology Day organised by the McDonald Institute in Cambridge. This was a big event with all sorts of different activities, where the opportunity to learn an ancient writing system was just one of the possibilities on offer. Philip helped to run a drop-in stall (alongside colleagues from Archaeology and Classics) showing people how to write in Ugaritic and Akkadian cuneiform as well as other scripts. The practical element to this was not only learning to write in these scripts but also using a stylus to write something on a clay tablet.

Continue reading “Learning about ancient writing”

Writing beautifully

I just saw that it is World Calligraphy Day today (noticing all these “(inter)national days of X” seems to be a product of hanging out on Twitter!). This got me thinking about what we mean when we say ‘calligraphy’. The word comes from Greek and means simply “beautiful writing” – which in practice can mean a whole range of things.

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Page from the Lindisfarne Gospels. Image from HERE.

Today we tend to think of calligraphy as an art that involves writing in ink with special pens on fancy paper. You can do it in any writing system from around the world – Wikipedia has a nice range of examples in its calligraphy entry HERE. The above page from the 8th century AD illuminated Lindisfarne gospels is a typical piece of monastic medieval calligraphy from northern England, while below is an 11th century AD work from the Chinese Song dynasty, On Calligraphy by Mi Fu. Continue reading “Writing beautifully”

Aurebesh – an alphabet long ago in a galaxy far, far away…

Being a life-long fan of Star Wars, and having recently rewatched Rogue One, I was just thinking about writing in the Star Wars universe…

If you’re not a Star Wars fan, no need to stop reading – in fact, the point of this post is to highlight the phenomenon of creating a writing system for a fictional universe. And these days it is a common phenomenon, especially given that fictional other worlds are often created in visual media like television, film and comics. If your creations live in a literate world (and potentially speak a created language too), then choices have to be made about how to represent writing in that world.

This is Aurebesh, a writing system created for the Star Wars universe and used to represent the most common language, Galactic Basic Standard Language (heard in the films for example as English):

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Image from HERE.

Continue reading “Aurebesh – an alphabet long ago in a galaxy far, far away…”

Talking objects

In Ancient Greece people would write on almost any kind of object. For example, votes to send a politician to exile for 10 years were written on pottery sherds! This practice of the Athenian democracy was called ostracism because the name for “sherds” in Ancient Greek is ὄστρακα (ostraka).

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Fragments of ceramic with votes for ostracism. Picture taken by the author: Agora Museum, Athens.

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Making and baking inscriptions – and the CREWSmas party!

Term-time has recently finished here, and the CREWS project team has been taking part in some rather jolly end-of-term activities.

The first was the final session of the ‘Linear A self-help group’, a series of seminars we have been running where a number of colleagues working on Linear A or related scripts have been presenting their work and discussing their ideas. For the final meeting, we decided to have a practical session, and to try making our own inscriptions using modelling clay. You also can read about it on our colleague Anna Judson’s blog HERE.

What are Linear A and Linear B?

Linear A was used around the 19th-15th centuries BC, in Crete and some of the islands, to write an unknown language that we label ‘Minoan’ (we know the values of many signs, but still do not understand the language).

Linear B was used around the 15th-13th centuries BC, in Crete and on the Greek mainland, to write an early form of Greek.

Why bother trying to make our own inscriptions? Well, actually there are still a lot of unanswered questions about the production of clay tablets in the ancient Aegean. How did the scribes achieve such detail in the more complex signs? What did they use to write with? How did they create the flat surface for writing on? Why are Linear B ‘palmleaf’ tablets (i.e. small elongated ones that can be held in the palm of the hand) curved on the back but flat on the top? We started off the session with an illuminating presentation by PhD student Ester Salgarella on some of these problems, and then we set about trying to answer some of them through a practical attempt at making our own tablets.

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Continue reading “Making and baking inscriptions – and the CREWSmas party!”