Podcasts about pitt rivers

Z Danom Hicksom, profesorjem sodobne arheologije na Univerzi v Oxfordu in kustosom za svetovno arheologijo v oxfordskem muzeju Pitt Rivers, se pogovarjamo o njegovi knjigi Brutalni muzeji: beninski broni, kolonialno nasilje in kulturna restitucija, ki je v prevodu Ive Jevtić izšla leta 2024 pri Založbi Univerze v Ljubljani in KUD AAC Zrakogled. Zakaj se morajo muzeji zavedati svoje kolonialne zgodovine in zakaj prav z vračanjem nekdaj oplenjenih predmetov lahko začnejo odpravo njenih posledic? Z avtorjem smo se pogovarjali konec januarja ob njegovem gostovanju na dveh dogodkih cikla predavanj Leta dediščine Filozofske fakultete v Ljubljani. Foto: fotografija naslovnice knjige Brutalni muzeji: beninski muzeji, kolonialno naislje in kulturna restitucija (Založba Univerze v Ljubljani in KUD AAC Zrakogled, 2024)

Are museums showing their age? Displays of dusty objects, looted or stolen during the imperial past, now, it seems not even safe in their cases. Is it time to reconsider what our museums should hold? And how we represent our past - and the past of other cultures? Dan Hicks, Professor of Contemporary Archaeology at Oxford University and Curator of World Archaeology at the Pitt Rivers tells Phil and Roger that we don't even know much of what our museums hold, and we need to rethink what we are doing with the collections.Brought to you by Wigmore Associates Wealth Management Hosted on Acast. See acast.com/privacy for more information.

Crowd-sourcing material culture: A History of Ambridge in 100 ObjectsFelicity Macdonald-SmithThe term ‘material culture' was probably first used by Augustus Henry Lane-Fox Pitt-Rivers in 1875, when he defined it as ‘the outward signs and symbols of particular ideas of the mind'. Pitt-Rivers donated his collection of ethnographic and archaeological objects to found the Pitt-Rivers' Museum in Oxford. The museum now holds over 500,000 items, organised by functional categories. Since the mid-1970s, there has been a growing interest in material culture across many disciplines: history, archaeology, social anthropology, history of art, human geography, design, and the decorative arts. Following the authors paper at Academic Archers conference on this topic in 2019, the Academic Archers Facebook group was invited to add to the limited list first presented: 143 different objects were suggested, leading to considerable online conversation as to the context in which items had featured. After some sifting and classifying, the proposed a list of 100 objects reflecting the material culture of Ambridge was formed, divided into different categories, including agricultural machinery/ vehicles/ implements/ buildings; food and drink; clothing and jewellery; character. Felicity Macdonald-Smith originally studied French Language and Literature at University College London; she also holds an MSc in Teaching English from Aston University; and an MA in European Language and Intercultural Studies from Anglia Ruskin University. Her professional experience includes teaching English as a foreign language both in the UK and abroad, and international youth work (World Association of Girl Guides and Girl Scouts, and Council of Europe). After 16 years in university administration, first at UCL and then at Newnham College Cambridge, she is now happily retired. She is a volunteer house guide at the David Parr House, Cambridge and her interest in material culture was inspired by helping to catalogue the 5000+ objects in the house. She started listening to The Archers in the 1970s and after a few breaks while living abroad has been a regular listener for over 25 years.

Fingerprints Episode 2Dan Hicks takes us on a journey with three bronze masks from the West African city of Benin, through the hands of soldiers, collectors, and curators, and along with special guests considers the responsibility that European museums have towards looted art in their collections. Find a transcript of this episode hereRead moreView the masks spoken about in the episode hereRead the Pitt Rivers' interim report on the provenance of African cultural heritage in their collection here Find out more about the Benin Bronzes and the Benin Dialogue Group hereFind out more about Oxford University's procedures about the return of cultural objects hereAnd find more about Dan Hicks' book, The Brutish MuseumsSpeakers in this episode:Series host: Lucie Dawkins, Director & Producer, Ashmolean MuseumXa Sturgis, Director of the Ashmolean MuseumSimukai Chigudu, Professor of African Politics, University of Oxford and founding member of Rhodes Must FallDan Hicks, Professor of Contemporary Archaeology, Pitt Rivers Museum, OxfordVictor Ehikhamenor, artistAdenike Cosgrove, collector and historian of African Art HistorianProfessor Bénédicte Savoy, art historian and co-author of the report, The Restitution of African Cultural Heritage commissioned by President Emmanuel MacronAbout the Fingerprints podcastEvery object in the Ashmolean has passed from hand to hand to reach the Museum. In a new podcast, we uncover the invisible fingerprints left behind by makers, looters, archaeologists, soldiers, rulers, curators, and many more. These stories of touch reveal the ways in which the forces of conflict and colonialism have shaped Britain's oldest Museum. Join the Ashmolean's curators alongside artists, experts, and community members, for our new podcast: Fingerprints.Fingerprints will be released on the Ashmolean's website, on Spotify, Apple, and wherever you get your podcasts, weekly from  21 January 2022 until 25 February 2022.Fingerprints is produced and hosted by Lucie Dawkins. Guests include Bénédicte Savoy, co-author of the Report on African Cultural Heritage, commissioned by Emmanuel Macron; Professor Dan Hicks, of Oxford's Pitt Rivers Museum; and Simukai Chigudu, one of the founding members of the Rhodes Must Fall campaign.www.ashmolean.org/fingerprints

En este episodio vamos a conocer el toro nupcial, una tradición que se ancla en la visión del toro como símbolo de fecundidad. Locutado por Sixto Naranjo, ha contado con la participación de César Cervera (periodista), Nuria León (presidenta de la Peña Taurina el Torico de Chiva), Pilar Fuertes (periodista), Javier Tarín (presidente de la Federación Española de Toros de Cuerda), Raquel Esteban (directora de la Fundación Bodas de Isabel) y Fernando Sánchez Dragó (escritor). Este episodio ha sido impulsado por la Fundación del Toro de Lidia, con la colaboración del Ministerio de Cultura y Deporte. Guion: Jorge Guerrero. Producción: Lidia Cossío de la Iglesia. Documentación: Guillermo Vellojín. Comité Editor: Javier Tarín, Robert Albiol, Alipio Pérez-Tabernero y David Jaramillo. Notas: AAVV, The voices of culture, conservation and the media event around bullfight Jallikattu in Tamil Nadu, India, Journal of Media and Communication Studies, 2019. AAVV, Toro, torito de Pucará. Galería y estudios, MINCETUR-Dirección Nacional de Artesanía, Surquillo, 2009. Álvarez de Miranda, Ángel, Ritos y juegos del toro, La Piel del Toro, Biblioteca Nueva, Madrid, 1998. Delgado Linacero, Cristina, Juegos taurinos en los albores de la historia, Egartorre, Madrid, 2007. Flores Arroyuelo, Francisco J, Correr los toros en España. Del monte a la plaza, La Piel del Toro-Biblioteca Nueva, Madrid, 1999. García González, Juan, El matrimonio de las hijas del Cid, Sumario de 1961. Gómez Pin, Víctor, Tauromaquia e interpretación freudiana del origen de la fiesta, Revista de Estudios Taurinos nº19-20, Sevilla, 2005. González Hermoso, Plácido, El toro de bodas o la búsqueda de la fertilidad, Los mitos del toro [recurso online]. López Serrano, Matilde, Cántigas de Santa María de Alfonso X El Sabio, Rey de Castilla, Madrid, Patrimonio Nacional, 1974. Montalbán, Juan Pérez de, Los amantes de Teruel, [manuscrito del fondo del Ayuntamiento de Madrid fechado en 16 de novimebre de 1776]. Montero Agüera, Ildefonso, Las Cántigas de Santa María. Primer testimonio literario pictórico de las corridas de toros, [recurso online]. Murgía Sánchez, Luis Ernesto, El toro puqllay, escenario de diálogo intercultural, Tesis PUCP, Lima, 2011. Pitt-Rivers, Juan, Las fiestas taurinas en Extremadura. El toro nupcial, Revista de Estudios Taurinos nº14, Sevilla, 2002. Plinio, Historia Naturalis, T 28. Tacuri Aragón, Karlos; García Miranda, Juan José, Fiestas tradicionales de Perú, IPANC Instituto Iberoamericano de Patrimonio Natural y Cultural, Quito, 2006. Take one, Nandi de bull, Ashmolean Museum, Education Department, Oxford.

History DPhil student, Morgan Breene, contextualizes the catamaran displayed in the Pitt Rivers' Museum. Part of the Oxford and Empire series.

We're joined by special guest hosts Jeremy Uden and Marina de Alarcón from the Pitt Rivers Museum as we discuss the return of cultural objects. What are some of the attitudes we've encountered, and what is the role of the conservator in this? Kloe talks to Mark Furness about preparing objects for return, and Daniel Schwartz about how we can become better facilitators. Also tune in for a review of 'Plundered Skulls and Stolen Spirits' by Chip Colwell. 00:00:52 Repatriation or restitution? 00:03:01 Attitudes in the sector 00:10:47 Where did we get these things to begin with? 00:13:38 Knowing what you've got 00:16:41 Role of conservators 00:24:32 Reactions and dialogue 00:28:19 Stewardship not ownership 00:31:23 Gains, not losses 00:37:35 Our place within restitution 00:44:06 Interview with Mark Furness 00:55:58 Interview with Daniel Schwartz 01:04:55 Review: 'Plundered Skulls and Stolen Spirits' Show Notes: - Repatriation vs restitution: https://collectionstrust.org.uk/cultural-property-advice/restitution-and-repatriation/ - About NAGPRA: https://www.nps.gov/subjects/nagpra/index.htm - Pitt Rivers removal of human remains from display: https://www.museumsassociation.org/museums-journal/news/2020/09/pitt-rivers-museum-removes-shrunken-heads-from-display-after-ethical-review/ - Bronze cockerel returned to Nigeria: https://www.theguardian.com/education/2019/nov/27/bronze-cockerel-to-be-returned-to-nigeria-by-cambridge-college - Museum Ethnographers Group: http://www.museumethnographersgroup.org.uk/en/ - Plundered Skulls and Stolen Spirits: https://www.amazon.co.uk/Plundered-Skulls-Stolen-Spirits-Americas/dp/022629899X Support us on Patreon! http://www.patreon.com/thecword Hosted by Jenny Mathiasson, Kloe Rumsey, Jeremy Uden, and Marina de Alarcón. Intro and outro music by DDmyzik used under a Creative Commons Attribution license. Made available under a Creative Commons Attribution-NonCommercial 4.0 International license. A Wooden Dice production, 2020.

Will and Lyra navigate the dangers of Will's Oxford. Lyra meets an unsettling man while investigating some trepanned skulls in a museum, before heading off to explore further mysteries about Dust with an overworked physicist. Will delves into the archives to learn (a little) more about the strange disappearance of his father…Join us as we get confused about how post works, speculate about dark matter and reminisce on our favourite Oxford museums!------A video of someone demonstrating how to use (the very fiddly) microfilm in a microfilm reader can be found here.Some very general information about the I Ching can be found here.A rough introduction to Dark matter here.Here is the full letter from Keats to his brothers, which Mary Malone quotes in this chapter. You can read more on this concept of ‘Negative Capability' that Keats wrote about here.Here is an interesting article on the history of radar installations in the Arctic.Continuing the Virtual Tour of Oxford:Inside the Covered MarketOutside and inside the Natural History Museum, within which is the Pitt Rivers museum (museum within the museum!)Display case in the Pitt Rivers Museum where Lyra sees her Arctic clothingPhoto of Philip Pullman in the Pitt Rivers Museum, with the Trepanned skulls and instruments which inspired this scene in the book.Park which Lyra consults the alethiometer inDenys Wilkinson Building (part of the dept. of Physics) within which the real-world LUX-ZEPELIN Dark Matter research project is housed.You can view the wonderful collections at the Ashmolean museum online, here. If you want to view what it looks like for Will when he takes refuge here in this chapter, then you can view inside the museum here.------Music by: Jaymen Persaud, performed by Claire Wickeswww.thedarkmaterialpodcast.comPatreon: www.patreon.com/darkmaterialpodcastTwitter: @darkmaterialpodInstagram: @thedarkmaterialpodcastFacebook: www.facebook.com/thedarkmaterialpodcast

Pitt Rivers sound installation reimagined by Xqui. "I loved the "theremin" sound over the field recording of voices and bustle. I added a field recording of my own whilst manipulating the original piece."

Hello from Suffolk, England. Here's five minutes of civilised calm to start your day right. With a poem by Robert Frost, The Tuft of Flowers. "I went to turn the grass once after one Who mowed it in the dew before the sun..." From the show: Recreations of a Country Parson Virtual tour of the Pitt Rivers museum, Oxford University Dan Dare and The Eagle – here's the first-ever cover Does Your Chewing Gum Lose Its Flavour on the Bedpost Overnight?, sung by Lonnie Donegan Sign up to receive email alerts and show notes with links when a new episode goes live at marcsalmanac.substack.com Please share this with anyone who might need a touch of calm. If you like Marc's Almanac please do leave a review on Apple podcasts. It really helps new listeners to find me. Have a lovely day. --- Send in a voice message: https://anchor.fm/marc-sidwell/message

The 2019 BBC Cardiff Singer of the World competition has been won by the Ukrainian baritone Andrei Kymach. The week-long competition held every two years is one of the most significant competitions in the classical calendar and has helped make stars of many participants since its inception in 1983. We hear from this year's winner Andrei Kymach and from music critic Anna Picard. This week marks the 50th anniversary since the 1969 Stonewall Riots in New York, a key moment in the birth of the gay rights movement. Each night this week Front Row will be reflecting on the best examples of queer fiction since then, one night for each decade. We begin with the 1970s and our guide to the decade is poet and critic Gregory Woods. As we head into the final weeks of this year's prestigious Art Fund Museum of the Year competition, Front Row looks at the five shortlisted institutions vying for the top prize of £100,000. Today it’s the turn of the Pitt Rivers Museum in Oxford, whose director Dr Laura Van Broekhoven explains why she believes the Pitt Rivers would be a worthy winner. Plus novelist Celia Brayfield joins Stig to discuss the work of writer Judith Krantz whose glamorous romantic novels have sold over 85 million copies worldwide. Presenter : Stig Abell Producer : Dymphna Flynn

Andrew Hughes gives a short talk on the discovery unusual things lost and found during a move of 100,000 Pitt Rivers Museum objects.

Find out how Anne Griffiths’ work, Lost in Imagination, reimagines intriguing objects lost within the Pitt Rivers archive.

Beth McDougall and Madeleine Ding, VERVE Team, Pitt Rivers Museum give a short talk for the Oxford University Museums Staff Conference. The VERVE project is a £1.6m, 5 year campaign to conserve and deepen understanding of the Pitt Rivers Museum’s displays, inspiring a significant programme of public engagement. In this talk the team share three VERVE initiatives that aim to create deep public engagement: ‘Meet me at the Museum’, aimed at older people; ‘Pitt Fest’, an annual outdoor celebration; and ‘Museum Takeovers’, which allow young adults to take over the museum.

Andrew Hughes, Move Project Team Leader, Pitt Rivers Museum, gives a short talk for the Oxford University Museums Staff Conference. Andrew talks about how a dedicated project team are documenting, photographing, packing and tracking the move of 120,000 objects from the Old Power Station Store, where they have been housed for over 40 years. This is not only a transportation project, but a transformation project, improving access to collections not on display and informing new strategic approaches from display, to conservation, to online collections.

This podcast on the rainforest music of the BayAka was produced and presented by Jo Barratt It is part of our series on ethnomusicology made with the sound archive  of the Pitt Rivers Museum  in Oxford.  In this podcast you'll hear the sound of the BayAka people of the Central African Republic. Specifically a collection of recordings made by Louis Sarno.   All of these recordings, and more, are available on the Pitt Rivers Reel to Real sound archive website   In other programmes in the Pitt Rivers series, we look at different aspects of ethnomusicology, but here we are taking an in-depth look at a single collection of sounds, the rainforest music of the Bayaka and, through it, telling some of the story of the BayAka people. Guiding us through this podcast is Noel Lobley   from the Pitt Rivers Museum.  The interviewer is social anthropologist Sarah Winkler Reid from the University of Bristol. Here is Noel to introduce us to the man who made these recordings: Noel Lobley: Louis Sarno is a guy from New Jersey who fell in love with the BayAka music from the rainforest of the Central African Republic/Northern Congo. He bought himself a one way ticket, a tape player, batteries and some spare tapes to record the music and more or less never came back. He became a part of the community and over the last 30 years has made the world's most important collection of BayAka music. It currently stands at about 1500 hours worth of music recorded. He has recorded every hunter-gather community and mapped its relationship to forest and the environment. He has gone from being a recorder to an advocate, living amongst the community and helps to mobilise healthcare. BayAka singing has been well documented,  but the instrumentation has not been looked at as much. Amongst the community he has been living with, there is a beautiful four note flute called a mbyo (sometimes called mobio), it is made from climbing palm. A musician may play it for many reasons, sometimes for entertainment.  But it is usually played at night, when the rest of the camp is asleep. They will wonder around the camp and it is played to enter your dreams. If you think about it, when you are asleep, the sound echoes around the canopy and the forest is sometimes described as a cathedral, due to the way the sound resonates. A musician may play at night for benediction, protection or for the camp. Bear in mind Louis has recorded it in its context: its relationship to the rain forest, acoustic and environment. When you listen carefully, you can sometimes hear musicians playing against the canopy, so the overtones weave in and out as the musicians are playing. So sometimes it sounds like two people singing perfectly together. You can hear the forest soundscape. You can hear the insects, and if it is a heavy sheet of insects, it can tell you whether it is late at night or early in the morning. Sometimes you can pick out the pulse of the insects the musicians are playing with. You can sometimes hear they are playing to a rhythmical structure that is in the forest. The music is very much of the forest and a gift for the forest. Most of these instruments are made from the forest.  It sounds very much to me like an exploration of the acoustic properties of the forest. In this community, it is not played any more. Over the time Louis has been there, there were three master musicians, but they have all died. The last player who played this, and who knew how to make the flutes gave one to Louis to look after. Louis says he never hears it played anymore. No one knows how to make it, or which particular plant is needed to make it. He looked after the last flute (mbyo) in Yanduombe and it was on its way to us in April earlier this year. There has been oucoup d'état in the Central African Republic. Seleka Rebels have overthrown the government. President Bozize has fled. Rebels have overtaken the capital. In April last year, Louis posted from the Central African Republic...

The term ‘ethnomusicology’ was coined in 1959 by Dutch academic, Jaap Kunst.  Put simply, it is the social and cultural study of music – whether that is gamelan, hip hop, British folk or any other kind. A Spanish translation of this podcast is set out below the English transcript.  We are very grateful to Héctor Pittman Villarreal for producing it for us. Jo Barratt and Sarah Winkler Reid went to the Pitt Rivers Museum in Oxford to interview Dr Noel Lobley, the museum’s ethnomusicologist to find out more about ethnomusicology and hear about his personal experiences working particularly in the Eastern Cape of South Africa. Jo and Sarah have produced 2 other podcasts from the Pitt Rivers collection: Pitt Rivers Collection: Louis Sarno and the BayAka Pitt Rivers Collection: Reel to Real Noel Lobley:  What is ethnomusicology?  That’s a good question and it has been debated and argued about for at least the last 60 years. Ethnomusicology was coined as an academic term in 1959 by Jaap Kunst, a Dutch scholar working mainly in Indonesia.  Before that ethnomusicology was known as comparative musicology. Simplistically, it is the social and cultural study of music.  It’s very interdisciplinary, it was originally a divergence from more traditional musicology, which was very much about wertern art music, about the cannon, German composers,  this is the only music that matters. Ethnomusicologists were those who started to be interested in Indian music, folk music - just the variety of musics that are out there in the world- and realised that the musicological approach (transcription, score based analysis) doesn’t necessarily apply or doesn’t work anything like what we understand as harmony. Musicologists realised they needed different methods of dealing with different musics, so they started to say it is the study of music in culture, music as culture, the study of all the human processes that are important in the making of music eg psychology, biology, what happens in the cells.  But the most important threads are still the anthropological approaches to music.  This means participant observation, fieldwork, long term immersion with a culture.  Ethnomusicology used to be defined by what it studied, but it isn’t any more because Ethnomusicologists study techno, hip hop, noiseart.  I don’t think there is a genre of music or sound that Ethnomusicologists don't look at now.  It's not just traditional music from Africa or India.  It's the social and cultural study of music, trying to find interdisciplinary ways of understanding what enable us to make music. Sometimes that involves non-human processes.  There is research into the relationship between insect sounds, bird sounds and whale sounds, and our music. The natural environment and our music. So it is a very vibrant and exciting area of musical study. Jo Barratt: Does this mean recorded sound is your primary source? NL: In the development of ethnomusicology recording has been hugely influential. , - the making of ethnographic recordings, where scholars/researchers/travellers/ anthropologists went somewhere and made their recordings. As soon as the invention of the phonograph in 1877, it has probably been the central method, alongside participant observation. Ethnomusicologists used to do analysis just through recordings, which might not have bee made by them, so they could listen to the recorded objects and they might get it worng, through not understanding the context - not knowing what went into making the recording.  If the recording is too fast and there is no picture reference you can make mistakes. But the recorded object has been hugely influential. We've made millions of hours of these ethnomusicology recordings, piled them up in sound archives or private collections.  But the next stage, what to do with those documents is not always so obvious.  Traditionally once they'd been transcribed the recording would be discarded,

Podcast produced and presented by Jo Barratt. "No human sense is more neglected in ethnographic museums than sound".  The  Reel to Real project at the Pitt Rivers Museum seeks to redress the balance by making available, both in and beyond the museum space itself, the important sound collections donated to the museum over the past 100 years. In this podcast, the second in our Pitt Rivers series, Jo Barratt and Sarah Winkler Reid from the University of Bristol talk to ethnomusicologist, Dr Noel Lobley about the hundreds of hours of historically important and rare ethnographic sound held in storage in the museum, much of it known only to a handful of scholars. These sound recordings – which range from children’s songs in Britain to music from South America and the South Pacific, and from improvised water drumming to the sound of rare earth bows in the rainforests of the Central African Republic – have been preserved but until the Real to Real project have remained unavailable to members of the public, teachers, students, or to the communities from which the sound originates. Listen here to the first podcast, Louis Sarno and the BayAka Note:  The Reel to Real archive is being made available via SoundCloud Transcript Welcome to the Pitt Rivers museum at the University of Oxford. This is Pod Academy and I'm Jo Barrett. We're here for a series looking at the ethnographic sound archive at the museum. This episode is going to look in detail at the Reel to Real project and the work being done to make the most of an unappreciated resource. We also hear how sound can contribute to the overall museum experience. Noel Lobley is going to be an ever-present voice in this series as he guides us through several aspects of his work in ethnomusicology and sound archive. Noel Lobley: My name is Noel Lobley. I work here at the Pitt Rivers museum as an ethnomusicologist. I deal with a lot of the music and sound collections. For the last 18 months or so a lot of my time has been devoted to developing the sound archive. Pulling it out of storage and getting it digitised, heard and available. Also programming events to engage different audiences with the sound collections that we have here. JB: You will also hear from Sarah Winkler-Reid an anthropologist from the University of Bristol.  Who joined Noel and I in Oxford. For those of you who do not know about the museum, here is Noel to tell us about his place of work.   NL: The Pitt Rivers Museum is the University of Oxford's museum of anthropology and world archaeology it's got wonderful ethnographic galleries that are absolutely crammed with hundreds and thousands of objects from cultures all over the world. Some pre-historic, some modern. It was established by General Augustus Henry Lane-Fox Pitt Rivers who donated his collection here and has been curated here since [sic] 1884.   Henry Balfour was the first curator here, he was a polymath, he was ahead of his time. He was interested in decorative art, sound and music which started the collection of sound here which has been happening for over 100 years. There are photographic, manuscript and massive object collections. What you see in the galleries are used as research, teaching resources, and to engage the general public, such as children and schools. It is a very family friendly museum, it has won awards for being accessible to children. We have our own education department here. It's a varied and diverse museum, but it is a part of Oxford University. JB: Noel is here to talk to us about the Reel to Real project which is the focus of this episode. I asked him to sum up the project in one sentence. NL: Reel to Real is giving the Pitt Rivers' museum sound collection a voice. Reel to Real is a project designed to digitise, catalogue and make available online, in the museum galleries spaces, and further afield all of our unique ethnographic collections. The project finished this year in March when we launched th...

Melvyn Bragg and his guests discuss the life and work of the Victorian anthropologist and archaeologist Augustus Pitt-Rivers. Over many years he amassed thousands of ethnographic and archaeological objects, some of which formed the founding collection of the Pitt Rivers Museum at Oxford University. Inspired by the work of Charles Darwin, Pitt-Rivers believed that human technology evolved in the same way as living organisms, and devoted much of his life to exploring this theory. He was also a pioneering archaeologist whose meticulous records of major excavations provided a model for later scholars. With:Adam Kuper Visiting Professor of Anthropology at Boston UniversityRichard Bradley Professor in Archaeology at the University of ReadingDan Hicks University Lecturer & Curator of Archaeology at the Pitt Rivers Museum at the University of Oxford.Producer: Thomas Morris.

Melvyn Bragg and his guests discuss the life and work of the Victorian anthropologist and archaeologist Augustus Pitt-Rivers. Over many years he amassed thousands of ethnographic and archaeological objects, some of which formed the founding collection of the Pitt Rivers Museum at Oxford University. Inspired by the work of Charles Darwin, Pitt-Rivers believed that human technology evolved in the same way as living organisms, and devoted much of his life to exploring this theory. He was also a pioneering archaeologist whose meticulous records of major excavations provided a model for later scholars. With: Adam Kuper Visiting Professor of Anthropology at Boston University Richard Bradley Professor in Archaeology at the University of Reading Dan Hicks University Lecturer & Curator of Archaeology at the Pitt Rivers Museum at the University of Oxford. Producer: Thomas Morris.

Hello from the Plain! The last few weeks have flown by in a whirl of assessments and cushions, so this is just a quick update prior to the Postcard, which was recorded back in April. Woolsack Update The first two Listener Cushions are now assembled and stuffed and ready to make their way to London. Thank you all so much! The first cushion I think is made from a lot of Rowan British Breeds, and includes a square made in the US on the front.... and squares made in Australia on the back... The second cushion also has some "Made in Oz" squares, this time on the front.... Thanks to all the listeners who contributed! A Postcard from Oxford The music in this postcard is from the album The Oxford Ramble and is used with the kind permission of Magpie Lane . Some photos from the day: Magdalen Tower Inside Darn It & Stitch The dinosaur in a badly-knitted Fair Isle sweater (aka Keble College) Another dinosaur - real this time! Looking down into the Pitt Rivers - it looks a lot darker than this in real life! The Shrunken Heads in the Pitt Rivers The Radcliffe Camera The Bodleian Library Links Magpie Lane http://www.magpielane.co.uk/ May Morning http://www.oxford.gov.uk/PageRender/decVanilla/MayMorninginOxford.htm Magdalen Tower http://en.wikipedia.org/wiki/Magdalen_Tower Botanical Gardens http://www.botanic-garden.ox.ac.uk/ The Grand Cafe http://www.thegrandcafe.co.uk/ ; Darn It and Stitch http://www.darnitandstitch.com/ ; Oxford Kitchen Yarns http://www.oxfordkitchenyarns.com/shop/ Morse http://en.wikipedia.org/wiki/Inspector_Morse ; Lewis http://en.wikipedia.org/wiki/Sergeant_Lewis ; Oxford University Museum of Natural History http://www.oum.ox.ac.uk/ ; Pitt Rivers Museum http://www.prm.ox.ac.uk/ ; Shrunken heads http://en.wikipedia.org/wiki/Shrunken_head/ Bodleian Library http://www.bodleian.ox.ac.uk/bodley John Hampden http://en.wikipedia.org/wiki/John_Hampden Christchurch http://www.chch.ox.ac.uk/ ; Dr Fell http://en.wikipedia.org/wiki/John_Fell_(bishop) Howard Goodall http://en.wikipedia.org/wiki/Howard_Goodall ; Ashmolean Museum http://www.ashmolean.org/ Martyrs’ Memorial http://en.wikipedia.org/wiki/Martyrs'_Memorial ; Oxford Martyrs http://en.wikipedia.org/wiki/Oxford_Martyrs Theme Music: Rondopolska by Barry Philips, from the album Tråd, available from Magnatune. We have a listeners' map. Please go on over to pop in a pin - we're covering 5 continents! Feel free to leave a comment here or at http://www.yarnsfromtheplain.podbean.com/, or email me at yarnsfromtheplain AT googlemail DOT com. We have a Ravelry group here, so come on over to chat. You can find me on Ravelry as talesfromtheplain and on Twitter as talesfromplain (although Tweeting can be sporadic!). TTFN, Nic x

Four women from Oxford take a course in film-making with local film-maker Sharon Woodward from Oxford Film and Video Makers. They explore the changing cultural meaning of body decoration in British society.

At the conclusion of her fieldwork in the mountains of northern Luzon in the Philippines, anthropologist Analyn Salvador-Amore filmed an encounter with Hawaiian tattoo practitioner Keone Nunes and a Butbut tattoo practitioner Whang-ud. The conversations reveal a deep connection with traditional tattooing practices from Polynesia to the Philippines.

Through conversations with leading tattooists from around the world, this film explores the artistry, philosophy, meaning and history of tattooing at the site of the 2010 London Tattoo Convention. The film conveys the importance of travelling and the tattoo convention, the commitment of members of the tattoo community to their art, and the challenges they face in reconciling tradition with modernity, and spirituality with mass-appeal.