Podcasts about kerma

These violent delights have violent ends. Between 1992 BCE and 1941 BCE, King Montu-Hotep (“Montu is Content”) ruled the southern kingdom. And he led efforts to expand Theban power, and ultimately reunify the Two Lands… Logo image: Montu, in a chapel of Ramesses III at Karnak (Kairoinfo4u). Website: www.egyptianhistorypodcast.com. Support the show via Patreon www.patreon.com/egyptpodcast. Make a one-time donation via PayPal payments. Music and interludes by Keith Zizza www.keithzizza.net. Music and interludes by Luke Chaos www.chaosmusick.com. Montuhotep's Expansion into Wawat / Nubia and the records of the wars: Darnell, ‘The Route of the Eleventh Dynasty Expansion into Nubia: An Interpretation Based on the Rock Inscriptions of Tjehemau at Abisko', Zeitschrift für Ägyptische Sprache und Altertumskunde 131 (2004), 23—37. Available on Academia.edu. Darnell, ‘The Eleventh Dynasty Royal Inscription from Deir el-Ballas', Revue d'Égyptologie 59 (2008), 81—110. Available on Academia.edu. Montuhotep's Mahat Chapel at Abydos, discovered in 2014: Josef Wegner at Academia.edu and Damarany in Abydos: The Sacred Land (2019), JSTOR. Scholarly debates on the timeline and events of the Reunification: Brovarski, ‘The Hare and Oryx Nomes in the First Intermediate Period and Early Middle Kingdom', in Egyptian Culture and Society: Studies in Honour of Naguib Kanawati, 1 (2010), 31—85. Available on Academia.edu. This was the study I followed in my reconstruction. Willems, ‘The Nomarchs of the Hare Nome and Early Middle Kingdom History', Jaarbericht van het Vooraziatisch-Egyptisch Genootschap Ex Oriente Lux 28 (1985), 80—102. Available at Researchgate. Nubia – The Archaeology of Wawat and Kerma: Kerma – Mission archéologique suisse à Kerma (Soudan) C. Bonnet, ‘The Cities of Kerma and Pnubs-Dokki Gel', in G. Emberling and B. B. Williams (eds), The Oxford Handbook of Ancient Nubia (Oxford, 2021), 201—212. H. Hafsaas, ‘The C-Group People in Lower Nubia: Cattle Pastoralists on the Frontier Between Egypt and Kush', in B. B. Williams and G. Emberling (eds), The Oxford Handbook of Ancient Nubia (Oxford, 2020), 157—177. G. K. Meurer, ‘Nubians in Egypt from the Early Dynastic Period to the New Kingdom', in B. B. Williams and G. Emberling (eds), The Oxford Handbook of Ancient Nubia (Oxford, 2020), 289—308. B. B. Williams, ‘Kush in the Wider World During the Kerma Period', in G. Emberling and B. B. Williams (eds), The Oxford Handbook of Ancient Nubia (Oxford, 2021), 179--200. The Tomb of General Antef, with images of siege towers and naval forces: B. Jaroš-Deckert, Grabung im Asasif. 1963-1970. Band 5: das Grab des Jnj-jtj.f. Die Wandmalereien der 11. Dynastie, 12 (1984). Learn more about your ad choices. Visit megaphone.fm/adchoices

In the final of You Tried Dat's?? three Finland episodes, the gang tries out Karlfazer Chocolate Bars, Sahlman Kerma Toffee Bars, and Dammenberg Milk Chocolate & Salted Caramel Bars.  They also discuss unfortunate work bathroom situations before playing another game of Fuck/Marry/Kill. Follow us on Instagram to see pictures of the snacks @youtrieddat.

When it comes to Africa's vast history, people tend to focus on Egypt, the Kerma and Kush kingdoms of Sudan, or else the Mali Empire of Mansa Musa. But what of Sub-Saharan Africa? Surely, there must have been great cities and civilizations there too, right? Well, I'm happy to say that there were, perhaps none more impressive than that now known as Great Zimbabwe. Tune in this week to learn all about it! --- Support this podcast: https://podcasters.spotify.com/pod/show/historylovescompany/support

In this episode, host Brian VanHooker chats with George Goodchild, who was the character designer on the 1987 Teenage Mutant Ninja Turtles cartoon for most of the series. Goodchild designed the baby Turtles, Kerma, Hokum Hare and many others. He also adapted characters like Groundchuck and Dirtbag from their toy form into their animated incarnations! Sound engineering by Ian Williams. Follow Turtle Tracks Podcast on Instagram: https://www.instagram.com/turtle_tracks_podcast/

Wybraliśmy się do jednego z największych państw w Afryce, bardzo rzadko odwiedzanego przez turystów. Byliśmy w Meroe, antycznym mieście w środku pustyni, z około 100 piramidami pozostałymi po potężnym królestwie Kusz. Na naszej trasie znalazły się też starożytne miasta: Kerma i Soleb, a także stolica kraju – Chartum, Omdurman z grobem Mahdiego, Port Sudan, słynny niegdyś port Suakim i Karima. Przypomnieliśmy polskie wykopaliska w Starej Dongoli. Byliśmy w kopalni złota, podziwialiśmy skamieniałe drzewa i uczestniczyliśmy w niezwykłym rytuale sufi. Spotkaliśmy nawet rzadkiego białego wielbłąda. Gościem Jerzego Jopa był Mirosław Lubarski, doradca zarządu w Grupie Polskie Składy Budowlane Handel, a opowiadaliśmy o Sudanie sprzed wojny domowej, która wybuchła 15 kwietnia tego roku.

Historia, jakiej nie uczą w szkole, część ósma. Tej nocy suniemy dookoła świata od połowy X w. p.n.e. aż do pierwszej olimpiady — mamy fakty, przemoc, stele i legendy. Uzupełnienia i ciekawostki: jak stare jest mydło, greckie wieki ciemne rispekt, jeszcze o produkcji brązu, o długu jako sposobie rozliczania (przy okazji zapraszamy na cykl prelek o pieniądzach: 1. początki, 2. nowożytność, 3. ciekawostki), jak nazywano węgorza elektrycznego przed elektrycznością, sumeryjskie zwyczaje związane z królewskimi zastępcami w razie omenu (historia ogrodnika Enlil-bani), zagadka szamanki z Bad Dürrenberg, 8.2 kiloyear event. X w. p.n.e., Egipt i okolice Szybko podsumowujemy, co było, a co jest w Egipcie i u sąsiadów. Faraon Szeszonk I z ludu Meszwesz daje początek 22. dynastii. Konsolidacja państwa. Nubia staje się królestwem Kusz. Wracamy na chwilę do kultury Kerma, skąd to wzięli się Nubijczycy. Długie, udane panowanie faraona Osorkona I. Omawiamy konfuzje chronologiczne związane z tą dynastią, po czym zostawiamy Egipt w chaosie. X-IX w. p.n.e., Grecja i okolice Powoli wychodzimy z greckich wieków ciemnych, omawiamy niuanse ekspansji Dorów i Jonów. Czym się różnią te ludy i które tereny zajmują? Co Sparta ma na tarczach? Lista powodów, po których poznajemy, że w Grecji jest ewidentnie lepiej. X-IX w. p.n.e., Asyria i okolice Aszur-dan II i państwo nowoasyryjskie. Ambitny plan wojen. Krótki rant na asyryjskie imiona królewskie. Pogrom w Kadmuhu. Omawiamy taktykę i propagandę podbojów. Zaglądamy do Gutejów i krytykujemy ich brak zmysłu biznesowego. Doceniamy różnorodne pasje bieżącego władcy. Adad-nirari II wstępuje na tron, a my dziękujemy Asyryjczykom za listy eponimów. Przyglądamy się układom Asyrii z Babilonem oraz stosunkom z innymi sąsiadami. Aszurnasirpal II zdobywa wysokie miejsce w konkurencji na brutalność. Problemy z buntownikami, wyprawa na królestwa późnohetyckie. Moczymy miecze w wodach Morza Śródziemnego. Reinwestycja trybutów i dyplomatyczne rozgrywki wewnętrzne. Pierwsze duże zoo. Wyprawy wojenne Salmanasara III. Co ciekawego w Urartu? Co zrobić, jak się ma Asyrię po sąsiedzku? Bitwa pod Karkar. Omawiamy monolity, zwłaszcza pierwsze pisemne wzmianki o Arabach i Izraelu. Awantury rodzinne i rewolty, ale za to witamy na pokładzie Persję. Na tron wstępuje Szamszi-Adad (piąty tego imienia), w Asyrii zmienia się układ sił i nastaje tzw. wiek magnatów. Co możemy wyczytać na stelach? Królowa Sammu-ramat. IX w. p.n.e., Egipt Kapłan Hedjkheperre Setepenamun Harsiese daje początek 23. dynastii. Problem dwóch stolic. Stękamy na datowanie i wspominamy czule listy amarneńskie. Kiedy to się skończy? IX w. p.n.e., legendy z okolic morza Na półwyspie apenińskim kultura Villanova i Etruskowie. Nowa kolonia Fenicjan — Kartagina. Legenda Likurga, prawodawcy Sparty. Zaglądamy jeszcze na chwilę do Grecji, konkretnie do Eubejczyków. Kolonie Ischia i Al-Mina. IX-VIII w. p.n.e., wyspy japońskie Skąd się wzięła kultura Yayoi? Omawiamy okres Jōmon i szczególną figurkę ceramiczną, dając odpór Zniczowi. Co jest uprawiane na wyspach? IX w. p.n.e., Australia i Oceania Skąd pochodzą i dokąd zmierzają Filipińczycy? Koniec migracji Polinezyjczyków i Długa Pauza. Aborygeni, prawdopodobnie najstarsza wciąż istniejąca kultura świata. Rozmawiamy o przekazie ustnym, próbujemy zrozumieć idee łączące różne grupy aborygeńskie i odnajdujemy się emocjonalnie w ich podejściu do świata. VIII w. p.n.e., Europa Okolice Austrii, kultura halsztacka na kopalniach soli. Marzymy o interaktywnej mapie rozkwitów, upadków i przemiksów kultur. Anglia, koń z Uffington. Odświeżamy kredę i na zdrowie! VIII w. p.n.e., Grecja Pierwsze igrzyska olimpijskie. Siedzimy w namocie i pokrywamy się kurzem, słuchając dwóch mitów o początkach tych zawodów, a potem wycieramy się archeologią. Teoria i praktyka założeń olimpijskich, a także ich istotna funkcja społeczna. Koniec greckich wieków ciemnych, wkraczamy w okres archaiczny. Zakończenie Podsumowanie wycieczki i zapowiedź przygód w następnej części. Do czytania i oglądania: David R. Graeber, "Dług. Pierwsze 5000 lat" The Burial of Bad Dürrenberg, Central Germany: Osteopathology and Osteoarchaeology of a Late Mesolithic Shaman's Grave Stela Salmanasara III Czarny obelisk Salmanasara III okres Jōmon Mitologia australijskich Aborygenów Dreaming Wrzuć pięć złotych na patronite.pl/kya! Zainwestujemy w produkcję tajnych kompletów. 2023.04.01 / 2023.04.12

What you'll learn in this episode: Why ancient Nubian jewelry is still significant today How the Kingdom of Kush rose and fell How ancient jewelry motifs, techniques and materials were shared and adapted between cultures Why the Museum of Fine Arts Boston has a significant collection of ancient Nubian art, and why it's being exhibited at the Getty Villa Why jewelry is often one of the only pathways to understand ancient cultures About Dr. Sara E. Cole Sara E. Cole is Assistant Curator of Antiquities at the J. Paul Getty Museum (Villa). She holds a PhD in Ancient History from Yale University. At the Getty, she is part of the Classical World in Context initiative, which seeks to highlight cross-cultural interactions in antiquity and explore the diversity and interconnectedness of the ancient Mediterranean and Near East through a series of special exhibitions and related publications and public programs. She has curated or assisted with exhibitions of Egyptian, Mesopotamian, Neo-Assyrian, Persian, and Nubian art. About “Nubia: Jewels of Ancient Sudan” from the Museum of Fine Arts, Boston October 12, 2022 - April 3, 2023 Getty Villa Museum For nearly 3,000 years a series of kingdoms - collectively known as the Kingdom of Kush - flourished in ancient Nubia (present-day southern Egypt and northern Sudan). The region was rich in sought-after resources such as gold and ivory and its trade networks reached Egypt, Greece, Rome, and central Africa. This exhibition presents highlights from the Museum of Fine Arts, Boston's extensive collection of Nubian objects and features superbly crafted jewelry, metalwork, and sculpture exhibiting the wealth and splendor of Nubian society. Learn more about the exhibit at https://www.getty.edu/art/exhibitions/nubian_jewelry/ Photos available on TheJewelryJourney.com Transcript: Nubian jewelry is often overshadowed by Egyptian and Greco-Roman jewelry, but the ancient Nubians were the world's first jewelry pioneers. Their influential work is currently on display at “Nubia: Jewels of Ancient Sudan,” an exhibit at the Getty Villa featuring pieces from the collection of the Museum of Fine Arts in Boston. Dr. Sara E. Cole, assistant curator of the exhibit, joined the Jewelry Journey Podcast to talk about how Nubians developed their own enameling techniques; why jewelry is the key to understanding ancient cultures; and how iconography was shared and adapted throughout the ancient world. Read the episode transcript here.   Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. Today, my guest is Sara Cole, who's the Assistant Curator of Antiquities at the Getty Villa in Malibu, California. She's the curator of “Nubia: Jewels of Ancient Sudan,” an exhibit at the Museum of Fine Arts in Boston which showcases Nubian material. These finds were jointly executed early in the last century by Harvard and the Museum of Fine Arts. The exhibit is now open until April 3. Welcome back. Can you look at a piece of jewelry and say, maybe not exactly where it came from, but the period? It's late; it's early? Can you look at one and know? Sara: To put it in a bigger perspective, something about this collection of material that makes it so special is that it is all from documented archaeological excavations that were carried out in the early 20th century. Jewelry can be quite challenging if you have no context for a piece other than by comparing it stylistically to other known examples. It can be quite difficult sometimes to try to approximate when and where something was made, or to say with 100% certainty that it's even ancient if you have no context for it. A lot of the same materials and techniques that were used in antiquity are used or can be mimicked today. But with all of this material, it came from documented archaeological excavation, so we know exactly where it was found. Thanks to that context, we are able to say approximately the time period in which it must have been made and used and placed in the tomb. I suppose you could compare other surviving examples with what we now know from the archaeological record, but with this material, we are able to be absolutely certain of its authenticity and the time period in which it was being made and used because we have that archaeological context. Because Nubia had such a close relationship with Egypt and they engaged in so much exchange, there are some pieces that are found in Nubian contexts that might have been made in Egypt and imported to Nubia. It's often very difficult to say precisely where something was made because they were using very similar techniques and materials and iconography. So, there are a number of pieces in the exhibition that we think might have been manufactured in Egypt and then imported into Nubia. But even where that's the case, those objects clearly have value to the Nubians because they speak to their cultural and religious beliefs and priorities. Sharon: So, people would wear this jewelry in life, the pectorals or amulets. Did they have the same thing in their grave? Were they buried with what they wore, or did they have something special for it? Is it something made just to be buried with? Sara: It's both, actually. These royal tombs contained rich assemblages of jewelry. Some of the items do appear, based on signs of wear, to have actually been worn in life and then placed in the tomb with the deceased. There are also pieces that appear to have been made specifically to go in the burial, things that are very, very delicate and seem like they would not have been able to work in real life, or certain objects that are made specifically for funerary contexts. There's one piece in the exhibition from the Napatan Period that's really exquisite. It's this large, gold repoussé image of the goddess Isis, who is kneeling and stretching her wings out in a protective gesture, but at the tips of her wings and below her legs are these little tabs that each have a hole punched in them. The piece is too delicate, it seems, to have been something that someone would wear in life. And because of those little tabs with the punched holes, we believe it was probably manufactured specifically for this king's burial, and that it was meant to be sewn into the linen mummy wrappings that were used to mummify his body. Often there were amulets, protective icons, pieces of jewelry that were incorporated into the wrappings during the mummification process. So, it's both. Some of these pieces were probably worn in life and then taken to the tomb, and some of them were made specifically for the burial context. Sharon: I'm surprised you can even tell the difference between Egypt and Nubia with the cross-pollination. You talk about Isis. Being an expert, how does somebody know it was Egyptian? The only thing I've heard is that earrings were Egyptian. There weren't earrings before that. Sara: It's actually the other way around. This is one of the areas where the Nubians may have influenced the Egyptians. Earrings appear in Nubia before they appear in Egypt, so it's possible the Egyptians got the idea for earrings from the Nubians. As I mentioned, too, the fly pendant ornament originates in Nubia and gets adopted by the Egyptians. So, there is influence going in both directions, and where the Nubians incorporate Egyptian religious ideas, religious iconography, protective icons, they're still adapting it. They're not directly copying it necessarily. They're adapting it to their local traditions, to the types of materials they work with, to the types of objects and ornaments they make. It's not necessarily just a direct copy. In some instances, it is hard to tell whether a specific piece was made in Nubia versus Egypt. But with the burials themselves, we know these are Nubians and not Egyptians because we're looking not just at the jewelry, but at the overall burial itself, the whole object assemblage, the types of materials they're being buried with. In addition to the jewelry, there would be things like vessels, pottery, tools, weapons, things that give us a bigger picture. The cultural identity is not just the jewelry, but also the way in which they're buried and the place in which they're buried. In the Kerma Period, they used a very distinctive type of burial. They used tumulus burials, these big, beehive-shaped mounds, which was a distinctive type of burial. Over time those mounds get larger and larger, and we can tell that some of them must have belonged to Kerma rulers. Even though there are now written records during that period, we're going strictly by the archaeological record. In the Napatan Period, they actually used Egyptian hieroglyphs for monumental inscriptions. We do start to get some written records that we can read, and when these kings' and queens' tombs were excavated, there were often items within the tomb inscribed with their names. So, we know who these tombs belonged to, and they belonged to Nubian and Napatan kings and queens. It's really looking at the big picture and not just at the jewelry specifically to identify who these items belonged to and whose burials they come from. Sharon: First, I want to know how anybody even knew these tombs were there. Everything you're describing, at least from the description of what was in the tombs, is what Carter found when he opened the tomb just a few years later, maybe 10 years later. I'm just wondering how they knew these tombs were there. How did they know that? Was it just the beehives that were standing on a farm? Sara: The material that's in the MFA Boston was all excavated in the early 20th century, from 1913 to 1932, by a joint Harvard/MFA Boston expedition led by an American archaeologist named George Reisner, who worked in both Egypt and Sudan. He took a team to Sudan that ended up excavating at Kerma, Napata and Meroë. He was tremendously successful in what he discovered, and he essentially rediscovered the city of Kerma. There have been excavations within the city itself, but they also discovered this vast cemetery outside of the city containing tens of thousands of these tumulus burials. Then at Napata and Meroë, they're utilizing pyramid burials, which are still visible on the landscape. You can walk up to them. He was really the first to do these rigorously documented, professional archaeological excavations of these places, and he found a tremendous amount of material. I should also mention the way it ended up in Boston is that, at the time, Sudan practiced the partage system, so he finds would essentially be split 50-50. About half the materials remain in Sudan, where it is now in the national museum in Khartoum, and about half the material was allowed to be taken back to Boston by Reisner, where it became part of the MFA collection. So, the MFA is now home to the largest and most significant collection of Nubian archaeological material in the world outside of Khartoum. Sharon: Did they suspect that there were these kingdoms, but nobody ever found them? Is that what happened? How did he start digging? Sara: To be perfectly honest, I would have to go back and double check how he determined exactly where he wanted to begin. Sharon: Why should we care about the Nubians? Why should we care about these kingdoms? You describe how it kept moving further south. That's usually because of agriculture. What caused them to move, besides invasion? Sara: That's a broad question. I don't know that we necessarily know for certain what was motivating them to move from one city to the next. In terms of the question of why we should care, that's something we could ask about any ancient civilization. It does raise this broader question about relevance that a lot of audiences are asking. I would say for Nubia especially, this is the region in northeastern Africa where some of the earliest civilizations of ancient Africa are arising. This is an incredibly important region that was also a real crossroads for international trade, given their connections to the Red Sea, into central Africa, into sub-Saharan Africa, and eventually out into the broader Mediterranean world. This was a very interconnected place with rich natural resources where some of the earliest complex civilizations of ancient Africa arise, so I think we absolutely should care about it. Speaking in terms of jewelry specifically, this is the place where some of the most exquisitely crafted, sophisticated pieces of ancient jewelry in the world were produced. They were incredibly skilled artisans who developed techniques for working with these materials that in some cases, like I mentioned with the enameling, were believed to have been invented in the modern era until recently. Sharon: That's amazing. I always have to think about the fact that they didn't have electric lights and they had to work by candlelight. They had to deal with sunlight only. I don't know exactly how to phrase this, but most of the time, if I were to take a piece from the little room of jewelry at the Getty Villa, and I want to take it out and put it on my wrists, nobody would know the difference. Would you say that's the same with a lot of this? Sara: I think so. It always strikes people how contemporary some of these pieces look. They look like things that could have been made today. Sharon: Were they going back or was this the start of it? Were they going back and building on what had been done before? Sara: They were really pioneers. They were developing new techniques and new styles for working with this material. In the pre-Kerma phase, in the archaeological record, there are items of personal adornment that are made from things like shell or imported faience sometimes, simple strings of beads, that kind of thing. But then as they develop kiln technology to make pottery, they're also able to apply that to making faience and eventually glass. They develop, as I mentioned, these very sophisticated techniques for working with different semiprecious stones, for working with gold, for working with glass and enameling. They're really not looking back to any existing precedent. They are developing these techniques for the first time. Sharon: That's amazing. You wonder why each civilization or each culture seems to have certain things that are ubiquitous, like a ram's head. You wonder, where did it start? What keeps your attention about all of this? Is it the cross-pollination? Sara: I don't even know where to begin answering that. I find this material endlessly fascinating. Every time you look at it, you see or appreciate something new, the intricacy of it, or as I mentioned, the ways in which this jewelry for the ancient Nubians is not just a status item. It's not just something beautiful to look at and wear. It's imbued with all of these layers of meaning. It reflects so many aspects of Nubian society and Nubian beliefs and Nubian practices. Because of the relative lack of written records from ancient Nubia, we are reliant on the archaeological record. So much of this jewelry helps us more broadly understand ancient Nubian society. I think you can come back to it and look at it over and over again and find new levels of meaning in it every time, as well as being able to appreciate how beautiful it is. Sharon: But you must have seen a lot of ancient jewelry. You've seen Greek and Roman and Egyptian and Nubian. What keeps your attention? What's so fascinating that it would keep your attention for so long? Sara: I think everything I just mentioned. The jewelry across ancient societies is fascinating for those same reasons, that it typically is not just about beauty and personal adornment. It's also reflective of cultural and religious beliefs, but I think it's the fact that this material is some of the earliest of its kind as well. As I mentioned, they're pioneers in developing new techniques or adopting techniques from other places and reengineering them as they did with faience, which was being made in Egypt prior to Nubia. They reengineered it, figured out how to make it for themselves. They were developing these unique techniques like the glazed quartz, the enameling techniques. It's incredible to think that 3,000, 4,000 years ago, people were making these items and developing these technologies and with handmade tools and natural light, and it would be very difficult to control temperatures of a kiln. It's incredible. Sharon: It is incredible. I know the Getty Villa is different than the Getty Center. The Getty Villa is a replica of a Roman villa, and it has a little room that has just jewelry. It's very small. It's a jewel box of a room, really. Do they have Nubian jewelry in there? Sara: We do not. We do not own any ancient Nubian jewelry in our permanent collection at the Villa. The Villa is a separate site from the Getty Center. We are home to the Getty Museum's Antiquities Collection specifically. Our permanent collection of antiquities is predominantly Greek, Roman and Etruscan. This Nubian exhibition is part of a broader initiative we've been engaged in in recent years, where we're trying to bring in special exhibitions featuring material from other ancient cultures and civilizations so our visitors can get a bigger picture of the ancient world. It's also so we're not perpetuating this idea that in antiquity, Greek and Roman are all there is. There's so much more than that. What's reflected in our permanent collection is Greek and Roman. So, through this special exhibition program, we're able to highlight other cultures. We also recently had a big exhibition on ancient Persia that included some stunning items of Persian jewelry. Sharon: I missed that one. Sara: We don't have any Nubian or Egyptian jewelry in our antiquities collection, so this is a unique opportunity. As I mentioned, this material is housed at the MFA Boston, so it's a unique opportunity for people on the West Coast to see a major exhibition of ancient Nubian material, but it is quite different. You can see some stylistic similarities like I mentioned with the Meroitic Period, when they have those trade connections to the Greco-Roman world. You can see stylistic similarities between some of our Greco-Roman pieces and some of the pieces in the Meroitic section of the exhibition, but it is very distinctive. It's a nice counterpoint. We have at the Getty a pretty significant collection of ancient, engraved gemstones as well as some Hellenistic gold jewelry and finger rings. You can see similarities. Finger rings with carved bezzles became very popular during the Meroitic Period as well, so you can see some similarities there with the rings being made in the Greco-Roman world. Sharon: If you haven't seen the little room with jewelry there, you could take any piece from the Greco-Roman era—and it's probably true of the Nubian era, too—and put it on, and nobody would know the difference if you went to the market. Sara: Yeah. Sharon: Something I came across mentioned the role of women in Nubia, that there was a stronger role. Can you tell us something about that? Sara: Yes, it seems throughout ancient Nubian history, in the Kingdom of Kush, royal women held particularly high status. We can see that in a few different ways. We can see that in their burials. We can see it some of their individual items of jewelry, which I'll mention, and we also see it in some of the practices that were being implemented, the roles that royal women had. In the Napatan period, there were a group of royal women who became associated with the god Amun and were sent to Thebes in Egypt, which was the Egyptian center of the worship of Egyptian Amun. These women were made into high priestesses of the god at his temple there. So, they held these very high-ranking, powerful positions, and these were royal women who were relatives of the Napatan kings who were also ruling in Egypt. They had great religious significance in this very important role, where they were sent to Egypt as god's wives of Amun, what we call them, or high priestesses of Amun. During the same period, there are some items of jewelry in royal women's tombs at Napata that speak to their importance. For instance, there's a piece in the exhibition that is easy to overlook because it's very small, but it's definitely worth taking the time to look at. It's a little silver pendant that shows the goddess Hathor, who I mentioned previously is the goddess of love and fertility and motherhood who gets adopted and becomes very important in the Nubian culture. It's an image of Hathor, and she is nursing a Nubian queen named Nefrukakashta. The item was found in her tomb. So, she is receiving, essentially, divine lifeforce from Hathor through being nursed by her. This is important because this was also a composition we see in Egypt,  but there it's only the kings who appear being nursed by Hathor. The king is embodying a divine role as pharaoh, so he receives divine lifeforce from Hathor. You never see royal women in ancient Egypt in this pose being nursed by Hathor, but in Nubia, we see it. The status of royal woman is higher there. They're considered worthy of being show in this position of being nursed by the goddess herself. By the time we get to the Meroitic Period, the final phase of the kingdom, there's actually a series of queens who take the throne for themselves and they rule as sole rules. These were very powerful women ruling over the Kingdom of Kush in its final phase, one of whom even famously fought off attempts at invasion by the Roman emperor Augusts. She signed a peace treaty with him to protect the border between Nubia and Egypt, which at that time had become a Roman province. So, royal women in ancient Nubia achieved very high status. Sharon: I think that's very interesting. I could talk to you for hours about the history of women and what happened after that. Thank you so much, Sara, for being with us today. I just want to remind you about the exhibit. I listened to a webinar and looked at the press release. It looks like it will be a very interesting exhibit. I look forward to seeing it in person live. It's through April 13. Dr. Sara Cole is the assistant curator. Thank you very much for being here today. Sara: Thank you so much for having me. We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

What you'll learn in this episode: Why ancient Nubian jewelry is still significant today How the Kingdom of Kush rose and fell How ancient jewelry motifs, techniques and materials were shared and adapted between cultures Why the Museum of Fine Arts Boston has a significant collection of ancient Nubian art, and why it's being exhibited at the Getty Villa Why jewelry is often one of the only pathways to understand ancient cultures About Dr. Sara E. Cole Sara E. Cole is Assistant Curator of Antiquities at the J. Paul Getty Museum (Villa). She holds a PhD in Ancient History from Yale University. At the Getty, she is part of the Classical World in Context initiative, which seeks to highlight cross-cultural interactions in antiquity and explore the diversity and interconnectedness of the ancient Mediterranean and Near East through a series of special exhibitions and related publications and public programs. She has curated or assisted with exhibitions of Egyptian, Mesopotamian, Neo-Assyrian, Persian, and Nubian art. About “Nubia: Jewels of Ancient Sudan” from the Museum of Fine Arts, Boston October 12, 2022 - April 3, 2023 Getty Villa Museum For nearly 3,000 years a series of kingdoms - collectively known as the Kingdom of Kush - flourished in ancient Nubia (present-day southern Egypt and northern Sudan). The region was rich in sought-after resources such as gold and ivory and its trade networks reached Egypt, Greece, Rome, and central Africa. This exhibition presents highlights from the Museum of Fine Arts, Boston's extensive collection of Nubian objects and features superbly crafted jewelry, metalwork, and sculpture exhibiting the wealth and splendor of Nubian society. Learn more about the exhibit at https://www.getty.edu/art/exhibitions/nubian_jewelry/ Photos available on TheJewelryJourney.com Transcript: Nubian jewelry is often overshadowed by Egyptian and Greco-Roman jewelry, but the ancient Nubians were the world's first jewelry pioneers. Their influential work is currently on display at “Nubia: Jewels of Ancient Sudan,” an exhibit at the Getty Villa featuring pieces from the collection of the Museum of Fine Arts in Boston. Dr. Sara E. Cole, assistant curator of the exhibit, joined the Jewelry Journey Podcast to talk about how Nubians developed their own enameling techniques; why jewelry is the key to understanding ancient cultures; and how iconography was shared and adapted throughout the ancient world. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. Today, my guest is Sara Cole, who's the Assistant Curator of Antiquities at the Getty Villa in Malibu, California. She's the curator of “Nubia: Jewels of Ancient Sudan,” an exhibit at the Museum of Fine Arts in Boston which showcases Nubian material. These finds were jointly executed early in the last century by Harvard and the Museum of Fine Arts. The exhibit is now open until April 3. Sara received her Ph.D. from Yale, which is amazing. She's an expert in ancient history and a specialist in material culture of Greco-Roman Egypt. She has studied the cross-pollination of cultures, and we'll hear a lot more about it today. Sara, welcome to the program. Sara: Thank you for having me. Sharon: So glad to have you. Tell us about your own journey. Did you come to jewelry through antiquities or archaeology, or the other way around? Sara: Yes, through my study of archaeology and Egyptology as a graduate student. That was primarily my introduction to this material. I became familiar with Nubia primarily through the MFA Boston's tremendous archaeological collection of Nubian material. When I was a graduate student at Yale back in, I think, 2011, I took a graduate seminar on Nubian archaeology with a Nubian specialist named Maria Gatto. In one of our classes, we took the train to Boston and got to spend a day going through the storerooms of the MFA looking at Nubian material. We were primarily looking at pottery that day, but we did get to see some other objects as well. In 2014, MFA put on its own small exhibition featuring their Nubian jewelry collection, so that brought that material a little bit more into public view. Then in 2019, the MFA did a big exhibition bringing out highlights of their full Nubian collection that was called “Ancient Nubia Now.” Since 2019, they very generously sent parts of this collection to different museums for exhibitions around the world. We're very fortunate at the Getty Villa that we were able to borrow some of these stunning pieces of jewelry and personal adornment from that collection for this current exhibition. Sharon: I have to ask you. When you were younger, you say you were interested in Egypt and ancient periods, but very few people go into archaeology. How is it that you stuck with it? Sara: Museums were really my entry point to the ancient world as a child, which I think is true for a lot of us. I grew up in a small town in Virginia and wasn't exposed to major museum collections as kid, but we had a small, local museum. It featured mostly local contemporary artists, but one summer they put on view a small touring exhibition of Egyptian material from the Virginia Museum of Fine Arts in Richmond. I was probably 11 or 12 years old. That was my first exposure to ancient Egyptian material, and I just found it incredibly captivating and compelling, and I stuck with that interest. I ended up doing a bachelor's degree in classics and then my Ph.D. in ancient history, where I studied a combination of Egyptology, classics and art history. But I've always had a great passion for museums in particular because it was my personal entry point to the ancient world. We do have the opportunity, through putting on exhibitions like this, to reach such wide audiences and to bring this material to their attention, things they've maybe never seen or considered before. It's a really wonderful opportunity. Sharon: It really is. When you say Nubia, a lot of us haven't really thought about Nubia or Nubian jewels. That's the entry point or the foundation. What is Nubia? What do you mean by Nubian? Sara: That's a great question, because I think a lot of people have heard of Nubia but they're not quite sure what it is. Traditionally it has received a lot less attention than ancient Egypt, which is this huge, looming civilization. When we talk about ancient Nubia, we're really talking about a geographical region that was located immediately south of ancient Egypt. They were neighbors. In terms of modern-day geography, it reached essentially from Aswan in what is now southern Egypt down to about Khartoum in present-day Sudan. The contemporary political border between Egypt and Sudan cuts across part of what was ancient Nubia, when the border was located further north between Nubia and Egypt. So, it's essentially this geographical region going across part of what is today southern Egypt and northern Sudan. For parts of its ancient history, Nubia as a region was actually home to several different cultural groups. It wasn't always a single, unified culture. So, when we talk about Nubia, we're talking about the geographical area, and then there were different cultures that lived within Nubia. Around the third millennium B.C., a political institute called the Kingdom of Kush—because the region was known as Kush in antiquity—arose at the city of Karma in what is today Sudan. It eventually came to conquer essentially all of the region of Nubia. The Kingdom of Kush lasted on and off for a period of almost 3,000 years, and it moved to different capital cities in different phases. It first arose at Kerma in the third millennium B.C., then moved further south to a capital called Napata, which was also along the Nile River, around 750 B.C. Then in its final phase, starting around 350 B.C., it was centered at a city even further south on the Nile River called Meroë. So, when we talk about ancient Nubia, we're talking about that region, but for this exhibition, we're really focusing on items of jewelry that were worn by royalty and the elite of the Kingdom of Kush that were found at these three successive capital cities. Sharon: I was going to ask you if Napata and—is it Morocco? Sara: Meroë. Sharon: Meroë. I've heard so much about it, but did they all have jewelry? Did the royalty all have jewelry at all three of these sites? Sara: Yes, absolutely. Throughout human history, I think in all cultures we see personal adornment as a universal means of self-expression. It's a means of expressing status and power. But also in antiquity, much of this jewelry, either the materials themselves or the iconography incorporated into it, had symbolic religious significance. Items of jewelry were often amuletic and protective, or they could signify one's status in society, one's role. They reflect a lot about an ancient culture's social organization, religious beliefs, communities, etc. These items of jewelry speak to so much more than being aesthetically beautiful status items. So, yes, even very early in Kerma and even in pre-Kerma archaeology, we find items of jewelry in the archaeological record. Jewelry was very essential, especially for rulers and for individuals of high status, to express themselves in ancient Nubia. Sharon: Did both men and women have jewelry? Sara: Yes, they did. Men, women, children, and sometimes even very prized royal animals were adorned with jewelry. Sharon: Were these from tombs or graves? Sara: Yes, essentially all of the items in this exhibition were excavated from royal and wealthy burials. This was material that people valued in life but also chose to take with them to the grave. As a I mentioned, a lot of these pieces have iconography that is protective or amuletic, which would have particular significance in the context of the tomb. These are images that are going to protect you as you are making your transition to the afterlife. So, all of the material was excavated from burials. That is primarily where we find these high-status jewelry items still surviving. They survive because they were buried, and people didn't have the opportunity to reuse them or repurpose the materials. Sharon: First of all, I think I forgot to say that this exhibit is only on until April 3, which comes up quickly. I can't remember if I said that or not. Sara: Yes, two more months to go see it at the Villa. Sharon: When you say it's like a dynasty or the Kingdom of Kush lasted 3,000 years, I have this idea that it rose high and then it was—I don't want to say nothing, but they weren't reading. It was like the Dark Ages in a sense, really dark, and then it rose again in a different place. How did that work? Sara: The Kingdom of Kush went through fluctuations over that 3,000-year period. I wouldn't necessarily call it dark ages. The Nubians simply never developed the same tradition of extensive written records like we get from Egypt, so much of our knowledge of Nubia comes from the archaeological material. We just don't have extensive written historical documentation from this region. It wasn't part of the culture. They had a very complicated relationship with their neighbor to the north, Egypt, which is largely the reason for these periods of rise and fall. The Kingdom of Kush arose, like I mentioned, at Kerma in Sudan, during which time in northern Nubia, there were other cultural groups inhabiting that region who were in conflict with Egypt. The Kingdom of Kush eventually was able to take that region and unify Nubia under its rule. Kerma flourished for almost 1,000 years, from about 2,400 B.C. until roughly 1,550 B.C. But what happened around 1,550 was that Egypt entered into a very powerful period in its history, the New Kingdom, the rise of the Eighteenth Dynasty, and those kings invaded Nubia and took over. They occupied Nubia for about 500 years, during which time we don't have a tremendous amount of archaeological evidence for what was going on. But it seems like Nubians and Egyptians were essentially coexisting in Nubia during this period. As you can imagine, over 500 years, there's a huge amount of cross-cultural exchange as a result of the Egyptian presence in Nubia. Some Egyptian religious ideas get incorporated into local Nubian tradition, as does a lot of iconography. There are a lot of ways in which the Nubians start adapting some Egyptian concepts to their own local practices. Then the Egyptians get pushed out of Nubia around 1,000 B.C. approximately. The Kingdom of Kush starts to regroup and rebuild itself, and it reappears fully around 750 B.C., now at the capital city of Napata. What's interesting at the beginning of the Napatan phase is that the Nubians turn the tables on Egypt and invade them. They take over Egypt and rule for about 80 years. For that 80-year period, staring around 725 B.C., the Kingdom of Kush is at its greatest extent, going all the way from what is today Sudan up to the Mediterranean coast, ruling over both Nubia and Egypt. After that 80-year period, they get pushed out of Egypt but are still ruling the Kingdom of Kush from Napata. We see some really interesting ways in which the rulers of that 80-year period adapted an Egyptian mode of self-presentation. They're trying to present themselves as legitimate pharaohs in Egypt. They start presenting themselves in a way that is adapted from earlier pharaonic styles of self-presentation. Even though the Nubian kings are spending some time in Egypt, they choose to be sent back to Napata for their royal burials, and they start using pyramid tombs during this period. They start practicing mummification and incorporating some Egyptian-style object assemblages into their burials. We see some of those practices get adapted during this 80-year period, including the incorporation of a lot of Egyptian religious iconography into their jewelry. We see those trends continue later, even when they're no longer ruling in Egypt. Then during this Napatan phase, which lasts roughly 400 years, they start to gradually shift the capital further south to this third city of Meroë. By around 350 B.C., both the administrative capital and the royal cemetery have moved to Meroë, and this is the final phase of the Kingdom of Kush. This is a phase that lasts from roughly 350 B.C. to 350 A.D., when the Kingdom of Kush falls. It corresponds with the conquests of Alexander the Great throughout the eastern Mediterranean and ancient Near East, the rise of his successor kingdoms and then the rise of the Roman Empire. But throughout all of this, the Kingdom of Kush maintained its political independence. It never became part of Alexander's territories; it never became part of the Roman Empire, unlike Egypt, which did. They had a complex relationship with Rome, who at times tried to take Nubia unsuccessfully, but they were also connected to these vast trade networks that connected the Mediterranean and the Near East throughout the Roman Empire. It was a very cosmopolitan place, ancient Meroë. They were very closely connected through trade networks to the rest of the world. They were also producing some incredibly high-status pieces of jewelry with really exquisite craftsmanship. Then the Kingdom of Kush falls around 350 A.D. That's the big picture of what we're looking at here, with the history of the Kingdom of Kush and its different phases. Sharon: When you say Nubia, is that the same as the Kingdom of Kush? Do you mean the Kingdom of Kush or Nubia are one in the same, I guess? Sara: Nubia in antiquity was known as Kush, and then the Kingdom of Kush is the political entity ruling over that region. Sharon: Did the jewelry change over the years? Sara: It did, yes. We do see that even across these different phases, each one has a distinctive aesthetic. There is no single, unified Nubian look to the jewelry. Different fashions change over time. Different popular materials come in and out of fashion. In Kerma, in the earliest phases, we see jewelers making items out of locally available and imported organic materials. They're making use of things like hippo and elephant ivory to create cuff bracelets. They're making use of shells they imported from the Red Sea coast and fashioned into different items. They were also importing faience from Egypt. Ancient faience was a man-made, blue-green, glazed, quartz-based ceramic material that was very popular in Egypt. The Kermans were importing it initially, but then they developed their own faience-making technology and were able to produce their own. So, we start to see the use of this man-made material. They're using gold. Nubia in antiquity is known primarily as a land of gold because of their rich gold resources in the Eastern Desert. That was their main coveted natural resource. They had incredibly skillful techniques in working with gold. We see them using locally available semiprecious stones, things like carnelian and amethyst. They work with quartz in some really interesting ways. Quartz is found alongside gold, so it was probably symbolically associated with gold. Gold was valued not only because it was this very prized economic resource, but it was also an imperishable material. It was associated with immortality and the sun, and it was very highly symbolically valued. They would take quartz and do an interesting treatment that, as far as I am aware, is distinctive to ancient Kerma. They would take the quartz, either shaping it into spherical beads or taking chunks of it in its raw form to use as pendants, and they would put a blue-green glaze over it and fire it in a kiln to create a hard, shiny, translucent blue surface that creates this stunning, glass-like appearance when it's done successfully. It was a delicate technique. You had to be very careful, because if you raised the temperature in the kiln too quickly, the quartz would fracture and burst, and you would lose your item of jewelry you were making. They had to be very careful in this process, but again, as far as I know, this is a distinctive Kerman technique, a distinctive way of working with quartz. Those were the types of materials they were utilizing to make items of jewelry. There's also a particular ornament we start to see in Kerma that is really interesting and later gets adopted by the Egyptians, which is the fly pendant. They are these large pendants that were often worn in pairs strung around the neck, and they represent flies. We have an example in the exhibition where the head is made of gilded bronze and the wings are carved out of ivory. These are found in soldiers' tombs. They appear to have been given as a medal of honor to high-status members of the Nubian military. We can ask why they would choose a fly of all things to honor a member of the military, and we believe it's because if you go to Egypt, if you go to the Nile Valley, you will experience that the flies are very big and mean and aggressive. So, we think these fly pendants are a way of associating the aggression and the tenacity of the Nilotic flies with the aggression and the tenacity of Nubian warriors. Later these fly pendants actually get adopted in Egypt as well as a military medal of honor. So, those were the kinds of things we find at Kerma. As I mentioned, that period comes to an end with this big invasion of the Egyptians around 1,500 B.C. Then when the Kingdom of Kush rearises at Napata around 750 B.C., they invade Egypt. They take over, and we start to see how this 500-year period of intense cross-cultural interaction has resulted in the introduction of a lot of Egyptian iconography into the royal jewelry. We start to see a lot of images of goddesses like Hathor and Isis, who became very important in the Nubian pantheon. There is an Egyptian god called Amun who becomes introduced as the supreme god of ancient Nubia, but in his Nubian form specifically, he takes the form of a ram or a man with a ram's head. We believe that before this period, there was probably an indigenous ram god who Amun became assimilated with. So, we see a lot of ram iconography in the jewelry. There's a lot of iconography associated with the goddess Hathor, who was this Egyptian goddess of love, fertility, beauty and motherhood with whom Nubian queens and royal women became particularly associated. We see a lot of that kind of iconography. We see protective icons that have been introduced from Egypt, things like the Eye of Floridus, the scarab beetle, that kind of thing. They're working a lot in faience still. There are some queens' tombs from this period where these large faience plaques are very popular, again in the shapes of religious protective imagery, amuletic icons, gods and goddesses. They were big plaques that were strung on strings of beads and worn around the neck, essentially meant to sit over the chest to protect the pectorals. We see a lot of that kind of thing, this incorporation of new iconography, new religious ideas, sometimes a very Egyptian mode of self-presentation that they've adopted from the Egyptians. They're working in faience; they're working in gold. We do see some silver during this period. Silver was not locally available; it was an imported material, but we do see a lot of skilled gold work during this phase. They are developing some very sophisticated techniques for how to fashion items of jewelry, but also things like golden vessels. This is a phase where we start to see that Egyptian influence and some increasing sophistication in the techniques with which they're working, with both these man-made and locally available resources. In the Meroitic Period, we see those gold working techniques really hit their stride. There is some tremendously sophisticated gold work made during the Meroitic Period, where they're using techniques like granulation and filigree and very delicate wirework. At Meroë, they also start producing glass. Glass beads start to appear in the jewelry. Something that Meroë distinctively is also known for is the use of a wide range of enameling techniques. They would take powdered glass and apply it to the surface of items of jewelry, and then heat it to fuse it and create it a hard, shiny, colorful surface. There were multiple enameling techniques they developed at Meroë, some of which, prior to their discovery at Meroë, were thought to have not been invented until the modern era. There were techniques they developed at Meroë, and the knowledge of that technology was lost and rediscovered in modern times. This is also a phase during which we see, as I mentioned, a kind of cosmopolitan international style developing. We do see some Greco-Roman influences coming into play in the form of large, dangly pendant earrings and the development of new color schemes, for instance. There was a color scheme at Meroë that was especially popular, which was red, white and black. They would use cornelian, which was a popular material, to achieve the red and then import obsidian for black and travertine for white. Each phase has its own distinctive repertoire of objects and iconography and manufacturing techniques that were being used. Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. END OF PART ONE

Intro Jonathan Jeremiah - Happiness (Quiet Village Remix) Daniel Salinas - Like A Rainy Night Hardkandy - Stronger Stuff feat. Andy Platts Donald Byrd - Black Byrd (Live at Montreux) Mark IV - You Black And I'm Black The Specials - Friday Night. Saturday Morning. Mushtaq Omar Uddin & Terry Hall - They Gotta Quit Kicking My Dog Around Soothsayers - We Are Many (Samuel Sharp Remix) Soothsayers - No Sacrifice (Dutchie Remix) Phenomenal Handclap Band - Burning Bridges Maya - Lait de Coco Bobby Hughes Combination - Karin's Kerma feat. Karin Krogh Sergio Mendes - A Tristeza do Adeus (from the Pelé soundtrack) Guilherme Coutinho e seu Grupo - Rio Corrente Gal Costa - Pontos de Luz Raices - Lenguas Cheryl Glasgow - Glued To The Spot Dele Sosimi Meets Medlar - All About The Dance Maxi Jazz - Doin' It Right Hardkandy - Don't Worry Matthew Halsall - Yogic Flying Gloria Lynne - Thank You Early Bird Outro

Nubia - Christian Kingdoms in the Heart of Africa Kings and Generals animated historical documentary series on the history of ancient civilizations continues with a video on the Kingdom of Nubia - a rich civilization that started during the Bronze Age as Kerma and then became one of the first Christian realms, forming a unique brand of this religion based on local traditions. This kingdom in the heart of Africa managed to keep its faith despite Muslim expansion and even stemmed it for a time. --- Send in a voice message: https://anchor.fm/wizapodcast/message

My podcast covers #politics #comedy #corn events and Trump going to jail! And it also covers hashtag ancient history, ancient civilization because I am a ficionado of archeology! Follow for more thanks for a billion subscribers :-)LOCK

El Imperio Kush era una antigua superpotencia que dominaba el valle del Nilo y rivalizaba con los egipcios, y ahora, una nueva investigación de vanguardia en una misteriosa tumba podría revelar los secretos de este formidable reino perdido, en la ciudad de Kerma, importante ciudad del Reino de Kush.

Cette semaine à l'émission.. Nous recevons l'équipe Team Haïti qui participera au Championnat de monde ISBHF de Dek Hochey qui se déroulera du 21 au 27 juin. Avec Nolie, on discute avec Carline Joseph, mère d'un fils Trans. Elle parle ouvertement du changement de sexe de sa fille en homme. On s'entretient aussi avec Kerma et Edelain du Groupe Afro Fun. On parle du Camp spécialisé Afrocentrique pour les enfants de 5 à 12 ans. Pascale, Aicha et Dj Jerry Magic sont au rendez-vous.

On s'entretient aussi avec Kerma et Edelain du Groupe Afro Fun. On parle du Camp spécialisé Afrocentrique pour les enfants de 5 à 12 ans.

Once Gutam buddha pupils ask what is (Action)Kerma?and Gautam Buddha tell them a story that What is action?" Let listen n learn that Our words, our actions, our feelings, our actions and our thoughts are our actions.

Le podcast MTL Episode 153 "Basketball diaries" featuring Kerma, Martin and David Sponsored by LS Cream https://www.creamls.com/ In this episode we talk about the recent scandal involving the St-Laurent High School coaches in Montreal. Martin is a basketball dad, Kerma played elite basketball and David is a current coach. Follow LE Podcast MTL sur IG: https://www.instagram.com/lepodcastmtl/?hl=fr-ca Follow Anna: https://www.instagram.com/anya_pck/?hl=fr-ca Follow Stevens: https://www.instagram.com/stevensjcharles/?hl=fr-ca Follow Gaby: https://www.instagram.com/gabymichel2000/?hl=fr-ca Anna, Stevens et Gaby ont une opinion sur tout! Uncut and uncensored! LE Podcast MTL!

Jeevan me kerma ka kya mahatav hai...kyu sabh gyani log ache kerma kerne ko kahte hai..To know this. Listen this episode. Happy listening

On this episode I sat down with one of the founders of Kerma Vans and we talk all about their performance upgrades that you can get for you van.  We go in-depth about why you'd want to get their computer tuning upgrade, how it works, and how it compares to their competitor RENNTEC. Other products we discuss are their upgraded turbo charger and upgraded brakes. So if you're in the market for performance upgrades, Kerma is  definitely a must to check out. Be sure to check out Kerma Vans on their https://kermavans.com/ (website), https://www.facebook.com/kermavans (Facebook), and https://www.instagram.com/kermavans/ (Instagram) accounts. Don't forget to check out and subscribe to STO Nation's https://www.youtube.com/channel/UC4SgWAjtiCl1UoJjWqMM-TA (YouTube )channel, https://www.instagram.com/stonation.life/ (Instagram), and help contribute to our https://www.patreon.com/sto_nation (Patreon page) or you can buy us a https://www.buymeacoffee.com/stonation (beer)!

durée : 00:29:20 - Carbone 14, le magazine de l'archéologie - par : Vincent Charpentier - Vincent Charpentier s'entretient avec Dominique Valbelle, égyptologue, membre de la Société Française d'Égyptologie, professeure émérite de l'Université Paris IV-Sorbonne et avec Charles Bonnet, archéologue, professeur honoraire de l'Université de Genève. - réalisation : Vanessa Nadjar - invités : Dominique Valbelle Égyptologue, membre de la Société Française d'Égyptologie, professeure émérite de l'Université Paris IV-Sorbonne; Charles Bonnet Archéologue et professeur honoraire de l'Université de Genève, associé étranger de l'Académie des Inscriptions et Belles-Lettres de Paris, directeur honoraire de la mission de Kerma.

This month we read The City and the City by China Miéville, which was...fine? Maybe goodish? Is it "New Weird," or is it just weird? We don't know. But we do know that Mare of Easttown would have cracked this case with half as many commas as Inspector Borlú. Music by Eon: https:/www.youtube.com/watch?v=XVbvE0PJyss

Tune in to this fascinating look at one of the longest empires in all of Civilizations in Review history: The Kerma Kingdom! Known for its trading prowess of luxury goods such as gold, ebony, incense, and animals, the Kerma Kingdom lasted over 2,000 years. Located now in modern-day Sudan, this empire is credited for the creation of the modern drinking fountain, intricate pottery-making techniques, the first to use elephants in military combat, and the usage of large royal tombs called deffufas. Thank you gfn X for writing about this spectacular empire and to Yabsera Bekele for her knowledge on modern Sudan! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

durée : 00:27:28 - Carbone 14, le magazine de l'archéologie - par : Vincent Charpentier - Au-delà des chutes du Nil et de la troisième cataracte, se dresse un étonnant pays : la Nubie. - réalisation : Vanessa Nadjar - invités : Dominique Valbelle Égyptologue, membre de la Société Française d’Égyptologie, professeure émérite de l’Université Paris IV-Sorbonne; Charles Bonnet Archéologue et professeur honoraire de l’Université de Genève, associé étranger de l’Académie des Inscriptions et Belles-Lettres de Paris, directeur honoraire de la mission de Kerma.

Seasons greetings! And by that we mean we're wrapping up 2020 by sitting down with Dr. Chris Stantis, who uses stable isotope analyses to learn how people lived in the ancient past. We discuss the real story of the Hyksos Dynasty during the Second Intermediate Period in Egypt. Were they the pushy invaders they've been made out to be? Or is there more to the story? (There's more to the story). Not only ALL THIS, but Dr. Stantis convinces Amber and Anna to love those pesky little atoms--stable isotopes! Links Who were the Hyksos? Challenging traditional narratives using strontium isotope (87Sr/86Sr) analysis of human remains from ancient Egypt (PLOSOne) The Foreigner as Scapegoat: Lessons from Ancient Egypt and Today (Chris Naughton dot com) Additionally, Dr. Stantis has the following recommendations for those interested in learning more about the Hyksos: The Ascendancy of the Kushite Kingdom of Kerma in the Post Middle Kingdom Era: Revisiting the Second Intermediate Period of Ancient Egypt (Archaeological Research Facility, UC Berkeley) Dr. Danielle Candelora's research on Hyksos and “race” in scholarship Contact Email the Dirt Podcast: thedirtpodcast@gmail.com Affiliates Wildnote TeePublic Timeular

Seasons greetings! And by that we mean we're wrapping up 2020 by sitting down with Dr. Chris Stantis, who uses stable isotope analyses to learn how people lived in the ancient past. We discuss the real story of the Hyksos Dynasty during the Second Intermediate Period in Egypt. Were they the pushy invaders they've been made out to be? Or is there more to the story? (There's more to the story). Not only ALL THIS, but Dr. Stantis convinces Amber and Anna to love those pesky little atoms--stable isotopes! Links Who were the Hyksos? Challenging traditional narratives using strontium isotope (87Sr/86Sr) analysis of human remains from ancient Egypt (PLOSOne) The Foreigner as Scapegoat: Lessons from Ancient Egypt and Today (Chris Naughton dot com) Additionally, Dr. Stantis has the following recommendations for those interested in learning more about the Hyksos: The Ascendancy of the Kushite Kingdom of Kerma in the Post Middle Kingdom Era: Revisiting the Second Intermediate Period of Ancient Egypt (Archaeological Research Facility, UC Berkeley) Dr. Danielle Candelora's research on Hyksos and “race” in scholarship Contact Email the Dirt Podcast: thedirtpodcast@gmail.com Affiliates Wildnote TeePublic Timeular

For centuries, what was known of Nubia and the Nubians came down to us from Ancient Egyptian records and sources, leading some (including seasoned archaeologists in the early 20th Century) to assume that they had been founded and influenced by that great civilization. This, however, could not be farther from the truth. Just who were the Nubians and what was their distinct culture and society like? Find out in today's all-new episode! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/historylovescompany/support

The Kingdom of Kush written by Joshua J. Mark and narrated by DW Draffin: https://ancient.eu/Kush/ Find it on YouTube: https://www.youtube.com/c/TheStudyofAntiquityandtheMiddleAges/featured The music used in this recording is the intellectual copyright of Michael Levy, a prolific composer for the recreated lyres of antiquity, and used with the creator's permission. Michael Levy's music is available to stream at all the major digital music platforms. Find out more on: https://www.ancientlyre.com https://open.spotify.com/artist/7Dx2vFEg8DmOJ5YCRm4A5v?si=emacIH9CRieFNGXRUyJ9 https://www.youtube.com/channel/UCJ1X6F7lGMEadnNETSzTv8A If you like our audio articles, please support us by becoming a member or donating to our non-profit company: - www.ancient.eu/membership/ - www.ancient.eu/donate/ - www.patreon.com/ahe Kush was a kingdom in northern Africa in the region corresponding to modern-day Sudan. The larger region around Kush (later referred to as Nubia) was inhabited c. 8,000 BCE but the Kingdom of Kush rose much later. The Kerma Culture, so named after the city of Kerma in the region, is attested as early as 2500 BCE and archaeological evidence from Sudan and Egypt show that Egyptians and the people of Kush region were in contact from the Early Dynastic Period in Egypt (c. 3150 - c. 2613 BCE) onwards. The later civilization defined as 'Kushite' probably evolved from this earlier culture but was heavily influenced by the Egyptians.

On the anniversary of the ouster of Sudanese President Omar al-Bashir (April 11, 2019), host Carol Castiel talks with Paula Hirschoff and Chuck Ludlam, Africa aficionados and inveterate travelers, who just returned from a three-week trip to Sudan, which took them from Khartoum to the ancient sites of Kerma, Meroë and the former capital of old Dongola. These former Peace Corps volunteers discuss the many cultural, political and economic links between the glory of Nubia and the triumph of modern Sudan.

Sudaani ajalugu on väga pikk ja värvikas. Juba 4000 aastat tagasi tekkis siia Kerma riik, mis vägevuselt võistles Egiptuseg

Sudaani ajalugu on väga pikk ja värvikas. Juba 4000 aastat tagasi tekkis siia Kerma riik, mis vägevuselt võistles Egiptuseg

Épisode 53 "Party of six, table for 5" avec Kerma, Rachelle, Alex et Cindy by LE PODCAST MTL

Second Intermediate Period (Part 3): Resistance!Around 1560 BCE the Hyksos were supreme over Egypt. Along with their allies (the Nubians of Kerma), the Hyksos dominated half of the country. Down in the southern regions, the kings of Dynasty 16 struggled to hold their territory...Images and bibliography at https://egyptianhistorypodcast.com/2015/10/19/467/ See acast.com/privacy for privacy and opt-out information.

Ilmassa on itsenäisyyspäivän kunniaksi talvisodan henkeä kun osallistujarykmentti tarpoo huonojen juttujen lumihangessa kohti vihollispataljoonaa ja pääaihetta joka tällä kertaa oli peliaiheiset nettisivustot, niin hyvät kuin huonotkin sellaiset. Rykmentin johtajana toimii luutnantti Norsukampa, sotamiehiä simputtamassa alikersantti Vulpes Arctos, toistuvasti väärin sanottu … Lue loppuun →

The current definitions of microdosimetric and dosimetric quantities use the notion of 'ionizing radiation'. However, this notion is not rigorously defined, and its definition would require the somewhat arbitrary choice of specified energy cut-off values for different types of particles. Instead of choosing fixed cut-off values one can extend the system of definitions by admitting the free selection of a category of types and energies of particles that are taken to be part of the field. In this way one extends the system of dosimetric quantities. Kerma and absorbed dose appear then as special cases of a more general dosimetric quantity, and an analogue to kerma can be obtained for charged particle fields; it is termed cema. A modification that is suitable for electron fields is termed reduced cema.