article⁄The Role of Warfare and Headhunting in Forming Ethnic Identity: Violent Clashes between A-Group and Naqada Peoples in Lower Nubia (mid-4th millennium BCE)
abstract⁄This article reassesses the earliest cemeteries dating to the 4th millennium BCE in northern Lower Nubia. Remains from two cultural groups have been found in the region – native predecessors of the A-Group people and Naqada people arriving from Upper Egypt. The evidence presented suggests that Naqada people from the chiefdom at Hierakonpolis conducted a violent expansion into Lower Nubia in the mid-4th millennium BCE. The violent encounters with the natives are testified through evidence of interpersonal violence in five cemeteries of the predecessors of the A-Group people, young males buried with weapons in a Naqada cemetery in A-Group territory, and a settlement pattern shifting southwards. The author argues that the violence led to an ethnogenesis among the native population of northern Lower Nubia, and the ethnic boundary between the two groups became even more defined through headhunting provoking a schismogenesis. This case study provides new insights into warfare in ancient Nubia and an opportunity to discuss ethnic identity, ethnogenesis, and schismogenesis in the Nile Valley at the beginning of the Bronze Age.
keywords⁄Warfare, ethnicity, headhunting, schismogenesis, Early Bronze Age, Nubia, Egypt
Map 1. Northern Lower Nubia with sites dating to the mid-4th millenium BCE. Graphic: Henriette Hafsaas.
1. Introduction¶
Lower Nubia in today’s southern Egypt has been studied by archaeologists
since the beginning of the 20th century. Yet, the collective
self-awareness and group identity of the people inhabiting the
northernmost part of Lower Nubia in the 4th millennium BCE is still
elusive. In this article, I will argue that the region from the First
Cataract to Bab el-Kalabsha was the setting of violent encounters
between peoples who increasingly came to view each other as culturally
different during the mid-4th millennium BCE. I will demonstrate that
the predecessors of the A-Group people were attacked by a band of Naqada
warriors from Hierakonpolis in several deadly clashes that ultimately
drove the A-Group predecessors south of Bab el-Kalabsha while Naqada
peoples settled in the area between Bab el-Kalabsha and the First
Cataract (Map 1).
The evidence for the violent expansion is
interpersonal violence leading to deaths and injuries among the A-Group
predecessors, young males belonging to the Naqada people buried with
weapons in a cemetery of the A-Group predecessors, and a shifting
settlement pattern with the A-Group predecessors retreating southwards
as the Naqada people expanded into their territory. I will argue that
the formation of the ethnic identity of the A-Group people was an
ethnogenesis, as the distinctive material culture of the A-Group
people became archaeologically visible around the middle of the 4th
millennium BCE (Table 1).
Table 1. Chronology for the A-Group people including cross-dating with Egypt.
After the first violent clashes near
the First Cataract, headhunting appears to become part of the warfare
practices as the Naqada people continued their expansion southwards.
Headhunting probably affected the consolidation of ethnic identities
among the A-Group and Naqada peoples, and the practice contributed to
defining an ethnic boundary between the two ethnic groups in a process
of schismogenesis.
The topic of this article is ethnogenesis, and especially how conflicts
and competition affected the formation of ethnic identity. Ethnogenesis
is a dynamic process where continuity and change are encompassed in
forging a new ethnic identity. The ethnogenesis among the A-Group
predecessors was enhanced in a process of schismogenesis, which made the
A-group and Naqada peoples diverge further from each other.
Schismogenesis is a process of differentiation first described by
Gregory Bateson and recently expanded upon by David Wengrow and
David Graeber. Ethnogenesis and schismogenesis are related concepts
of identity formation through intercultural contact, but schismogenesis
more specifically refers to the process where two groups of people who
already are different diverge further due to interaction with each
other.
The geographical focus in this article is limited to the region between
the First Cataract and Bab el-Kalabsha, which I will refer to as
northern Lower Nubia. Bab el-Kalabsha means ‘Gate of Kalabsha’ in
Arabic. The toponym is descriptive as granite cliffs constricted the
river to a width of only 220 metres, making this one of the narrowest
passages of the Nile (Figure 1), while rocks and shoals broke the
flow of the water. The rising cliffs of Bab el-Kalabsha were thus a
distinctive geographical marker, and a position for exercising
territorial control.
Figure 1. The landscape at Bab el-Kalabsha. Painting by Edward Lear (1871). Public domain, downloaded from Artvee.com.
For more than a century, scholars have overlooked the instances of
violent injuries and lethal weapons in the cemeteries in northern Lower
Nubia dating to the mid-4th millennium BCE. The omission of this
evidence has limited our understanding of the role of warfare in the
formation of an ethnic boundary through processes of ethnogenesis and
schismogenesis. Furthermore, a warfare perspective will provide new
knowledge on violent practices in the Nile Valley at the beginning of
the Bronze Age and the emergence of the A-Group people as an ethnic
group in the mid-4th millennium BCE.
2. Background¶
The core area of ancient Egypt was the lower reaches of the Nile, where
the river flows like an elongated oasis through the Sahara. Travelling
from the north, the islands and rapids of the First Cataract formed the
first serious obstacle to riverine navigation. To the south of the First
Cataract, the landscape is different. This is Nubia. The floodplain is
narrower resulting in less fertile land. Six cataracts with granite
boulders and treacherous rapids make travelling more difficult on water
and over land along the Nubian stretch of the Nile. Furthermore, the
cataracts divide Nubia into several smaller regions where the northern
part of Lower Nubia is the closest southern neighbour of ancient Egypt.
Around 4000 BCE, people in Upper Egypt adopted agriculture as the main
form of food production. New forms of a shared material culture
emerged from around 3750 BCE, although regionality was still
present. The transition to food production was followed by the
gradual emergence of centralized forms of political organization, and
three chiefdoms appeared around 3650 BCE. The political
centralization culminated with the formation of the territorial state of
dynastic Egypt around 3085 BCE. The time span from ca. 3750 to 3085
BCE is termed the Naqada period in Upper Egypt (see Table 1). I
will call the population in Upper Egypt during this epoch for the
Naqada people to signal their cultural unity and increasing communal
self-awareness.
In the latter half of the 4th millennium BCE, Lower Nubia was
inhabited by the so-called A-Group people. Before the inhabitants
of Lower Nubia came into more frequent contact with the Naqada people
during the Early A-Group phase, the predecessors of the A-Group
people in northern Lower Nubia appear less conscious about displaying a
collective identity through material culture. Nevertheless, the A-Group
predecessors had a distinctive tradition of pottery making, and they
appear to have shared beliefs about death and practiced similar burial
rituals. In contrast to the agricultural Naqada people, these A-Group
predecessors probably maintained a pastoral way of life in continuation
of the traditions encompassing the Nile Valley in the 5th millennium
BCE. Although both groups inhabited quite similar ecological
environments along the Nile, the differences in modes of food production
suggest that the daily tasks of the people living in northern Lower
Nubia was different from that of the Naqada people in Upper Egypt.
Archaeologists have diverging interpretations of the collective identity
of the people living on the banks of the 130 kilometers long stretch of
the Nile from Bab el-Kalabsha in Lower Nubia to Gebel es-Silsila in
Upper Egypt during the 4th millennium BCE. Some scholars suggest an
expansion of Naqada settlements or colonies into northern Lower
Nubia. Others consider all sites in Lower Nubia and north to
Kubbaniya or Gebel es-Silsila in Upper Egypt to belong to the
A-Group people. Maria Gatto has fronted a third explanation and
suggests a hybrid identity or entanglement of Naqada and A-Group
identities in the region north of the First Cataract. In an
elaboration of these positions, I argue that an ethnic boundary was
established between the two groups in northern Lower Nubia. This
boundary was a social construction, and the distribution of sites
changed over time as the Naqada people expanded and the A-Group people
retreated southwards. Both peoples inhabited northern Lower Nubia, but
their sites were not contemporary. This blend of sites has given
rise to the opposing conclusions based on the difficulty in drawing a
border. Inconsistencies also exist in how collective
identities are perceived among archaeologists working in the Nile
Valley, so I will explain how ethnic identity will be understood in this
study.
3. Ethnic Identities, Groups, and Boundaries¶
Ethnic identities seem to become more pronounced from the beginning of
the Bronze Age. This development has been linked to the formation of
more complex societies. The political communities engaged in wars
against each other during the Bronze Age were often ethnic groups, so
warfare studies focusing on this period need to consider ethnicity. In
historically particular circumstances, war could be crucial for
constructing and modifying ethnic identities, and warfare could also be
responsible for the disappearance of ethnic groups.
Siân Jones has formulated a renowned definition of ethnic groups by
combining subjectivist and objectivist perspectives on ethnicity.
Accordingly, ethnic groups are based on mutual perceptions of cultural
differences between groups that are interacting or co-existing. The
subjectivist approach to ethnicity is attributed to Fredrik Barth. He
criticized the understanding of ethnic groups as comparable to the
outdated equation between race, culture, and language. Barth emphasized
self-ascription as fundamental for the forging of ethnic identity.
However, ethnic identification is also dependent on ascription by others
since ethnicity will only make an organizational difference if the
ethnic identity is recognized by others and they act on this
difference. Furthermore, Barth argued for shifting the focus of
research away from differences between cultures and their historical
boundaries. Instead, scholars should address the processes involved in
forming and maintaining ethnic identities and upholding ethnic
boundaries despite interaction. This perspective can also be seen
as a critique against culture-historical approaches in archaeology.
Since Barth’s seminal article, ethnicity is generally understood as an
aspect of social relationships between people who perceive themselves as
culturally different from each other in contact situations, such as
exchange relationships and inter-group competition. The cultural
characteristics that symbolize the ethnic identity remain unexplained in
subjective perspectives, where ethnic identities are seen as fluid and
situational. The subjective approach can thus be complemented by an
objective perspective incorporating the cultural contexts and social
structures in which ethnic groups interact. G. Carter Bentley applied
Pierre Bourdieu’s concept of habitus for explaining ethnicity.
Habitus is a “system of durable, transposable dispositions” that
characterize life in a particular environment. In this way, habitus
can provide an objective grounding for the subjective construction of
ethnic identity. The structural dispositions of habitus permeate
the cultural practices and social relations typical for a distinct
lifestyle, and habitus is thus a factor in forging ethnic
identities. A relevant example of habitus for archaeologists is
“ethnically specific suites of motor habits” that develop with
intentional and intensive training, such as pottery making.
Ethnic identities of past peoples can leave traces in the archaeological
record through obvious signs used intentionally to exhibit ethnic
identity through material culture. More subtle remains can
materialize through habitus as culturally structured practices. Ian
Hodder has demonstrated through ethnoarchaeological fieldwork in Baringo
(Kenya) that people actively maintain certain forms of material culture
as expressions of ethnic identity, while other forms of material culture
cross-cut ethnic boundaries. Objects that cross ethnic boundaries
can be explained as foreign goods imported into the assemblage of an
ethnic group from another group through trade, intermarriage, or
raiding. The archaeological identification of an ethnic group becomes
more convincing if the association between material culture and ethnic
identity is based on a careful contextual analysis of a combination of
objects and practices in multiple categories, although the remains
of a site are rarely monocultural due to intercultural interaction.
Contact with “others” is after all a prerogative for ethnicity.
4. Ethnic Identity in Lower Nubia¶
I have previously examined the ethnic identity of the people inhabiting
Lower Nubia in the 4th millennium BCE through a contextual approach.
When the material culture and cultural practices were corresponding
across several categories and at several sites, then the similar sites
were most probably made by a group of people with a collective identity.
For Lower Nubia in the latter part of the 4th millennium BCE, I
propose that this group identity was ethnicity. The ethnonym that
this group used for themselves is unknown to us, but their land was
called “Ta-Sety” – Land of the Bow – according to Egyptian inscriptions from
the beginning of the First Dynasty. The geographical distribution
of pottery vessels, cosmetic palettes, and burial positions in Lower
Nubia in the latter half of the 4th millennium BCE shows that Naqada
traditions were prevalent north of Bab el-Kalabsha, while A-Group
traditions dominated south of Bab el-Kalabsha. These results combined
with less widespread grave goods give us a probable distribution of the
two ethnic groups in Lower Nubia. I thus try to overcome the
reduction of ethnic identity to techniques for manufacturing and
decorating pottery. The aim is to bring the actors behind the
material culture to the foreground. The interpretation of cultural
differences as manifesting ethnic identity for the A-Group and Naqada
peoples is strengthened by later expressions of ethnic differences
between peoples in Nubia and Egypt in written sources. I thus
propose an ethnic boundary between the A-Group people and the Naqada
people in the latter half of the 4th millennium BCE. This
boundary was social, and people and objects could cross the border.
Still, the ethnic boundary probably also reflected ideas of
territoriality, and Bab el-Kalabsha seems to be the location of the
border. The situation was different earlier in the 4th millennium BCE,
as we will see in the next section.
5. The A-Group Predecessors in Northern Lower Nubia¶
According to David Wengrow, funerary rites were remarkably similar in
the Nile Valley from the confluence of the Blue and White Niles to
Middle Egypt during the 5th millennium BCE. Deceased individuals were
placed in contracted positions on their sides, and often accompanied by
portable objects related to the decoration and ornamentation of the body
– especially the skin and hair. This uniformity suggests a widespread
and consistent set of beliefs and practices connected with a pastoral
way of life, which fostered a mobile, body-centred habitus. Among the
body-related objects were combs for the hair and cosmetic palettes used
for grinding pigments for painting the skin. A coherent cultural
group in Lower Nubia is difficult to distinguish at the beginning of the
4th millennium BCE. The area was thinly populated and other
collective identities than ethnicity probably prevailed, such as
corporate lineage groups.
Harry S. Smith realized that the sites in northern Lower Nubia initially
termed ‘B-Group’ actually constituted the earliest A-Group
phase. He later dated these graves more accurately as contemporary
with Naqada I in Upper Egypt. After reassessing the excavation
reports from these B-Group sites, I agree with the dating presented by
Smith, in accordance with other scholars. The material culture and
cultural practices at these sites resemble the A-Group people more than
the Naqada people, and these peoples were likely the direct forebearers
of the A-Group people. I have therefore termed this earliest phase for
the proto-phase of the A-Group (see Table 1).
The earliest cemetery dating to the 4th millennium BCE in northern
Lower Nubia has been identified as the graves on the south-eastern
knolls of Cemetery 7 at Shellal – the widest plain and thus most
attractive habitat in the First Cataract region. Between Shellal
and Bab el-Kalabsha, four other sites originally attributed to the
B-Group by Reisner belong to the proto-phase of the A-Group people.
I will briefly describe these proto-phase sites.
5.1. Cemetery 7 at Shellal¶
The earliest graves in Cemetery 7, which spanned several periods,
consisted of 50 human and nine animal burials. These earliest graves at
Shellal were placed higher in the terrain than the later cemeteries of
the plain. The deceased were buried in a contracted position. Out of 29
individuals with recorded burial position, 62 per cent were placed on
the left side. The orientation of the head appears random. The
individuals in the graves were often covered by goat skins or mats.
Small spiral shells were used as personal decoration – often as
necklaces – in 17 graves. Most of the pots found at the site were
similar in shape to the A-Group pottery tradition, but no types were
distinctive of its later phases, such as rippled or eggshell wares.
A fragment of a white cross-lined pot of the Naqada people was found in
the debris and indicates a Naqada IA date. Seven out of twelve
palettes were made of various unidentified hard stones in the cultural
traditions of the Neolithic in Upper Nubia and Central Sudan, as
well as in the later A-Group phases. The other five palettes were made
of grey-green siltstone. The only known quarry for siltstone used for
palettes is Wadi Hammamat, midway between the Nile Valley and the Red
Sea in Upper Egypt. The palette shapes were described as rough,
irregular, oval, oblong, and ovoid, which fit a Naqada I date.
In Cemetery 7, four weapons or tool-weapons were found in three graves
– two maces and two ground stone axes (Figure 2). The mace-heads
were of the disc-shaped type and made of black and white speckled
stone. The shape is similar to the disc-shaped maces of Neolithic
Sudan. Maces were specialized striking weapons, while ground stone
axes could have been used as both weapons and tools. However, the size
of these stone axes, with lengths of ca. 8 and 10 centimetres
respectively, suggests that they could have been effective as weapons.
The few Naqada objects found at the site suggest that the cemetery was
used contemporary with Naqada I.
Figure 2: a) The mace-heads and axe-heads uncovered in Cemetery 7. From the left: grave 229, grave 230, grave 230, and grave 234. Photo from Reisner, The Archaeological Survey of Nubia, plate 63/d. b) The disc-shaped mace-head from grave 229 at Cemetery 7. Photo by Alexandros Tsakos. Courtesy of Nubia Museum, Aswan. c) The disc-shaped mace-head from grave 230. Photo by Alexandros Tsakos. Courtesy of Nubia Museum, Aswan.
5.2. Cemetery 14 at Khor Ambukol¶
Cemetery 14 with 23 human burials was located on the east bank at Khor
Ambukol – ca. 9 kilometers upstream from Cemetery 7 at Shellal. The
burial position was preserved for seventeen bodies, with 47 per cent
placed contracted on the left side and the remaining on the right side.
The orientation of the head appears random. The deceased were usually
placed on matting and almost always accompanied by sewed leather. I
have previously noticed a segregation between females and males in this
cemetery. The females were buried in the north-eastern part of the
cemetery and the males in the south-western part. The identification
of the biological sex was based on the examination of the human
remains. However, gender differentiations in the grave goods have
not been identified so far, but the separation of the sexes in
death may suggest a gendered division of labour.
Only six pots were uncovered in four graves at Cemetery 14. Three
black-mouthed pots and two black pots with a pointed base fit the
A-Group pottery repertoire. No pots were diagnostic for the pottery
produced by the Naqada people. Furthermore, four graves contained small
spiral shells. Two rectangular palettes of indeterminable stone show
affiliation with the traditions of Neolithic Nubia and Central
Sudan. Two rhomboidal siltstone palettes originated from Upper
Egypt, and this shape was used for some of the earliest palettes.
Two ivory combs with carved animals, probably gazelles, belong to
the shared features of the Neolithic in the Nile Valley. The finds
from the cemetery are in accordance with the A-Group of the proto-phase,
while two palettes from Upper Egypt suggest a date contemporary with
Naqada I.
5.3. Cemetery 17 at Khor Bahan¶
Khor Bahan is a large khor coming down from the high desert on the east
bank ca. 10 kilometers south of Shellal. The alluvial fan below the khor
offered considerable fertile land, and Cemetery 17 was located
here (Figure 3).
I have previously argued that predecessors of the
A-Group people used the highest terrace at Khor Bahan as a burial ground
during the proto-phase, while the Naqada people reused the
cemetery. Of the ca. 100 graves on the highest terrace, 24 human
burials can be attributed to the proto-phase of the A-Group. I have
presented several lines of evidence for this identification in addition
to pottery and palettes: goat skin wrappings, small spiral shells,
tortoise-shell bracelets, and the burial of males and females in
different parts of the cemetery, like at nearby Cemetery 14. These
graves also had a general lack of material culture from the Naqada
people.
The bodies were placed on the left side in eight graves and on the right
side in five graves, which means that 63 per cent of the deceased with
preserved burial position were placed on the left side. No complete
pots were found in these graves, but potsherds with a red exterior and
black interior were recorded in four graves. The description of
these pots could fit the traditions of pottery making of both the
A-Group predecessors and the Naqada people. Eight cosmetic palettes were
uncovered. Five palettes were made of white stone, black and white
speckled stone, or other hard stones in continuation of earlier
practices and in accordance with later A-Group traditions. Three
palettes were made of siltstone from Upper Egypt and of shapes dating to
Naqada I. Weapons were absent as grave goods in these graves.
Figure 3: Cemetery 17 at Khor Bahan on the higher terrace of the khor, to the right of the white tents. The alluvial plain was already flooded behind the Aswan Dam as the palm trees would have lined the riverbank. Photo from Reisner (1910: plate 23/b). Colorized by cutout.pro.
5.4. Cemetery 41 on the Meris Plain¶
Cemetery 41/200 was located on the central knoll of the Meris
plain, ca. 25 kilometers south of Shellal. A total of 37 human graves and three animal graves were
excavated. The bodies with recorded burial positions were placed on the
left side in 13 graves and the right side in 12 graves, which means that
52 per cent were placed on the left side. The grave goods consisted of
items for personal decoration: small spiral shells, tortoise-shell
bracelets, and cosmetic palettes. Only two complete pots were
uncovered. Unfortunately, these pots were undiagnostic and coming from
unsecure contexts. Potsherds with red exteriors and black interiors as
well as black polished wares were found in several graves.
Red-polished wares with black interiors were used by both Naqada and
A-Group peoples, but the black polished wares are closer to the A-Group
pottery tradition. Three of the palettes were made of siltstone and
two of other stones. The Naqada objects in this cemetery consisted of
three siltstone palettes with elongated rhomboidal shape and two copper
needles. The copper needles are probably the earliest copper
objects uncovered south of the First Cataract.
No specialized weapons were uncovered in these graves. However, six
graves contained flint blades. For the bodies where the sex could
be established, flint blades were found with males in four of five
cases, and the flint blades were deposited singly in five of the six
instances. One of these blades was also described as “broad”. These
flint implements were probably used both as tools and weapons –
so-called tool-weapons. I suggest that these blades were linked to
masculine practices and identity, since they mainly occurred with
males. A comparative case comes from the contemporary Copper Age
cemetery Tiszapolgár-Basatanya on the Hungarian Plain. Flint blade
knives longer than seven centimeters were restricted to males in this
cemetery, and archaeologists have interpreted the longest blades at
Tiszapolgár-Basatanya as knives used as weapons.
The few datable objects suggest that the site was used in the latter
part of the proto-phase, contemporary with Naqada IC-IIA.
5.5. Cemetery 45 on the Dehmit Plain¶
Cemetery 45/200 at Shem Nishai on the plain of Dehmit was located ca.
32 kilometers south of Shellal. A total of 33 human burials were
published. Of the bodies with preserved burial position, 17 bodies
were placed on the left side and 12 bodies on the right side, so 59 per
cent of the burials were placed on the left side. Several orientations
of the head were practiced. Goat skins covered the bodies.
Small white shells were uncovered in two graves, and two quartzite
palettes were found. The excavation report describes 16 pots, so pottery
vessels were more common in this cemetery than at the other A-Group
sites of the proto-phase. Fourteen pots were made following A-Group
traditions. A red-polished black-topped vase (Petrie’s B19a) and a
coarse red bowl (Petrie’s R23a) were the only Naqada style pots.
Both date within Naqada IC-IIA. The identity of the people buried in
this cemetery is comparable to the other A-Group sites of the
proto-phase.
5.6. Summary¶
Burial positions and orientations are unreliable for determining ethnic
identity during the first half of the 4th millennium BCE. The
standardized burial position among the Naqada people, contracted on the
left side with the head to the south, was only applied from Naqada II
onwards. The A-Group predecessors placed the deceased contracted on
either sides, like the later A-Group people, but without the head
oriented to the south or southwest like the standard for the A-Group
people from the early phase. The positioning of the dead in the
grave for both the A-Group predecessors and the Naqada people probably
derived from shared features in the burial traditions along the Nile
during the Neolithic. Most of the pots and palettes found in the
cemeteries examined here were made in accordance with the later A-Group
traditions, but with a few Naqada imports. The use of animal skins and
small spiral shells in these burials seems typical for the A-Group
people of the proto-phase.
The imported Naqada finds suggest that the sites of the A-Group
proto-phase had a chronological progression where the cemeteries were
established further south with time. The A-Group predecessors apparently
retreated southwards. I relate this migration to a violent expansion of
Naqada people into Lower Nubia. A contemporary Naqada site in northern
Lower Nubia is examined in the next section.
6. The Earliest Naqada Cemetery in Lower Nubia¶
Nine cemeteries in northern Lower Nubia were used by the Naqada people
during the 4th millennium BCE. The dating of these sites suggests a
gradual expansion southward. In this article, I will only discuss
the site contemporary with the proto-phase of the A-Group people. The
other Naqada sites were established after the A-Group predecessors had
retreated from northern Lower Nubia.
Figure 4: Some of the mace-heads uncovered in the Naqada graves in Cemetery 17. a) Mace-head from grave 89. b) Mace-head from grave 70. c) Mace-head from grave 50. D) Mace-head from grave 88. Photos by Alexandros Tsakos. Courtesy of Nubia Museum, Aswan.
6.1. Reuse of Cemetery 17 at Khor Bahan¶
I have previously argued that Naqada people reused the A-Group cemetery
of the proto-phase at Khor Bahan. Cemetery 17 is the earliest known
Naqada site south of the First Cataract, and the site is significant in
terms of warfare.
The 29 graves belonging to the Naqada people and dating to Naqada IC
were placed between the two clusters of A-Group graves of the
proto-phase. Of the seventeen skeletons completely or partially
preserved, sixteen were males in the age range from youth to adult. Only
one individual was female, and she was middle-aged. Human remains were
absent in twelve graves (Appendix 1). Notably, each of the graves
without human remains had an empty area intended for a body. I have
proposed that these empty graves were cenotaphs for warriors whose
bodies were lost on the battlefield and the burial rituals thus
performed in absentia.
This Naqada cemetery is extraordinary regarding war since several graves
contained numerous weapons. Sixteen mace-heads were uncovered in twelve
graves, and other weapons were found in four graves (see Appendix 1
and Figure 4).
Weapons were thus found in 55 per cent of the graves.
Other weapons uncovered were flint daggers, flint knives, flint and
chalcedony blades, and various types of arrowheads. Except for the
lunates, these weapons were characteristic of the Naqada people. Some of
the arrowheads had their closest parallels at Hierakonpolis in southern
Upper Egypt, suggesting that this was the homeland of the
individuals buried in Cemetery 17 (Figure 5).
Figure 5: Arrowheads typical for Hierakonpolis found in Naqada graves in Cemetery 17 in Lower Nubia. a) Large concave-base arrowhead with long straight lobes found in grave 50. b) Three tanged arrowheads with barbs found in grave 78. Photos by Alexandros Tsakos. Courtesy of Nubia Museum in Aswan.
In the cemetery, five
males were interred with a single mace, while seven graves without human
remains contained eleven maces (see Appendix 1). The latter graves
may have been the cenotaphs for eleven warriors whose remains were not
retrieved after the battle. Weapons are rare in Naqada graves in Upper Egypt.
Being killed in action and buried in foreign territory was probably a
context that made it necessary to provide these Naqada warriors with
their weapons in the afterlife.
The predominance of male burials in this cemetery is exceptional. I
suggest that the reason is that they derive from a warrior band.
Warriors dispatched to fight far from the homestead would usually be
males. The anatomists recorded no pathologies or trauma in this
osteological material, since they, unfortunately, concentrated their
attention on racial characteristics rather than pathology and
trauma.
Based on the contextual data, I have argued that Cemetery 17 was a
burial ground for Naqada warriors who had made a violent expansion into
the A-Group predecessors’ territory. Despite the lack of evidence
for violent trauma, so many dead males is suspicious. Violence, also in
war, is often the commonest cause of death for young adult males. The
A-Group predecessors probably attacked the Naqada warriors with bows and
arrows that would only leave microscopic traces on the bones, like the
victims at Jebel Sahaba in southern Lower Nubia during the Upper
Palaeolithic. Graves of fallen warriors are usually placed close
to the battlefield, so the fighting probably happened near Khor
Bahan.
In Cemetery 17, archaeologists also found 21 dogs in twelve graves.
Several dogs had remains of collars and leashes. Gnawed bone
fragments were found under the ribs of these dogs, suggesting that they
were sacrificed on full stomachs when their owners were buried. A
parallel has come to light at the elite Cemetery HK6 at Hierakonpolis.
Around the large and richly equipped tomb 16, dating to Naqada IC-IIA,
was a complex of associated graves belonging to humans and animals.
Among the sacrificed animals were 27 dogs, often buried together with
young males. The plundered graves of these young males still
contained some tanged arrowheads characteristic for Hierakonpolis.
Similar tanged arrowheads were also found in Cemetery 17 (see Figure
5b). These individuals in Cemetery HK6 have thus been interpreted as
hunters. I find it probable that some, perhaps all, of these young
males also were warriors. The difference between hunters and warriors
was probably minor during the Naqada period. Both warriors and hunters
were skilled in weaponry and cooperation. The chieftains in Upper Egypt
probably raised, equipped, and led hunting expeditions and war parties
to achieve their political ends. Indeed, the nineteen men depicted
on the unprovenanced Hunters’ Palette carry the same types of weapons as
found in Cemetery 17 at Khor Bahan and HK6 at Hierakonpolis: maces,
spears, bows and arrows, and throw sticks. Furthermore, three hunting
dogs were partaking in the lion hunt together with the men (Figure
6).
Figure 6: The Hunters’ Palette (BM EA 20790) depicting nineteen men and three hunting dogs in a lion hunt. Length: 30,5 cm. © The Trustees of the British Museum (CC BY-NC-SA 4.0).
Since dog burials are associated with graves of males with weapons
at Khor Bahan and Hierakonpolis, I will suggest that Naqada people
trained dogs to assist with hunting and warfare. Dog burials are also
attested at Neolithic cemeteries in Sudan and at Cemetery 7 of the
proto-phase of the A-Group, so dog burials are not exclusively a
Naqada practice.
7. Evidence for Violence in the Earliest A-Group Cemeteries¶
The violent injuries recorded in the cemeteries of the A-Group
predecessors have been categorized according to whether the bodily harm
was caused by blunt force, i.e., striking, or sharp force, i.e.,
stabbing/slashing/piercing. Not all injuries obtained in warfare
would be deadly, although the aim of war is usually to defeat the
enemies by killing or expelling them. Comparative research has
demonstrated that the head is the preferred body part to attack in most
societies. Preferences may vary for attacking the vault of the
skull or the face. Fractures to the skull are thus a well-known
indication of violence. Moreover, blunt force trauma to the skull
is more easily attested archaeologically than injuries from arrows,
spears, and daggers, which often affect soft tissues. In northern
Lower Nubia, several violent deaths caused by fractures to the skull
after blunt force violence, probably with a mace, are attested
during the mid-4th millennium BCE. The practice of attacking the
head also led to distinctive defensive injuries. Fractures of the
distal ulna in the lower arm can derive from fending a blow to the head.
This characteristic injury is often referred to as a parry fracture –
especially if the radius is unaffected and the fracture line is
transverse. Fractures of the middle of the clavicle can also be
defensive injuries caused by avoiding blunt force violence to the
head.
The violent injuries testified on the bones could be lethal or
nonlethal. Antemortem injuries have had time to heal. Perimortem
injuries have had no time to heal and occurred around the time of death
and may also have been the direct cause of death. Blood-stained
bones sometimes testify to the perimortem infliction of the
injuries. Postmortem damages to the bones occur after the
individual is dead.
Nubiologists have overlooked the data on violent injuries in northern
Lower Nubia during the mid-4th millennium BCE for more than a century,
although some attention has been given to the scientific value of the
anatomical examinations by Sir Grafton Elliot Smith and Frederic Wood
Jones in the last decades. The report on the human remains from
northern Lower Nubia shows ample evidence of violence in the proto-phase
graves of the A-Group people. The evidence is overwhelming when
considering that only a limited range of violent injuries cause changes
on the skeleton. The study of the human remains by Elliot Smith
and Wood Jones has probably been disregarded for so long because
archaeologists wish to distance themselves from the racist paradigm
these anatomists worked in. Without the evidence dealing with
violence, however, archaeologists have had the impression that the
contact zone between peoples in Upper Egypt and Lower Nubia during the
mid-4th millennium BCE was more peaceful than the violent cases I will
present suggest. In this analysis of the human remains, osteological
case descriptions are only provided for individuals with evidence of
healed or unhealed trauma related to interpersonal violence. Most of
these injuries are unambiguous traces of violence, but I cannot rule out
that some resulted from accidents.
The human remains in Cemetery 7 included two violent cases (Appendix
2). The male in grave 257 died from multiple blows to the head that
fractured several bones in his face. Besides the blunt violence, a piece
on the back of his skull had been cut away by a sharp weapon – probably
a copper-alloy implement. The female in grave 263 had a healed
parry fracture of her right ulna. This fracture is a typical defensive
injury. The graves of both victims were on the fringe of the
cemetery, and the male in grave 257 was probably the last individual to
be buried in the cemetery before abandonment. The male in grave
267 had a healed fracture probably unrelated to interpersonal
violence.
Injuries caused by violence were also recorded at Cemetery 14
(Appendix 3). The male in grave 10 died from excessive blunt force
violence to the skull, eight fractured ribs on his right side, and a
fracture on the right side of the pubis. The violence had caused much
bloodstaining of the bones. The female in grave 13 had a
perimortem fracture of a rib on the left side that had caused blood
stains on the bones. The injury happened at the time of her death.
The female in grave 19 had a healed fracture of the left ulna just above
the mid-point, which is most probably a parry fracture. The male
in grave 23 had a healed fracture of his right cheekbone, which is
an injury seen in assaults with blunt force violence.
In the A-Group graves of the proto-phase in Cemetery 17, two individuals
had antemortem fractures related to violence (Appendix 4). The male
in grave 29 had fractured the distal portion of the right ulna,
which suggests a parry fracture caused when fending a blow to the
head. Additionally, the mid-point of the left clavicle had a
healed fracture (Figure 7a).
A direct frontal blow with a
heavy device, like a mace, could inflict this injury. Both
injuries seem related to interpersonal violence and may have occurred
during a single attack. The male in grave 24 also had a healed fracture
of the middle of the right clavicle (Figure 7b).
Figure 7a: Healed fracture of clavicle from proto-phase A-Group graves in Cemetery 17. Male in grave 24. No scale. Drawing from Elliot Smith and Wood Jones (1910: figure 74).
Figure 7b: Healed fracture of clavicle from proto-phase A-Group graves in Cemetery 17. Male in grave 29. No scale. Drawing from Elliot Smith and Wood Jones (1910: fig. 75).
The archaeologists recorded no injuries related to interpersonal
violence at Cemetery 41/200, but the skeletal remains were fragmentary
and not prioritized for detailed anatomical study (Appendix
5).
Abundant skeletal evidence for interpersonal violence was recorded at
Cemetery 45 (Appendix 6). The elderly male in grave 211 appears to
have been executed by having the back of his neck cut with a sharp
instrument. This individual received seven incisions across the
posterior surface of two of the cervical vertebrae (Figure
8).
Figure 8: The male in grave 211 in Cemetery 45 had seven cut marks on his third and fourth cervical vertebrae. Drawing from Elliot Smith and Wood Jones (1910: fig. 69).
This practice of execution has in recent years been revealed
on a large scale at Hierakonpolis. The anatomists suggested that a
copper-alloy weapon had been used. The lowest cut probably caused
death as it “passed into the spinal canal by cutting off the tip of the
spine”. Furthermore, the male in grave 202 had perimortem
injuries on the right side of his chest. Five ribs were fractured and
had caused much blood-staining – especially around the nares suggesting
bleeding from the nose. The female in grave 201 had a healed
fracture through the left cheekbone, which is a common injury in
an assault with blunt force violence. Individuals in grave 204 and
235 had healed fractures most likely unrelated to interpersonal
violence.
7.1. Absent Skulls in the A-Group Cemeteries of the Proto-Phase¶
In addition to the violent deaths just described, the skull was missing
from several graves in the cemeteries of the A-Group predecessors. In
Cemetery 7, all skulls were present, but the skull of an adult male in
grave 226 was distorted and broken. In Cemetery 14, the skull was absent
from the male individuals in graves 8 and 12. In Cemetery 17, the
unsexed individual in grave 19 was missing the skull.
Cemetery 41/200 appears to have been vandalized in ancient times. The
bodies were all greatly disturbed, and skulls and other body parts were
missing. The male individuals in graves 227 and 238 lacked their
skull. Broken or smashed skulls were recorded in graves 205, 206,
216, 218, 219, 224, 235, and 236. These damages to the bones
occurred postmortem – possibly in acts of desecrating the corpse.
Moreover, the pots seem to have been broken intentionally in this
cemetery since only two were found complete. The later Naqada
inhabitants of the plain possibly vandalized the cemetery of the A-Group
predecessors.
In Cemetery 45/200, the skull was missing from the bodies of females in
graves 204, 223, 232, and 241, and of the male in grave 228.
Furthermore, the individuals buried in graves 203, 205, 212, 217, 218,
and 232 had their skulls broken postmortem. We saw above that the
male in grave 211 had been stabbed in the back of his neck seven times
with a sharp implement. The assault weapon was almost certainly a
copper-alloy dagger or spear. The attacker probably came from Upper
Egypt, since no large copper implements are known from the proto-phase
of the A-Group people. Copper-alloy daggers and spears have been found
in Upper Egypt in contexts dating to slightly later in the Naqada
period.
In the human skeleton, the joint between the skull and the atlas
vertebra is among the first fixtures to fall apart. Decomposition was
perhaps the means through which the skulls were separated from the
bodies. A pattern of vandalizing the bodies through removing or
crushing the head is appearing in the proto-phase cemeteries of the
A-Group people in northern Lower Nubia.
7.2. Capital Punishment at Hierakonpolis¶
Examinations of skeletal remains at Hierakonpolis show that stabbing in
the throat or full decapitations were relatively common in Cemetery HK
43 during Naqada IIA-C. In the excavated parts of the vast
cemetery, 21 individuals out of 453 had lacerated vertebrae, i.e. 4,6
per cent. The cut marks were observed on males in 52 per cent of
the cases, while 10 per cent were females. The remaining 38 per cent had
unidentified sex. Most of the people killed in this way were young
adults. The cut marks were found on several vertebrae, usually the
second and the third. The numerous lacerations suggest “repeated blows
with a lighter blade”. Based on the available weapon technology
during Naqada II, I suggest that the implements used were sharp pointed
weapons like daggers or spears of copper-alloy or flint. At
Hierakonpolis, the purpose of the stabbing was to sever the neck,
although complete decapitation also occurred.
The practices of decapitation and/or dismemberment in Upper Egypt are
often interpreted as rites of human sacrifice, like retainer sacrifices
in connection with the First Dynasty royal burials. David Wengrow
has suggested that dismembered bodies had received an alternative
treatment in death when the individual had established a greater social
network in life than the complete body could satisfy during the funerary
rituals. Different parts of the body could then be buried in different
locations and thus provide funerary ceremonies for more people.
The bodies with lacerated vertebrae in Cemetery HK43 seem incompatible
with these interpretations. The individuals at Hierakonpolis were not
sacrificed retainers, since elite graves were absent. Furthermore,
the graves of people with lacerated vertebrae in Cemetery HK43 had
hardly any grave goods, so they were not themselves belonging to an
elite with a large network. The violence performed on these poor people
at Hierakonpolis thus seems related to ceremonial executions of
criminals, which are later attested in Egypt. Sean P. Dougherty
and Renée Friedman indeed suggest that the people with severed necks in
Cemetery HK43 had received capital punishment.
I propose that we consider the possibility that the bodies
without heads dating to the proto-phase in northern Lower Nubia belonged
to A-Group predecessors killed in action and decapitated on the
battlefield. Decapitation of prisoners of war certainly was a
later practice in Egypt, as attested in iconography such as the Narmer
palette from the very beginning of the First Dynasty (Figure 9).
Figure 9: Detail of decapitated corpses on the obverse face of the Narmer palette (Egyptian Museum, Cairo JE 32169). Drawing by Henriette Hafsaas.
The
head could also have been removed after some time of exposure on the
battlefield. The Naqada people may have collected the skulls of fallen
victims of violence before their kinsmen could return to bury their
remains. Neither capital punishment nor dismembered and divided bodies
seem likely explanations for the missing skulls in the small-scale and
decentralized society of the A-Group predecessors.
7.3. Summary¶
The reassessment of the anatomical examination of the human remains from
the five A-Group cemeteries of the proto-phase demonstrates that of the
sample of preserved and examined bodies, five individuals had died of
violence and another six individuals had survived a violent attack
(Table 2). The sample consisted of 167 burials, and 7 per cent of
the population was affected by violence attested in the osteological
material. Most of the injuries seem to have been caused by blunt force
violence – most probably stone maces. However, two individuals died in
attacks where sharp force violence also was used – most likely
copper-alloy weapons. Both males and females were injured and killed in
these cemeteries (see Appendices 2-6).
Table 2. Violent deaths, violent injuries antemortem, missing skulls, and broken skulls in total and in per cent in A-Group cemeteries dating to the proto-phase. Data from Appendices 2-6.
Furthermore, nine individuals appear to have been buried without their
skull, and seventeen individuals were uncovered with their skull broken
(see Table 2). In the sample of 167 burials, the skull was missing
in 5 per cent of the graves. Additionally, 10 per cent of the burials
were found with the head broken. Relevant comparative evidence from the
Bronze Age is hard to find. Most cemeteries in Lower Nubia have been
plundered in ancient and modern times. Furthermore, the human remains in
Lower Nubia received less scientific attention after the first
investigation by Elliot Smith and Wood Jones and before the UNESCO
salvage campaign in the 1960s.
However, the data on violent deaths and injuries in these five
cemeteries shows that a high per centage of the population was affected
by violence, which is compatible with a context of inter-group violent
conflict. The frequency of interpersonal violence and missing skulls in
cemeteries in Lower Nubia is difficult to assess due to both the
widespread disturbances of the cemeteries and the inadequate attention
given to the human remains in many cemeteries further south.
8. Discussion of the Violent Clashes between A-Group Predecessors and Naqada People¶
The previous sections have emphasized three main sources of evidence for
war between Naqada intruders and native A-Group predecessors in the
region between the First Cataract and Bab el-Kalabsha in the mid-4th
millennium BCE. The most obvious evidence is the individuals killed or
injured by violence in the A-Group cemeteries of the proto-phase (see
Table 2). The second line of evidence is the Naqada cemetery
consisting of young males with weapons at Khor Bahan. The third source
of evidence is contextual with the shift in the settlement pattern as
the Naqada people expanded into northern Lower Nubia and the A-Group
predecessors retreated. I will now discuss how these findings can be
interpreted as a historical sequence with several episodes of violence
in a war between the Naqada people and the A-Group predecessors.
The Naqada people in Hierakonpolis and the A-Group people were aware of
each other even before they came into closer contact in northern Lower
Nubia in the mid-4th millennium BCE, since both groups sporadically
used the area between the First Cataract and Gebel es-Silsila in Upper
Egypt before the mid-4th millennium BCE. Imports in the graves
also demonstrate interaction. The region north of the First Cataract
thus appears as the first contact zone between the two
populations. Ongoing archaeological investigations north of the
First Cataract may provide further evidence for interaction between the
A-Group and the Naqada peoples throughout the 4th millennium
BCE.
The peoples from the nearest Naqada center at Hierakonpolis were probably
responsible for the violent Naqada expansion into Lower Nubia.
Hierakonpolis was the southernmost of the Predynastic centers in Upper
Egypt, and the site is situated around 130 kilometers downstream from
the First Cataract. During Naqada IC, Hierakonpolis had grown to a large
urban settlement, and the first elite cemetery including a tomb worthy
of a chieftain was established. The developments at Hierakonpolis caused
a rapid increase in the population, as confirmed by a
palaeodemographic examination of Cemetery HK43. Archaeobotanical
analyses demonstrate that the inhabitants subsisted on cereals,
especially emmer wheat, supplemented with herding livestock and
collecting wild plants. The flood plain was probably reaching the
carrying capacity needed to sustain the growing population with the
agricultural technology used at the time. Hierakonpolis needed more
land, but possibilities for expansion were limited in all directions.
Deserts encroached from the east and west, and the Nile Valley to the
north and south was already inhabited. To the north, the Naqada people
living in the Qena Bend were forming a chiefdom under the big man at
Naqada. Since the A-Group predecessors lived dispersed with a
decentralized organization, the chieftain of Hierakonpolis must have
calculated that it was possible to conquer northern Lower Nubia by
killing or displacing the inhabitants. Slightly before the
expansion into northern Lower Nubia considered in this article, Naqada
people had settled and established a cemetery at Kubbaniya between Gebel
el-Silsila and the First Cataract. Nubiologists often interpret
the Naqada cemetery at Kubbaniya in southern Upper Egypt as an A-Group
site, but the material culture is overwhelmingly Naqadian. For
instance, 31 palettes were made of siltstone, seven of other materials,
and only four of quartzite. Siltstone was the preferred material
for the Naqada people, while the A-Group people used other stones –
mainly white quartzite. The fertile plain at the mouth of Wadi
Kubbaniya was probably settled by Naqada people expanding
southwards. Another Naqada cemetery and settlement with potsherds
dating to Naqada IC was recently discovered at Nag el-Qarmila just to
the north of Wadi Kubbaniya. We do not know if the Naqada people
had to expel – violently or not – a native population before they
settled in this area.
I propose that the chieftains of Hierakonpolis dispatched several
warrior bands to fight the communities between the First Cataract and
Bab el-Kalabsha with the purpose to incorporate this territory into the
chiefdom of Hierakonpolis. The A-Group predecessors at Shellal probably
faced a violent attack by the Naqada people at the beginning of Naqada
IC. Two individuals in Cemetery 7 carried traces of violence on their
bones (see Appendix 2). The earliest A-Group occupation in this area
appears to have ended with the burial of a male killed by excessive
violence. His head was hit repeatedly with weapons causing both blunt
and sharp force injuries. According to both pictorial and archaeological
sources, the mace was the favoured weapon in hand-to-hand fighting in
the Nile Valley during the 4th millennium BCE. The final blow at
the back of his head was delivered with a copper-alloy axe or adze. This
weapon of prestigious metal signals high social status, so it was
probably the leader of the warrior band who gave him the final blow.
This sharp force injury is furthermore one of the earliest attested uses
of copper-alloy weapons in the Nile Valley. The A-Group predecessors
appear to have retreated southwards after this violent clash – probably
to the vicinity of Khor Ambukol and Khor Bahan where two contemporary
cemeteries are placed in proximity. These cemeteries were soon
afterwards abandoned due to new violent attacks.
The Naqada peoples buried in Cemetery 17 at Khor Bahan appear so
uniformly equipped with mace-heads and other weapons that they probably
formed a band of warriors under central command acting on the orders of
the chieftain of Hierakonpolis. Males constituted a majority of 94 per
cent of the burials in this cemetery (see Appendix 1). In addition,
seven graves with weapons but no body have been interpreted as cenotaphs
for killed warriors. The Naqada warriors buried at Khor Bahan
appear to have died young, which strongly suggests that the A-Group
predecessors fiercely fought back the intruders. Outnumbered by the
Naqada warriors, the A-Group predecessors probably attacked in ambushes.
The preferred weapons of ambushes during the Bronze Age were bows and
arrows. Warrior bands dispatched to foreign territory
traditionally consist of men, like the Naqada warriors in this
study. In defensive warfare in the vicinity of habitation sites, women
can participate in the fighting and thus be wounded or killed.
Females were among the killed and wounded in the cemeteries of the
A-Group predecessors in this study (see Appendices 2 to 6).
Violence can contribute to formalizing group identities. The
forging of new collective identities can take the form of ethnogenesis.
The A-Group predecessors needed to distinguish between friends and
enemies after the Naqada people attacked them. Moreover, it became
crucial to belong to a community larger than corporate lineage groups to
be protected, and thus essential to be recognized visually as different
from the enemy, whom the A-Group people appear to have attacked in
ambushes. The ethnic identity of the A-Group people was probably
established as they perceived themselves as culturally different from
the Naqada people and perhaps the A-Group predecessors saw themselves as
having common descent in accordance with a former lineage organization
of the society. The A-Group predecessors thus appear to have
conceived themselves as a distinctive cultural group in accordance with
the definition of ethnic groups presented initially. I thus see the
ethnogenesis of the A-Group predecessors from an emic perspective
placing the A-Group predecessors as actors forging their own ethnic
identity. The Naqada people also treated the A-Group predecessors
as culturally different, so the ethnic identity made an impact on their
relationship.
Interpreted together, the evidence presented strongly suggests that the
communities of native A-Group predecessors at Shellal, Khor Ambukol, and
Khor Bahan at first attempted to defend their territory when the Naqada
people entered the region during Naqada IC. The Naqada warriors buried
in Cemetery 17 indicate that the A-Group predecessors resisted the
expansion at a high cost of lives for the intruders. Despite opposition,
the warriors from Hierakonpolis achieved their mission – likely because
they were better organized by being trained for combat and better
equipped with specialized weapons of war, and they probably outnumbered
the A-Group predecessors. The first clashes ended when the native people
retreated, first from Shellal and then from Khor Ambukol and Khor Bahan.
The decisive battle probably took place near Khor Bahan where the Naqada
warriors were buried in the cemetery recently abandoned by the A-Group
predecessors. The graves of fallen warriors are usually located close to
the battlefield, and the graves without bodies suggest that not
all fallen warriors were brought back to the site for burial. After the
battle near Khor Bahan, the A-Group predecessors appear to have
resettled on the plains of Meris and Dehmit further south.
The next clashes took place soon afterwards at Meris and Dehmit. Beside
the violent deaths and injuries, I have identified a pattern where up to
12 per cent of the individuals in the cemeteries of the A-Group
predecessors in northern Lower Nubia were recorded with the skull
absent (see Table 2). Furthermore, up to 22 per cent of the
individuals had their skull broken post-mortem. Especially cemeteries 41
and 45 have high numbers of missing and broken skulls. Archaeologists
usually explain the absence of the skull in Nubia as an effect of grave
plundering, and this explanation may in many instances be valid.
However, the systematic pattern seen in the five cemeteries investigated
here may require a different explanation for why the skull was absent or
broken in so high numbers on a frontier with violent conflict.
As we saw in the examination of violence in the earliest A-Group
cemeteries, a male in grave 211 in Cemetery 45/200 had been stabbed in
the back of his neck seven times with a sharp implement – possibly a
copper-alloy dagger or spear (see Appendix 6). A reconstruction of
the violence placed the man prostrate with his face down in front of his
assailant who struck him seven times. If the weapon indeed was a
copper-alloy dagger or spear, as suggested from the cut marks and
comparable decapitations at Hierakonpolis, then his attacker was
probably coming from Upper Egypt. Only the Naqada people had access to
copper-alloy weapons at this time. By considering the context of war
between the Naqada people and A-Group predecessors, the male had
probably been wounded by an arrowshot or taken captive, and then
finished off by the stabbing in the neck. The missing skulls in other
A-Group cemeteries of the proto-phase could have been executions of
wounded warriors in skirmishes with Naqada people. More in line with the
evidence, the head was possibly removed postmortem after some time of
decomposition on the battlefield before the body was buried by the next
of kin. The removals of the heads were probably undertaken in acts of
ritual violence. Postmortem violence and humiliation of the enemy is
also attested in Syria in the mid-4th millennium BCE.
The seizure, modification, and display of human body parts as trophies
have been practiced worldwide since prehistoric times.
Decapitation was also practiced in Upper Egypt – even at the
contemporary and neighbouring center of Hierakonpolis. The head is
considered the most prestigious trophy since the head is believed to
contain the individual’s spirit. Simon Harrison has argued that
headhunting is a device to mask or deny the humanness of a chosen
category of people in societies where male identity is related to
hunting animals. Moreover, Harrison suggests that actors created
and negotiated group boundaries and thus the groups themselves through
such practices:
“[H]eads were taken not because the victims were distant strangers,
but to make them distant, to generate estrangement, and ‘produce’ a
category of people as enemies with whom to fight.”
This quote seems analogous to the war between the Naqada people and the
A-Group predecessors in northern Lower Nubia after the first clashes.
Masculine identity at Hierakonpolis appears associated with hunting and
warfare during Naqada IC-IIA, and I suggest that headhunting in northern
Lower Nubia was related to creating and negotiating a boundary between
the A-Group predecessors and the Naqada peoples. The Naqada people
needed to make the A-Group predecessors more distant to justify
expelling them from their land.
The presence of competition and conflict can intensify ethnic
polarization. The Naqada people and the A-Group predecessors
shared cultural similarities from a Neolithic body-centred habitus, like
contracted burials on the side and cosmetic palettes. Although the
first violent confrontation provoked an ethnogenesis among the A-Group
predecessors, the Naqada people proceeded to make them more different
after the first clashes. The next process of differentiation between the
A-Group and the Naqada peoples is comparable to a schismogenesis,
whereby cultural groups define themselves against each other.
9. Concluding Remarks on Ethnogenesis and Schismogenesis in Lower Nubia¶
In this article, I have argued that two culturally related, but
distinctive populations – the Naqada people and the A-Group
predecessors – clashed in deadly battles in northern Lower Nubia in the
mid-4th millennium BCE. Since the first violent clashes of the two
groups, the people north and south of the First Cataract region came to
perceive themselves as culturally different. The violent conflict arose
from increased contact and intensive competition for territory and
resources. This context furthermore created the social environment where
the forging of an ethnic identity became necessary for the A-Group
predecessors. The Naqada people also recognized the A-Group predecessors
as different from themselves, and ethnicity became an organizational
factor in the relationship between the two groups.
The war was instigated by a violent expansion of the Naqada people from
Hierakonpolis. Several episodes of violence can be detected with
probable battles at Shellal, Khor Bahan, and Dehmit. The first violent
clashes at Shellal and Khor Bahan instigated the confrontational
ethnogenesis of the A-Group predecessors. The conflict escalated with
new violent clashes near Meris and Dehmit. Headhunting appears to have
contributed to a schismogenesis by dehumanizing the other. The A-Group
predecessors and the Naqada people increasingly came to define
themselves in opposition to each other, and their cultural and social
differences continued to widen with time. For the latter half of the
4th millennium BCE, the A-Group people left a distinctive
archaeological heritage in the region between Bab el-Kalabsha in northern Lower Nubia and Batn
el-Hajar above the Second Cataract.
When the ethnic boundary was in place, the Naqada people established at
least eight sites in northern Lower Nubia. The narrow passage with
towering cliffs at Bab el-Kalabsha was a natural position for exercising
territorial control, and the distribution of sites suggests that this
was the border between A-Group and Naqada territory. During the Early
A-Group phase, the A-Group people and the Naqada people
started interacting in peaceful ways across the ethnic boundary.
Exchange between the Naqada people and the A-Group people made it
profitable to belong to the A-Group people as the whole community
prospered. The Naqada people retreated from
northern Lower Nubia with the establishment of the southern border of
the dynastic and territorial state of Egypt at the First Cataract at the
shift between Naqada IIIB and IIIC around 3085 BCE. The A-Group
people became eradicated as an ethnic group when the newly founded state
of ancient Egypt undertook a violent expansion into Lower Nubia after
ca. 3085 BCE.
10. Appendices¶
Appendix 1: Human remains and weapons in the Naqada graves in Cemetery 17. Data from Elliot Smith and Wood Jones (1910) and Reisner (1910).
Appendix 2: Burials with human remains and osteological case descriptions for individuals with evidence of healed or unhealed trauma related to interpersonal violence in Cemetery 7. Data from Elliot Smith and Wood Jones (1910).
Appendix 3: Burials with human remains in Cemetery 14. Osteological case descriptions for individuals with evidence of trauma related to interpersonal violence and absent or broken skulls. Data from Elliot Smith and Wood Jones (1910).
Appendix 4: Burials with human remains in the A-Group predecessor part of Cemetery 17. Osteological case descriptions for individuals with evidence of trauma related to interpersonal violence and absent skull. Data from Elliot Smith and Wood Jones (1910).
Appendix 5: Burials with human remains and individuals with absent or broken skulls in Cemetery 41. Data from Elliot Smith and Wood Jones (1910).
Appendix 6: Burials with human remains in Cemetery 45. Osteological case descriptions for individuals with evidence of trauma related to interpersonal violence and absent or broken skulls. Data from Elliot Smith and Wood Jones (1910).
11. Acknowledgements¶
This article is an expansion of ideas first presented in my ph.d.-thesis
War on the Southern Frontier of the Emerging State of Ancient Egypt
(2015). I would like to express my gratitude to Stuart Tyson Smith and
Rennan Lemos for conducting an open peer-review of this article. They
provided thoughtful suggestions, and their constructive comments helped
to improve the quality and clarity of the argument. I also wish to thank
Alexandros Tsakos for handling the peer-review process of this article
and reading the final draft. His attention to detail has improved the
final product. Any remaining errors are my own.
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article⁄The Archers of Kerma: Warrior Image and Birth of a State
abstract⁄A research programme conducted by the Swiss archaeological mission in the oldest sectors of the Eastern Cemetery of Kerma has uncovered the tombs of several dozen archers. The appearance of these armed warriors dating from ca. 2300 BC onwards can be put in parallel with the resumption of commercial activities between Egypt and Nubia, illustrated by the Harkhuf expeditions. The archers and their warrior attributes probably participate in the emergence of kingship ca. 2000 BC, which takes control of the commercial axis along the Nile and is illustrated by the accumulation of wealth and the development of servitude. This article proposes to describe these Kerma archers and then to look at the evolution of funerary rites that show in their own way how a social hierarchy emerges that will lead to the birth of a state, in this instance the kingdom of Kerma.
keywords⁄archers, warriors, Kerma, kingdom, social stratification
1. Introduction¶
It is known that at the time of the Egyptian Kingdom, Nubia represented
a neighbouring and often rival entity, extending from the 1st to the
5th Cataracts. Its renowned warriors are represented by archers and are
depicted on numerous occasions in the Nile valley, on stelae, engraved
rocks, bas-reliefs and painted tomb walls. As early as the Old
Kingdom, archers were enrolled in the Egyptian armies as mercenaries and
probably formed troops, as shown by the model representing them in the
tomb of Prince Mesheti (11th Dynasty). The territory of Nubia is
itself designated from the beginning of the 3rd millennium by a
hieroglyph in the shape of a bow, Ta-Sety, which means the land of the
bow. Despite this evidence of the importance of these warriors and their
weapons, archaeological attestations of tombs of Nubian archers contemporary
with the Egyptian Kingdom are anecdotal. Only a few tombs from the Kerma
period (2550-1480 BC) have been reported by Charles Bonnet in his
excavation reports on the Eastern Cemetery of Kerma. His most
important discovery consists of an almost intact tomb of a naturally
mummified archer (Figure 1). Also dating from the Kerma ancien II phase
(2300-2150 BC), the same tomb contained the body of a young man, whose head
had been displaced by grave-robbers. He was accompanied by arrow
remains and two bows of simple curvature, 120 cm long. One of the bows
was decorated with a plume of ostrich feathers.
Figure 1. Reconstruction of the grave of the mummified archer excavated by Bonnet (1982), made with the original natural mummy, pottery and plume of ostrich feathers (Kerma ancien II, 2300-2150 BC)
The Eastern Cemetery of the Kingdom of Kerma is known for the
abundance of weapons found in its tombs as well as the abundant evidence
of trauma found on the skeletons there.
Figure 2. Plan of the Eastern Cemetery with the locations of large graves excavated since the early 20th century identified. The sectors investigated by Reisner between 1913-1916 are indicated. Sectors 1-27 were excavated by Bonnet between 1980-1997, whilst Sectors 27-31, as well as Sector 8, have been excavated or re-examined during our excavations which began in 2008.
These observations led to the
view of this society as a warlike aristocracy, where testimonies of
violence were common. These reflections have so far focused on the final
phase of the cemetery and of the Kingdom (1750-1500 BC), best known
thanks to the work of George A. Reisner, undertaken at the beginning of
the 20th century. Since then, excavations were undertaken between
1979 and 1999 by Charles Bonnet, who investigated 27 sectors spread over
its entire surface (Figure 2), and between 2008 and 2018, we have
undertaken systematic excavations in sectors of the early stages of the
cemetery (2550-1950 BC), that correspond to the formation of the Kingdom
of Kerma. They provide previously unpublished information on the
appearance of the first warriors in the form of the famous Nubian
archers, on cases of violence, as well as on the phenomena of servitude,
wealth, and funerary ostentation that was co-eval with the birth of the
kingdom and its domination over a large part of Upper Nubia.
2. The Eastern Cemetery of Kerma and its New Excavation¶
As part of our programme on the evolution of society in Early Kerma, we
have reinvestigated and completed the excavations of Sectors 23, 27, and
8, and have opened Sectors 28, 29, 30, and 31 (Figure 3). The tombs have
been systematically excavated, taking into account information on the
surface (burial mounds, ceramic deposits, bucrania, fireplaces, and post
holes) and collecting the material contained in the tombs and infill of
the pits. Knowing that more than 99% of the graves dating from this
period of the necropolis' utilisation were subsequently looted, the
infill of the pits is often the only way to get an idea of the contents
of the tomb and of the ceramics placed on the surface beside the mound.
The work undertaken in recent years has made it possible to build a
precise chronology for the early phases of the cemetery, from the
beginning of Early Kerma to the beginning of Middle Kerma. The study and
spatial distribution of the 409 tombs excavated since 2008 allows us to
follow in detail each stage from the evolution of funeral rites. An
absolute chronology was constructed using 23 14C dates that were
confronted with the typology of Kerma pottery and Egyptian imports, and
this makes it possible to distinguish five successive phases between
2550 and 1950 BC: Kerma ancien 0, I, II, III, and Kerma moyen I
(Figure 3).
Figure 3. Map of the Early Kerma and early Middle Kerma sectors in the Eastern Cemetery. From the initial installation in Kerma ancien 0 (2550-2450 BC) to the emergence of the first royal tomb in Kerma moyen I (2050-1950 BC), the dimensions of the tombs increase, the rituals become more complex and the hierarchisation of society increases until the appearance of a royalty.
We thus have a relatively precise chronological framework
which highlights five distinct phases of relatively short duration from
the beginning of Early Kerma to the Middle Kerma.
Regarding the spatial
analysis, the first observed tendency during this evolution appears to
be the progressive increase in the size of the graves’ pits. These are
small and rectangular during Kerma ancien 0 (average surface of 0.9
m2), becoming oval and only marginally larger during Kerma ancien I
(average surface of 1.2 m2). It is only from Kerma ancien II that
they mostly become larger and more circular (average surface of 4.2
m2), with this tendency continuing in Kerma ancien III, with the
larger pits attaining a diameter exceeding 4 metres, occasionally more
quadrangular than circular (average surface of 5 m2). Then, in Kerma
moyen I appeared the first royal graves with a diameter ranging between
7 to 10 metres.
In the oldest sectors (Kerma ancien 0 and I) the tombs are all of
equal size and their contents do not give the image of strong social
distinction. As is the rule in the Kerma period, the bodies are laid on
their right side, head towards the east. The objects found in the tombs
are not very abundant and metal (gold, copper alloy) is very rare. With
regards to pottery, there is a marked presence of C-Group pots, which
becomes more discrete over time.
The Kerma ancien II phase shows spectacular changes in the funerary
rites, compared to the earlier phases in the cemetery. The tombs are
generally larger and contain more objects. Metal is more regularly
attested, notably in the form of bronze mirrors and gold necklaces or
pendants. Animal sacrifices make their appearance (dogs, caprines) as
well as bucrania in front of some tumuli. Tombs with multiple burials
are also more frequent, indicating the development of accompanying or
sacrificed people, which will increase significantly in the succeeding
periods. The distinction between male and female graves becomes
systematic and stereotyped (Figure 4). If the buried women are
systematically endowed with a stick, an ornament, and sometimes
particular objects or tools such as potter's tools, the male tombs are
systematically endowed with a bow.
During the Kerma ancien III phase, the same tendencies identified in
the previous phase continued. In the sectors of this period, we noticed
that young boys' graves were also accompanied by bows (Figure 5).
Figure 4. Graves of an archer and of a woman with a stick of the Kerma ancien II Phase (2300-2100 BC), found in Sector 23 of the Easter Cemetery of Kerma. The grave of the archer contained two individuals: a young man in the central position and a woman placed by his side. A dog, a bow, an ostrich feathers fan, and a bronze mirror accompanied the young man. The grave with a wooden stick contained a woman aged 20-29 years. Both graves were partially plundered and a part of the skeletons is here reconstructed.
The
four youngest individuals with a bow are less than 4 years old and the
one in Figure 5 has a bow that is too large for his age.
Figure 5. Intact grave of a 1.5-year-old child with a bow, a cushion made of vegetable matter, and a pot (Kerma ancien III, Sector 29). As is the rule in Kerma graves, the body was placed on a carefully cut piece of bovine pelt.
This
observation and their age – less than two years for two of them –
shows that these bows are not necessarily placed in tombs to express the
activity of the deceased, but also have a symbolic connotation related
to male status. The richest graves sometimes distinguish themselves in a
more spectacular manner. One of them had 50 aligned bucrania to the
south and 38 decorated pots on the surface. It is at the beginning of
Middle Kerma (Kerma moyen I) that the first royal graves appeared,
like that recently discovered in Sector 31 of which the diameter exceeds 10
metres and has over 1400 bucrania laid out in front of the tumulus.
Figure 6. Middle Kerma grave with bucrania deposited south of the tumuli and a mud-brick chapel located to the west (ca. 1900 BC).
Differences between burials increase during Middle Kerma and for this
period it is not rare to find grave-pits of up to 10-15 meters in
diameter. This ranking between burials suggests a stratified society,
which would culminate at the end of the Kingdom of Kerma. The central
inhumations in the largest tumuli are supposed to be the graves of the
rulers; the other tumuli could belong to high status individuals or to
free men and women. In certain instances a mud-brick chapel was
erected on the west side of the tumulus (Figure 6).
During Classic Kerma the diameter of the largest graves is between 30
and 90 meters. The three most famous ones were built to a
uniform size with tumuli approximately 90 meters in diameter (KIII, IV,
X). Composed of a complex internal structure of mud-brick walls with a
corridor giving access to a central vaulted chamber, these tumuli are assumed to
belong to the most powerful rulers of Kerma. The
grave goods found in these burials and in some subsidiary ones were
particularly elaborate and the proportion of Egyptian imports high.
Two monumental funerary temples (KI, KXI) were erected north-west of the
tumuli KIII and KX. The Eastern Cemetery was abandoned as a location for
royal burials during the conquest of Kush by the Egyptians of the 18th
Dynasty, about 1500 BC. A last royal grave was erected 4 km to the west,
south of the ancient town of Kerma and dates about 1480 BC.
3. The Archers’ Graves¶
From the Kerma ancien II to the Kerma moyen I phases onwards (Figure
3) all male tombs that we excavated between 2008 and 2018 are equipped
with a bow, even those of children. Of course, many graves are too
looted to conclude that archery equipment was present, but as soon as
the grave is better preserved, the presence of archery elements is
attested, the smallest clue being the presence of the string made of
twisted sinews, probably from sheep or goats (Figure 7). In view of the
number of graves excavated, we can therefore suppose that the presence
of men or boys with weapons is systematic for the earlier phases.
However, it is not possible to conclude definitively that the presence
of male archers was systematic for all phases of the Eastern Cemetery
without looking at the previous excavations of Reisner and Bonnet.
Figure 7. Bowstring made of sheep’s or goat’s sinew with a fixation system at one end.
The "Cemetery North", close to our excavations (2008-2018), was
excavated in 1915 by Reisner and in 1916 by his assistant W. G. Kemp
(135 graves). The documentation published after the death of
Reisner is of lesser quality than for the southern part of the cemetery,
corresponding to Classic Kerma and excavated in 1913-1914. The
tombs excavated by Kemp have not been spatially located. Nevertheless,
we know from our excavations that the "Cemetery N" covers the Kerma
ancien III and Kerma moyen I phases. The documentation identifies the
grave of a woman with a staff, but there is no evidence of bows. In view
of the discreet nature of the evidence for archery, we believe that it
has simply not been identified. It must be said that the tombs were
systematically excavated by Egyptians from the village of Kouft,
assisted by Nubians. It is therefore very likely that they simply did
not observe these fleeting remains.
In the “Cemetery M” (Middle Kerma,
see figure 3), the documentation, published with that of the “Cemetery N”,
is not better than the latter. No archer or bow was identified. It is
only in Classic Kerma that this practice seems to disappear, according
to Reisner’s documentation, which is of much better quality than
that published by Dunham. It must be said that this part of the
cemetery is different from that of Early and Middle Kerma. Our demographic
estimate for the Eastern Cemetery suggests at least 36,000 buried individuals,
but those attributed to Classic Kerma envelops only 700 individuals.
Simulations of burial recruitment show that this part of the cemetery
is the most selective and contains only a small section of the ruling class,
in contrast to earlier periods. At this time, the armed persons are accompanied by
daggers, which led Hafsaas to conclude that there was a warrior
elite displaying this type of weapon, as was the case in Europe in the
Late Bronze and Iron Ages.
In the excavations of Bonnet, which involved just over 250 tombs, a few
archers were identified. Again, the excavations were carried out almost
systematically by Nubian excavators who were not trained to find small
remains as bow stings. Nevertheless, Bonnet reports the presence of some
archers in Early Kerma sectors, as well as in Middle Kerma sectors. The
famous mummy of an archer (Figure 1) comes from Sector 4 (Kerma
ancien II) and five other graves of archers were excavated in Sector 23
(Kerma ancien II). For Middle Kerma, two graves of archers
were discovered in Sector 9 and one in Sector 11 (Kerma moyen I), as
well as another in sector 20 (Kerma moyen IV). Finally, we had
the opportunity to excavate a grave in sector 24 (Kerma moyen V) which
contained 36 lunates corresponding to arrowheads. From all these
observations, we can assume that the tradition of male burials as
archers started in the Kerma ancien II phase and must have continued
until the end of Middle Kerma.
Figure 8a. Plundered grave containing an adult with his leather loincloth and a double bend bow (Kerma ancien II, Sector 23). For detail of the bow, see figure 8b
Let us return to the archers' graves of the oldest sectors. Their
equipment consists of:
- One or two bows, single or double-curved (Figures 8a and 8b). It seems to us
that not too much should be made of this distinction, because the double
curvature can be achieved by deformation. It does not necessarily
suggest a composite bow, attested in Egypt later and supposedly
introduced by the Hyksos. The bow with a double curvature does not
necessarily imply that it is composite, which is a far more
sophisticated manufacturing technique, since it is not attested in
Africa at this time. On the other hand, ethnographic material describes
simple techniques to obtain a strong incurvation of the extremities of
the bow, which consist in bending the wood by means of ligaments and
forms. It is probably the use of similar techniques which explain
the well-attested differences in the Nubian bows. The most common
dimension is 120 cm, but two larger bows, about 150 cm long, have been
found. In a child’s tomb, a small model, about 90 cm long, was
discovered. The remains of bow-strings have often been found in situ
alongside the bow. In some instances, the extent of the bow’s curvature
leads one to believe that it was strung when placed in the tomb. The bow
is always placed to the north of the body, close to the hands. It is
occasionally decorated with a plume of ostrich feathers at its extremity
(Figure 9). It has not been possible to identify the species of wood used
to manufacture the bows since these had been too severely damaged by
termites.
Figure 8b. Detail of a double bend bow whose length is over 1,5 m (Kerma ancien II, Sector 23).
Figure 9. Plume of ostrich feathers with a string, which was rolled up at the extremity of the bow (Kerma ancien II, Sector 23).
- Reed arrows with a tail and several embedded microliths, similar
to the arrows of Naga-ed-Der in Egypt, dated to the 6th to 12th
Dynasty, i.e., a period contemporaneous with Middle Kerma. The
arrowheads are lunates made of quartz, carnelian, or sometimes flint
(Figure 10). The few surviving examples correspond to the A3 type of
fitting defined by Clark et al. with one lunate placed at the tip of the
arrow and the other two at the sides. The arrows would have been
inserted in a quiver, but in at least one instance they were placed
directly in the archer's left hand.
Figure 10. Middle Kerma quartz and carnelian lunates used as arrowheads (Kerma moyen V, Sector 24).
- A goat-skin leather quiver. Its presence in the tombs is not
systematic, but we have been able to identify seven more or less
complete ones. They are sewn, some wide and rather short, while others
are more slender, like the example in Figure 11.
Figure 11. Leather quiver 72 cm long with braided leather strap attachment (Kerma moyen I, Sector 31).
- A leather archer's wrist-guard of a specific model that seems to be
typical of the Kerma tradition (Figure 12). These have been found in a few
cases in situ, on the left wrist of the deceased (Figure 13), they are
always of the same design, with the protective part provided with two
concave sides and a pointed end. Some similar specimens are known from
Egypt in the mass grave of soldiers found at Deir el-Bahari of the 12th
Dynasty. This type of wrist-guard is unusual in Egypt and some
authors considered it to have come from the north, but it probably
belongs to Nubian archers originally attached to the Kerma culture.
Figure 12. Leather archer’s wrist-guard (Kerma moyen I, Sector 8).
Figure 13. Intact grave of an 18 years old archer. He wore a necklace with a Red Sea shell pendant, an ostrich feather fan, an archer’s wrist-guard on his left wrist, and a sheepskin loincloth covering his hips and legs. He held a few arrows in his hands and a bow was placed beside him, of which only a few traces were left by termites. At his feet, a sacrificial ram is tied with a rope that goes around the archer’s waist several times (Kerma moyen I, Sector 31).
Figure 14. Detail of a Nubian archer depicted on a fresco from the Temple of Amun at Beit El-Wali that describes the expedition of Rameses II to Nubia (New Kingdom).
These observations will be the subject of more detailed descriptions in
the future, especially the numerous leather objects, which are the
subject of a recently started PhD thesis. Of all the tombs
excavated, only two adult tombs were almost (Figure 1) or completely
intact (Figure 13). Enriched by the observations made on the other male
tombs, it is possible to reconstruct the appearance of these archers,
who resemble quite closely the representations made by the Egyptians,
notably those on the temple of Amun at Beit El-Wali, which describe the
expedition of Rameses II in Nubia (Figure 14). Although later than the
tombs where we made our observations, the white earrings of the men
depicted in these frescoes are the same as those that first appear in
the Kerma ancien II phase and continue thereafter. In fact, these
earrings obtained from a Nile shell were found only in male tombs (Figure
15).
Figure 15. Shell earrings from male graves (Kerma ancien II, Sector 23). Their diameter is between 2 and 3 cm.
Similarly, the men of Kerma wear a sheep-skin loincloth that still
has its wool, which can be dark brown, beige, or quite frequently
bicoloured, with alternating black and beige spots (Figure 16).
Figure 16. Sheep-skin loincloth that still has its wool (Kerma ancien I, Sector 27). The bicoloured fur is composed of black and beige spots.
This
bicoloured fur, which bears witness to a selection process resulting
from advanced domestication, could be a form of imitation of the
coat of leopards such as those found on Egyptian frescoes. However, we
never found a leopard-skin loincloth during our excavations in the
Eastern Cemetery. Moreover, we cannot exclude that some archers were
naked and did not wear a loincloth, as suggested by an engraving from
Wadi Sabu at the 3rd cataract where a series of six archers
wearing a feather on their head, are rendered in a figurative style very
close to that observed at Kerma (Figure 17); among this group, only one archer
is wearing a loincloth, while the others are naked. Finally, we did not
have occasion to observe the presence of a feather belonging to the
headdress of the buried, but Bonnet points out the trace of a headband
in the tomb of a mummified archer (Figure 1) that could have served to
attach a feather.
Figure 17. Scene representing archers on a rock engraving at the 3rd cataract (Wadi Es-Sabu, 3rd or 2nd millennium BC, height of archers about 15 cm). One of them wears a loin-cloth and all have a head dress made of an ostrich feather, a typical Nubian adornment frequently used by the Egyptians when representing their southern neighbours.
4. Evolution of Funeral Rites and the Emergence of a State¶
At Kerma men and boys of all ages are systematically buried with their
archers' equipment from about 2300 BC onwards and this continues for
several centuries, probably until the end of Middle Kerma about 1750
BC. Clearly, there is a symbolic dimension to this display, underscored
by the fact that even children as young as 1,5 years old are equipped
with bows. Moreover, researchers have repeatedly pointed out that there
are numerous instances of evidence for violence in the Classic Kerma
part of the cemetery, and the anthropologist working on the
skeletons of Early Kerma has also noted the abundance of such evidence,
especially on young men. It must therefore be admitted that the
presence of archers cannot only be symbolic and that it also reflects
the status of these warriors who were perhaps trained in the handling
of the bow from a very young age. As reported by the Egyptians, this
weapon was of major importance in Nubia and at the time of Early Kerma,
the hundreds of excavated tombs did not reveal many other kinds of
weapons. Mace heads are exceptional in this period and we found only
one in 409 excavated tombs. Spears must have been made of wood or
composite material as we found a long point manufactured from a mammal
long bone that could have been the apex of a spear. As for copper alloy
daggers, they only appear at the end of Early Kerma and become more
numerous during Middle Kerma, becoming more elongated, to finally be
replaced by the daggers of Classic Kerma. We can also point out the
wooden throwing sticks or the several bronze spearheads, but the aim is
not to draw up a complete inventory of weapons, an exercise that has
already been done for weapons in this necropolis.
If we have already underlined that it is from the Kerma ancien II
phase (2300-2150 BC) that the distinctions between the tombs begin to be
marked, this tendency will be reinforced thereafter to culminate with
the appearance of the first royal tombs of the Kerma moyen I phase
(2050-1950 BC). These tombs, unfortunately looted, are notable for their
size (7 to 10 m in diameter for the pit, 12 to 15 m for the tumulus),
for the hundreds or even thousands of bucrania deposited to the south of
the tumulus, but also for the quantity of fine ceramics laid out inside
the pit and around the tumulus. Other criteria, such as the animal and
human sacrifices – which some prefer to call accompanying deaths –
also underline the status of the individuals insofar as their number is
proportional to the dimensions of the grave. Finally, the quantity of
Egyptian ceramics gives an idea of the intensity of exchanges (Figure
18).
Figure 18. Competitive lavish funerals are evidenced by the increase of deposits of exotics goods in and next to the grave, ‘sacrificed people’, bucrania, and elaborate funerary pots. The proportions were calculated on the basis of 409 graves excavated between 2008 and 2018 (Honegger 2018b).
During the first phase of the Eastern Cemetery, exchanges with Egypt are
already significant and it is possible that the presence of several
C-Group features is evidence of important contacts between Upper and
Lower Nubia. During the next phase exchanges decline, a sign of a
certain loss of Egyptian control over Lower Nubia as has already been
pointed out. It is during the Kerma ancien II phase (2300-2150
BC) that imports increase again. It is also from this time onwards that
the archers' tombs appear, that the distinctions between the tombs
start to be significant, and that wealth becomes more important,
notably through the presence of Egyptian copper alloy mirrors, which
tend to attract the interest of looters.
It is precisely during this phase that Egyptian sources mention the
famous expeditions of Harkhuf, a high dignitary from Aswan. His tomb,
covered with inscriptions, relates the story of his three journeys to
Nubia commissioned by the pharaohs Merenre I and Pepi II around 2250
BC. These were obviously expeditions aimed at reopening trade routes by
making contact and trading with the Nubian populations located south of
the 2nd cataract. The narrative tells us that several populations
or tribes populate Nubia and do not necessarily maintain peaceful
relations between them. These groups are already hierarchical with
dominant personalities capable of gathering armed men in quantity,
goods, and donkeys by the dozen, to accompany Harkhuf and his escort. It
is likely that Kerma then developed a coercive policy to ensure the
control of the lucrative trade with the Egyptians in an atmosphere of
conflicts between tribes or lineages. The valorisation of the role of
warriors in funeral rites could be a consequence of this.
From this point onwards, indications of a more marked social
stratification rapidly increase alongside a growth of imports,
human sacrifices, bucrania in front of the largest tombs, as well as
red fine ware with black rims, whose decorations multiply (Figure 18).
One can imagine a competition between dominant lineages, as we have
suggested in an analysis of the significance of fine ceramics and their
decorations. This competition would have lead to the emergence of a
dominant lineage that concentrated wealth and showed it in funeral rites,
as exemplified by the first royal tombs, which appear around 2000 BC (Figure 19).
It is from this period onwards that the necropolis will undergo a spectacular
development, much more important demographically than natural population
growth could allow. Kerma must therefore have been the centre of the
kingdom from this period onwards and attracted populations from its
kingdom to settle in the region.
Figure 19. View of the first Kerma royal tomb (Kerma moyen I, 2050-1950 BC). One can see the edge of the burial tumulus made of earth and stones, the post holes of a wooden architectural structure inside the burial pit and more than 1400 bucrania to the south of the tomb. The diameter of the burial pit is about 10 metres.
5. Bibliography¶
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article⁄Gender as Frame of War in Ancient Nubia
author⁄
Uroš Matić, Austrian Archaeological Institute, Austrian Academy of Sciences.
abstract⁄Gender research in Sudan archaeology and Meroitic studies is a nascent field. Studies of gender are especially lacking in investigations concerning war and violence, which are usually written from an androcentric perspective, and often focus solely on soldiers, army, weaponry, and images of battles and enemies. The experiences of non-combatants in the context of war in ancient Nubia are rarely considered; nor is the gender background of war. This paper deals with gender structure in the lists of spoils of war, women and children as prisoners of war, feminization of enemies in royal texts, participation of royal women in war, and depictions of royal women smiting enemies. In gender as a frame of war, Kushite kings were represented as masculine and their enemies as feminine. This binary opposition has also been observed in ancient Egyptian and Neo-Assyrian sources, and was clearly a shared vocabulary of the great powers of the second and first millennium BCE. Such a frame of war was based on a gender disposition of men as active and strong, and women as passive and weak. It “naturalized” Kushite domination over their enemies just as it “naturalized” male domination in Kush. However, the participation of Meroitic queens in conflicts and their depictions smiting enemies shows how the visual vocabulary of violence can be utilized even by some women, in their own expressions of power.
keywords⁄ancient Nubia, war, violence, gender, women, children
1. Introduction¶
Gender studies in archaeology have moved a long way from the initial
criticism of androcentrism (criticism of androcentric and
heteronormative interpretations of the past, giving voices to ancient
women, recognizing different genders behind the archaeological record),
to viewing gender as a system or a result of performative practices.
These developments in gender archaeology are not necessarily the same in
all archaeological communities. In studies of ancient Sudan, gender
studies have been introduced first through research of prehistoric and
protohistoric societies and then through focus on Kushite royal
women and the concept of queenship. The topic has been broadened by
analyzing gender crossed with other aspects of identity, such as age,
resulting in an intersectional understanding of identity in ancient
Sudan. The focus in studies of ancient Sudan still seems to be
largely on men (implicitly or explicitly), although recently, overviews
on women, including non-royal women, have been published. Only few
authors focused on masculinity. However, studies of gender are still
far from being fully acknowledged in research on ancient Sudan. This is
demonstrated by the lack of an entry on gender in even the most recent
handbooks.
In recent years, gender archaeologies are tackling a wide variety of
different problems, offering equally varied approaches. Two related
topics which have lately attracted the attention of several scholars are
gendered violence and gender as a form of symbolic violence. Whereas
scholars of the first search for evidence of quite specific gender
patterns behind violent acts, scholars of the second argue that gender
itself is a form of violence, because gender brings different people
into asymmetrical relations of power in different domains. The idea that
gender can be a form of symbolic violence is inherited from sociologist
Pierre Bourdieu and philosopher Slavoj Žižek and has been only recently
applied to archaeology. These discussions remind us that it is
fruitful to think about gender from the point of view of violence, and
to think about violence from the point of view of gender.
War is typically a sphere of past social action about which
archaeologists and historians usually write from a male perspective and
with the sole focus on men. The participation of women and their
experiences are rarely addressed. War and violence in ancient Sudan
are fields still largely dominated by male authors. This
androcentric perspective rarely takes into account gender as a social
category and tends to implicitly focus only on combatant men. As a
result, we are left with numerous valuable contributions on Kushite
representations of war, enemies, weaponry etc. However, a gender
perspective is lacking in almost all of them. This does not mean that
the effort to find women in such contexts or to relate these contexts to women is
that which is lacking, although this is true too. What is missing, is a
perspective on both masculinity and femininity as socio-culturally
determined categories coming from a specific gender system. Until
recently, this was also the case in Egyptology. However, some recent
studies focusing on war in ancient Egypt have shown the potential of
implementing ideas and concepts coming from gender studies. One of
these concepts is the ‘frames of war’. The concept of the frames of war
was developed by American philosopher Judith Butler, who demonstrated
the way some political forces frame violence in modern media. Frames
of war are operations of power which seek to contain, convey, and
determine what is seen and what is real. They are the ways of
selectively carving up experience as essential to the conduct of
war. Butler argues that, by regulating perspective in addition to
content, state authorities are clearly interested in controlling the
visual modes of participation in war. The study by Butler on frames
of war is essential for our understanding of how modern media
creates the experience of war, whether and where they find a place for
non-combatants, and how victory and defeat are presented. In this
process, different genders are represented as differently positioned,
depending on other identity categories such as age or status in an
intersectional manner. According to Butler, we should undertake “a
critique of the schemes by which state violence justifies itself”.
In this paper, I will argue that gender was a frame of war that was also
observable in the textual and visual media of ancient Sudan during the
Napatan and Meroitic periods. I will first focus on non-combatants in
texts, by analysing the attestations of prisoners of war of differing
ages and genders. The lists of spoils of war demonstrate a structure
based on a hierarchy based on status, age, and gender intersectionality.
Intersectionality is one of the central tenets of black
feminist theory. It is based on the fact that oppression is not
monocausal, as for example in the USA it is not based either on race or
on gender. Rather, an intersection of race and gender makes some individuals more
oppressed or oppressed in a different way than others. This
analysis of the attestations of non-combatants is followed by an
analysis of a currently unique representation of women and children as
prisoners of war found on the reliefs of Meroitic temple M250 in Meroe.
After this, I turn to the feminization of enemies in Napatan and Merotic
texts in order to demonstrate how gender was used to structure hierarchy
and to position the Kushite king as masculine and his enemies as
feminine. I argue that, in this way, gender framed both relations in war
and hierarchies within the society of ancient Sudan. I also discuss
evidence for the participation of Kushite royal women in war and stress
that the sources at our disposal are providing us with an outsider
(Graeco-Roman) perspective rather than a local perspective. Finally, I
discuss the specifics of scenes in which Meroitic royal women are
smiting enemies by comparing these scenes to others from ancient Egypt.
I argue that the observed differences relate to a different
understanding of the relation between kingship and queenship in these
two societies.
2. Men, Women and Children as Prisoners of War¶
2.1. Textual Evidence¶
The taking of prisoners of war is a well-attested ancient war
practice. Enemies of different gender, age, and status were also
imprisoned during war in ancient Nubia. Although the practice surely
must have been older, the first textual attestations come from the reign
of Taharqa (690-664 BCE), and continue until the Meroitic period. The
mentioning of men, women, and children as prisoners of war is mostly
part of the lists of spoils of war. Since there is no space in this
paper to thoroughly analyze these lists and present them in a systematic
manner, I will concentrate only on prisoners of war, and especially on
women and children, since they are often entirely neglected.
The Kawa III stela of Taharqa (Copenhagen, Ny Carlsberg Glyptotek Æ.I.N. 1707, Columns 22-23) informs us that the king provided the
temple of Amun with male and female servants, and the children of the
rulers (ḥḳ3.w) of Tjehenu (Libyans). The Kawa VI (Khartoum SNM
2679, line 20-21) stela informs us that the temple of Amun in Kawa was
filled with, among other others, female servants, wives of the rulers of
Lower Egypt (T3-mḥw), and the children of the rulers of every foreign
land. A granite stela from Karnak (line 3), attributed to Taharqa
by Donald B. Redford, also mentions children of rulers, and later (lines
11-13) refers to the settling of a population with its cattle in
villages. This possibly refers to the settlement of the prisoners of
war among which were the above-mentioned children. A more
securely-dated example of men and women (total: 544), seemingly presented
as spoils of war during the reign of Taharqa, and enumerated according
to ethnonyms or toponyms, can be found in his long inscription from
Sanam.
On the Enthronement stela of Anlamani (late 7th century BCE) from Kawa
(Kawa VIII, lines 19-20, Copenhagen, Ny Carlsberg Glyptotek Æ.I.N. 1709),
it is stated that his soldiers gained control of all the women,
children, small cattle and property in the land Bulahau
(b-w-r3-h-3-y-w) and that the king appointed the captives as male and
female servants of the gods. This indicates that Anlamani, like
Taharqa, appointed at least some prisoners of war to the temples.
In the Annals of Harsiyotef (Cairo JE 48864, lines 68-70) from his
35th regnal year in the early 4th century BCE, the king states that
he gave booty (ḥ3ḳ) to Amun of Napata, 50 men, 50 women, together
making 100. The text (line 87-88) further states that the king
took, among others, male and female servants in the land of Metete.
Likewise, in the Annals of Nastasen (Stela Berlin ÄMP 2268, lines
44-46), from his 8th regnal year in the last third of the 4th century
BCE, the king states that he gave a total of 110 men and women to Amun of
Napata. As noted by Jeremy Pope, there is no reason to impose here
an artificial distinction between a donation text and a record of
war. In fact, there is also no such division in ancient Egyptian
records of war and the Kushite records of war bear many similarities to
those of ancient Egypt, especially when lists of spoils of war are
concerned. Nastasen also claims (lines 46-49) that he captured Ayonku,
the ruler connected to the rebels and that he took all the women, all
the cattle, and much gold. The list mentions 2,236 women. Compared
to the number of men and women given to the temple of Amun at Napata,
this is a significantly larger number, which indicates that a majority
of the prisoners actually did not end up as property of the temple. We
can only speculate that they were distributed elsewhere, possibly even
among the soldiers. Nastasen also seized the ruler Luboden and all
the women in his possession (line 51). He also seized Abso, the
ruler of Mahae, and all their women (line 53). Nastasen went
against the rebellious land of Makhsherkharta and seized the ruler, as
well as all of that by which the ruler sustained people, and all the
women (line 55). Finally, Nastasen seized Tamakheyta, the ruler of
the rebellious land Sarasarat, and caused the plundering of all their
women (line 58).
Common to all these Napatan and Meroitic texts written in Egyptian is
the order in which different prisoners of war are listed, which is
always the same. The enemy ruler is listed first, followed by the enemy
men, women and children. No difference is made between male and female
children. This demonstrates an intersectional hierarchy based on status,
gender, and age. The enemy ruler was the most valued, then came enemy
men, women and children, in that same order. An interesting question is
if this intersectional hierarchy mirrors that of ancient Sudanese
society or if it was only imposed on its enemies. That male and female
prisoners of war feature together with children, including even those of
foreign rulers donated to temples, comes as no surprise. The
individual temples of Amun in Kush also functioned as centres of
territorial government and redistribution. Some lines in the Annals
of Nastasen refer to imprisoned women in a rhetorical manner, stating
rather generally that all women of the enemy were taken, instead of
providing a number like in earlier sources.
Currently, the textual evidence written in Merotic script is very
scarce, and our understanding of the language is not on a level
which allows for a detailed reading for most preserved texts.
Nevertheless, several experts in Meroitic language and script have
recognized the mentioning of prisoners of war in the Hamadab Stela of
Amanirenas and Akinidad (British Museum 1650) from the late 1st
century BCE. According to the new reading of Claude Rilly, the
second (small) Hamadab stela (REM 1039) mentions Akinidad and the sites
where the Roman prefect Petronius fought against the Meroites, namely
Aswan (Meroitic “Sewane”), Qasr Ibrim (Meroitic “Pedeme”), and Napata
(Meroitic “Npte”). According to Rilly, the stela also mentions the beginning of
the war in its 3rd and 4th lines: “the Tmey have enslaved all the men,
all the women, all the girls and all the boys”. Interestingly, if
Rilly´s reading is correct, this would mean that when Meroitic folk were
taken as prisoners by enemies, a gender differentiation was made among
children and/or adolescents. The following discussion will focus on the
possible iconographic evidence of the conflict between Meroe and Rome.
2.2. Iconographic Evidence¶
Unlike in ancient Egypt, ancient Nubian iconographic evidence for the
taking of prisoners of war is rather scarce when the bound prisoner
motif is excluded from the corpus. Even less attested are depictions of
women and children being imprisoned.
One rare instance of such a depiction is found in temple M250, located
about 1km to the east-southeast of the centre of the city of Meroe. John
Garstang first investigated the temple in 1910-1911 together with
Archibald H. Sayce. The temple M250 was investigated further by
Friedrich Hinkel from 1984 to 1985. He dated it to the late 1st century
BCE and early 1st century CE because of the royal cartouches of Akinidad
found on fallen blocks of the cella’s north wall. The earliest temple
on the site, which is northwest of M250, had probably already been built
in Aspelta’s reign (the beginning of the 6th century BCE) in the form of
a cella on top of a podium. According to László Török, the
temple was dedicated in its later form to the cult of Re or, more
precisely, to the unification of Amun with Re. Hinkel interpreted
it more carefully as a temple of Amun.
So far, the battle reliefs of M250 were analyzed by several authors. It
is Hinkel who published the temple and gave the most detailed
description and analysis of the relief blocks to date. According to
Török, the decoration of the façades had a “historically” formulated
triumphal aspect. Before the publication of the temple by Hinkel,
Steffen Wenig assigned them to the reign of Aspelta because his stela
was found on the site. Wenig related the reliefs to the ones from the
B500 temple of Amun at Gebel Barkal, not knowing at that time that they
predate M250. Inge Hofmann analyzed the war reliefs in detail
regarding the weapons and equipment worn by the Meroites and emphasized
that the weapons they use are post-Napatan. Based on the kilts and hair
feathers worn by some of the enemies of Meroites in these scenes, she
concluded that they are southerners, but that they cannot be associated
with any specific Sudanese community. This type of enemy wearing a kilt
and feathers is also found as a bound prisoner on the pylon of the tomb
chapel of Begrawiya North 6 (the tomb of Amanishakheto). It is also
depicted on the east wall painting from the small temple M292, better
known because of the head of a statue of Augustus, which was buried in
front of its entrance. According to Florian Wöß,
this type of enemy can be classified as an Inner African Type. It is
most numerous among Meroitic depictions of enemies and Wöß argues that
it could have therefore represented a real threat to the Meroites.
This conclusion resonates well with the interpretation of the Meroitic
kingdom as having a heartland in the Nile Valley, at Keraba, and perhaps
also the southland. The Meroitic kingdom was surrounded by various
neighbouring communities that could have posed a real threat and were
only occasionally under Kushite control. As we have already seen,
numerous texts refer to conflicts with these communities outside the
realm of the Kushite kingdom.
Hinkel has already concluded that the north wall of M250 depicts women
and children taken by the Meroites in their raid of the First Cataract,
as reported by Strabo in Geography (17. I. 54), and that the
south wall depicts a conflict with some population that the
Meroites encountered in Lower Nubia. However, if Meroe is
understood as the centre of the axis, then the enemies depicted on the
southern wall are unlikely to depict Lower Nubians. We know that during the
last decades of the 1st century BCE Lower Nubia was not hostile to
Meroe, but on the contrary, that it rebelled against Rome. Gaius
Cornelius Gallus reports in his trilingual stela from Philae, erected in
29 BCE, that he placed a local tyrant to govern Triakontaschoinos (Lower
Nubia), which became part of the province of Egypt and established a
personal patron/client relationship with the king of Meroe. This
arrangement obliged inhabitants of Triakontaschoinos to pay taxes.
Roman emperor Augustus then ordered Lucius Aelius Gallus, the second
prefect of Egypt, to prepare a military expedition against province
Arabia Felix. Aelius Gallus regrouped the forces stationed in Egypt and
took c. 8000 of the 16800 men in three legions and 5500 of the
auxiliary forces. The expedition was carried out in 26-25 BCE and ended
with Roman defeat. The inhabitants of Triakontaschoinos received the
news of Aelius Gallus’ failure in Arabia and revolted in the summer of
25 BCE. The aim of the revolt was to end the previously established
status of Triakontaschoinos and the obligation of paying tax to Rome.
Concurrent with this revolt, there were local rebellions against the
pressure of taxation in Upper Egypt. The rebels might also have
received help from the king of Meroe. Meroe probably tried to use the
opportunity presented by the revolt in Triakontaschoinos and Upper Egypt
to establish the northern frontier in the region of the First
Cataract. Therefore, it is unlikely that the southern enemy
depicted on the walls of temple M250 represents Lower Nubians. They were
not hostile toward Meroe at the time before the building of the temple M250
under Akinidad. On the contrary, they were its allies in war with Rome.
Regarding the representations of women and children as prisoners of war in temple M250,
Török found parallels in New Kingdom Egyptian (ca. 1550-1070 BCE)
reliefs, whereas Hinkel found parallels both in New Kingdom
Egyptian and Neo-Assyrian reliefs (ca. 911-609 BCE). One must,
however, stress that in the case of the New Kingdom Egyptian reliefs,
the parallels are both thematic and iconographic, whereas in the case of
Neo-Assyrian reliefs, the parallels are strictly general and thematic
(e.g. imprisonment). In this paper, I will focus more closely on the
thematic and iconographic parallels from New Kingdom Egypt and Nubia,
considering the fact that general thematic parallels (e.g. imprisonment)
are found in many cultures and are not particularly helpful in better
understanding the decorative program of M250.
Women and children are found both on the south and the north wall of the
temple M250. The blocks with representations of women and children are
part of the preserved in situ lowest register of the north wall. Its
preserved height is ca. 110cm above the crepidoma. Its register
depicts an east-west oriented procession of armed men, horse riders, and
chariots who join a battle. After the battle scene, the same register
continues with the procession of armed men, with nude women and children
in front of them (Figure 1).
The women and children are preceded by men with oval shields and cattle
in front of them, after which comes one more group of nude women and
children. They are approached by oppositely-oriented men, probably in a
battle. After them, the register continues in an east-west orientation
towards a columned building, which is presumably a representation of a
temple. The register continues behind this columned building and
there is a break here, after which comes poorly preserved
representations of round huts and trees. Only the lower parts of
the figures of women and children are preserved on the north wall, so it
is hard to say more about them. However, the women and children seem to
be nude. The gender of the children cannot be identified because the
representations were later damaged in the genital area. There are two
groups and in between them there are cattle. The groups are flanked with
men who lead them forward.
Figure 1. Relief blocks from the north wall of M250 in the sequence east-west (redrawn after Hinkel, Der Tempelkomplex Meroe 250. I. 1: 140-141, Abb. 39, 40, 41, 42).
The blocks of the southern wall, with representations of women and children, are not
found in situ, but rather in the vicinity of the south wall. Some of
them can be joined and some of these joints present evidence for at
least two registers. In one case, the upper register of the two depicts
both women and children as prisoners of war, while the lower register
depicts ship-fragments 198, 322, 323, 319, and 190. The figures in
the two registers are differently oriented. Additionally, one more boat
representation with a head of a ram possibly indicates a relation to
Amun (fragments 113 and 106). It is oriented in the same direction
as the previous boat. On the blocks of the south wall, both men and
women are depicted as prisoners of war next to children (Figure 2).
Figure 2. Relief blocks (fragments 943+185+180 and 222) of the south wall of M250 with fragmented depictions of imprisoned women and children, line drawing (redrawn after Hinkel, Der Tempelkomplex Meroe 250. I. 2b: C11).
Unlike the women from the north wall, the women from the south wall are
half-dressed. The breasts depicted on some of them (fragments 188, 214,
136, 943, 185, 222, 199, 847, 849, 811) indicate their sex, while the
sex of some of the children figures is depicted via smaller breasts
(fragment 236). Some of the women from the south wall are carrying
baskets with children on their backs, held with the help of a tumpline
(fragment 943, 849). In New Kingdom Egyptian iconography, this is a
characteristic of Nubian women when depicted with children in tribute
scenes. Women are depicted with children either next to them, held
in their arms, raised high in the air (fragments 210, 849), or in
between them (fragments 185, 189, 230, 175). Both men and women on the
south wall have ropes tied around their necks, with several people in a
row being tied on the same rope (fragments 136, 943, 189, 34, 102, 39,
408, 847, 844, 849, 811).
Figure 3. Empty oval name rings on the northern part of the pylon of M250 (redrawn after Hinkel, Der Tempelkomplex Meroe 250. I. 1: 139; Abb. 37b).
Hinkel related the construction of the M250 temple to the treaty that
the Meroites negotiated with Augustus on Samos in 21/20 BCE. He relates
the taking of women and children as prisoners on the north wall to the
sacking of Philae, Elephantine, and Syene by the Meroites, as
reported by Strabo in Geography, 17. I. 54. The context of the war
reliefs on the northern wall of the temple indeed indicates a northern
conflict. It is interesting that the oval name rings for the toponyms or
ethnonyms of defeated enemies are left blank on the northern part of
the temple pylon (Figure 3), and were only filled in with Meroitic
hieroglyphs on the southern part of the temple pylon, which have thus far
not been identified with certainty. In the light of Strabo’s
Geography 17. I. 54, in which he writes that when told that they should
go to Augustus, the Meroites answered they do not know who that
was, one has to consider that the Roman dominated world beyond the
province of Egypt was unknown or insufficiently known to the Meroites.
This explains the empty oval name rings on the northern part of the
temple pylon. Except for the generic Arome referring to Rome and
Tmey referring to the Northeners, we do not know of any other Roman
toponyms from Meroe so far and it is likely that in the first century
BCE and first century CE the Meroites indeed did not know of any others.
If the reliefs on the northern walls of the temple depict a Meroitic
raid on the First Cataract sites, then we have to take into account that
they imprisoned the local population, consisting also of women and
children and not only of men. These women and children could also have
been local and not necessarily immigrants after the Roman takeover of Egypt.
The iconographic evidence from M250 corresponds well with the textual
attestations for the taking of prisoners of war of different ages and
genders, and allocates them to temples of Amun. Interestingly, just like
in ancient Egyptian iconography of the New Kingdom, there is an absence
of violence against women and children. Bearing in mind the idea
that frames of war regulate what is reported and represented in various
media, we can consider the possibility that some realities of war such
as violence against non-combatants were censured due to socially
determined taste. Hurting women and children was probably considered a
form of illegitimate violence and although it probably occurred, it was
not communicated to local audiences.
3. Feminization of Enemies in Texts¶
The feminization of enemies is a common cross-cultural motif in war
discourse, both textual and visual. As anthropologist Marilyn Strathern
argued, “relations between political enemies stand for relations between
men and women”. Numerous examples are known for this from ancient
Egypt and Neo-Assyria and these are extensively dealt with
elsewhere. Here, the focus will be on the feminization of enemies
in Kushite war discourse.
One attestation for the feminization of enemies without parallels, to the best of my
knowledge, is found on the Triumphal Stela of Piye (Cairo
JE 48862, 47086-47089, lines 149-150), the founder of the 25th Dynasty
of Egypt, who ruled between 744-714 BCE: “Now these kings and counts of
Lower Egypt came to behold His Majesty’s beauty, their legs being the
legs of women.” js gr nn <n> nswt ḥ3(tj).wꜥ nw T3-mḥw jj r m33 nfr.w
ḥm=f rd.wj=sn m rd.wj ḥm.wt. Nicolas-Christophe Grimal has
translated this part of the text in a way that suggests that the legs of
the kings and counts of Lower Egypt trembled like those of women.
One has to stress that the adjective tremblant (French for “trembling”) is
not written in the text, but is rather assumed by Grimal. On the other
hand, Hans Goedicke’s translates rd.wj=sn not as legs, but knees
instead. According to Robert K. Ritner, this means
that they were trembling in fear, and similarly, according to Amr
el Hawary, this could indicate that enemies of Piye had their legs
bent at the knees from fear. However, David O’Connor and Stephen
Quirke understand the text as a metaphor for the femininity of Piye’s
enemies, because the legs of women are smooth-skinned. Yet,
although both men and women shaved in Egypt and Nubia, we cannot assume
that body hair removal was restricted only to women. For Nubia, at least,
this is indicated by the description of Kushites in the Bible as tall
and smooth-skinned people (Isaiah 18:7). Later in the text, it is
stated that three of these kings and counts stayed outside the palace
“because of their legs” (r rd.wj=sn), and only one entered. El Hawary
postulates that this could be related to the previous comparison with
the legs of women. Another case is possibly alluded to later in the
same text when it states “You return having conquered Lower Egypt;
making bulls into women” (jw=k jy.tw ḥ3q.n=k T3-mḥw jr=k k3.w m
ḥm.wt). Bearing in mind that in the Instructions of Ankhsheshonqy
(X, 20), an Egyptian text of the Ptolemaic period (305-30 BCE), bulls are
contrasted to the vulvas which should receive them, we can argue
that, in both cases, bulls stand for men, or at least masculinity, in
both the human and animal world. It is interesting that on the Triumphal
stela of Piye, men from the palace of the Lower Egyptian king Nimlot
paid homage to Piye “after the manner of women” (m ḫt ḥm.wt).
Maybe this indicates that there was also a manner in which men are
supposed to pay homage to the king, and that the defeated kings and
counts of Lower Egypt failed to do this, or at least the text wants us
to believe that. The failed masculinity of Nimlot in the text of the
stela was extensively studied most recently by Mattias Karlsson. Next to
the motives already mentioned, additional arguments are rich and
complex. Piye is representing ideal masculinity, contrasted
with failed masculinity of Nimlot. This can be observed both in the text
and in the iconography of the stela. For example, Nimlot is holding a
sistrum, a musical instrument usually linked to women (e.g. priestesses
of Hathor), while he is standing behind his wife and not depicted in the
usual front-facing manner. His wife speaks for him and appears as the head of his
household. To these arguments one can also add the fact that the
silhouette of the defeated Egyptian princes in proskynesis differs in
shape from usual representations of men. Their bodies seem to be curvier
as in Kushite depictions of women. An allusion of sexual domination is
not directly communicated, but it might have been implied.
There are other attestations of the feminization of enemies in texts
composed for the Kushite kings. In the Annals of Harsiyotef (Cairo JE
48864, line 89) we are informed about his conflicts with the Mededet
people in his 6th regnal year. After taking spoils of war, the ruler
of Mededet was sent to Harsiyotef, saying: “You are my god. I am your
servant. I am a woman. Come to me” (ntk p(3)=j nṯr jnk p(3)=k b3k
jnk sḥm.t my j-r=j). In this attestation, we have a direct
speech of the enemy, who, according to the text, identifies himself with
a woman. Of course we are safe to assume that these words were put in
his mouth by the composer of the text of the stela. El Hawary has
already made a connection between the passage from the Annals of
Harsiyotef and this passage from the Triumphal stela of Piye, describing
the homage to Piye in a womanly manner. Interestingly, no such
attestations, as far as I am aware, are known from Egyptian
sources.
4. Meroitic Non-royal and Royal Women in War¶
In Diodorus Siculus (1st century BCE), Agatharchides reports how the
Aethiopians employed women in war: “They also arm their women, defining
for them a military age. It is customary for most of these women to have
a bronze ring through one of their lips”. This is repeated by
Strabo in first century CE.
The conflict between Meroe and Rome was mentioned in the discussion of
the iconography of temple M250. One interesting aspect of this conflict
is the Roman perspective on the rulership of Meroe. Strabo mentions the
participation of a Meroitic queen in war against Rome, describing Queen
Kandake here as “a manly woman who had lost one of her eyes”. We
should be careful with crediting such descriptions much value. Not only
did Strabo confuse a Meroitic royal title that probably indicated a
mother of a king, but there is also a tendency among Graeco-Roman
authors to depict foreign women as masculine thus creating an inverted
image to gender expectations in their own society. Such inversions could
have served the purposes of shocking their audience and enhancing the
otherness of foreign lands and peoples. This is evidently an example
of ideological gender inversion used as a sign of barbarism, especially
towards foreign women, in the works of Strabo.
Still, that the soldiers in the Roman army knew of a woman that was
referred to by her subjects simply as kandake is also demonstrated by
a ballista ball (British Museum EA 71839) with a carbon-ink inscription
KANΔAΞH/Kandaxe from Qasr Ibrim. On the ball, the second and third lines
of text can be understood as a personal message for the queen: “Just
right for you Kandaxe!”. Clearly, it is questionable if the ones
who actually found themselves in Nubia during the conflict with Meroe
knew the name of the enemy ruler. It is also possible that they knew,
but referred to her as everyone else.
5. Meroitic Queens and Enemies: Iconographic Evidence¶
The smiting of an enemy scene originates from ancient Egyptian
iconography, with its earliest known evidence found in tomb 100 in
Hierakonpolis in Upper Egypt, dated to the Naqada IIC period, around
3500 BCE. In Egypt, the motif has remained in the decoration of temple
pylons, private and royal stelae, and small finds for more than 3500
years. Its latest known appearance is found on temple reliefs from the
Roman period when emperors Domitian, Titus, and Trajan are depicted
smiting. Kushite kings are also depicted smiting enemies and the motif
was adopted from ancient Egyptian art.
What differentiates the use of this motif in ancient Nubia during the
Meroitic period from its use both in the contemporary Roman province of
Egypt and in earlier periods of Nubian history is the fact that certain
queens are depicted smiting male enemies in Meroitic iconography. Some
ancient Egyptian queens are also depicted smiting enemies. However,
these enemies are always female when the figure who is delivering the
blow is depicted as a woman. This is because a king is never
depicted delivering harm to foreign women and children, at least in the
New Kingdom. The king always defeats the supposedly stronger enemy.
Although the inclusion of queen Nefertiti smiting female enemies
alongside scenes of Akhenaten smiting male enemies probably indicates
the elevation of her status during the period of his rule,
Nefertiti is nevertheless not the dominant figure in such depictions;
the dominant figure remains the smiting king because of the gender of
the enemies he smites. Male enemies were considered more dangerous than
female. When a female ruler like Hatshepsut (ca. 1479-1458 BCE) of the
18th Dynasty is depicted smiting or trampling male enemies, she
herself is depicted as a king –a man– and her identity is indicated by
the accompanying text that lists her name and royal titles.
The Meroitic case is interesting precisely because certain royal women
can be depicted smiting and spearing male enemies. Amanishakheto (1st
century CE) is depicted spearing enemies on the pylon of her pyramid
Begrawiya North 6 in Meroe, both to the left and right of the pylon
entrance (Figure 4). On the left, she holds a bow, arrow, and rope
in her left hand and a spear in her right hand. The rope in her left
hand extends to the necks of the enemies to which it is tied. Seven
enemies are depicted with rope tied around their necks and with their
arms tied behind their backs. On the right, Amanishakheto holds a rope
in her left hand which binds four enemies around their necks.
Their arms are also bound behind their backs. In her right hand, she
holds a spear with which she spears the enemies. On her stela from
Naqa she is depicted before the enthroned Lion God above a group of
bound enemies.
Figure 4. Amanishakheto spearing enemies, pylon, pyramid Begrawiya North 6, line drawing (Chapman & Dunham. Decorated Chapels of the Meroitic Pyramids at Meroë and Barkal, Pl. 17).
Figure 5. Shanakdakheto (?) sitting on a throne with bound enemies underneath, north wall, pyramid Begrawiya North 11, line drawing (Chapman & Dunham. Decorated Chapels of the Meroitic Pyramids at Meroë and Barkal, Pl. 7A).
Bound enemies are additionally depicted under the throne of the queen on
the north wall of pyramid Begrawiya North 11 attributed to
Shanakdakheto (Figure 5). Nine bows, the
traditional symbol for enemies originating from ancient Egypt, are
depicted under the throne of Amanitore of the 1st century CE (Figure
6), just as they are depicted under the throne of Natakamani in the
pyramid Begrawiya North 1 of queen Amanitore.
Figure 6. Amanitore sitting on a throne with the nine bows underneath, south wall, pyramid Begrawiya North 1, line drawing (Chapman & Dunham. Decorated Chapels of the Meroitic Pyramids at Meroë and Barkal, Pl. 18B).
Amanitore is depicted smiting enemies on the pylon of the Lion Temple in
Naga. There, she is paired with Natakamani, who is also depicted
smiting enemies (Figure 7). Natalia Pomerantseva interpreted this as
“hero worshiping of the woman-image”, adding that “it is impossible to
imagine the frail Egyptian woman’s figure in the part of chastisement of
enemies”. Yet, as we have seen, some Egyptian royal women are
depicted in violent acts such as the smiting and trampling of female
enemies and the reason they are not depicted doing the same to male
enemies is status-related. If they would be depicted as women smiting or
trampling male enemies, this would elevate their status to the one of
kings; clearly, attention was paid to avoid this. In the case of the
Meroitic queens, the gender of the enemy was not an issue. Jacke
Phillips has also emphasized that the smiting of enemies by Merotic
queens is among the corpus of scenes, which were formerly restricted to
kings, but Phillips did not take the argument further. The reason for the
creation of these scenes can be seen in the specific status of royal
women in Meroitic ideology. However, we also have to bear in mind
that, considering the number of known Napatan and Meroitic royal women,
the smiting scenes of Amanishakheto and Amanitore in the 1st century
CE are an exception rather than rule. Interestingly, the smiting and
trampling scenes of Tiye and Nefertiti are also an exception rather than
the rule, and this exception in ancient Egyptian iconography has so far
been explained as a consequence of the increasing importance of royal
women both in politics and religion. We can certainly say
Amanishakheto and Amanitore also lived in exceptional times, during and
after the conflict of Meroe with Rome. It is possible that in these
times certain exceptional women rose to unparalleled positions.
Figure 7. Natakamani and Amanitore smiting enemies, pylon of the temple of Naqa, line drawing (Lepsius, Denkmäler aus Aegypten und Aethiopien 10, B1. 56).
6. Conclusion¶
Gender as a frame of war has structured both Napatan and Meroitic texts,
from lists enumerating the spoils of war to texts dealing with military
campaigns. In the first case, this is observable in the order that
different categories of prisoners of war are listed, namely enemy rulers
(men), then enemy men, women, and children. This same structure for
prisoners of wars is found with only slight differences in ancient
Egyptian spoils of war examples, which can hardly be taken as a coincidence.
Since the earlier Napatan texts were written in Egyptian, their
structure, at least when lists of spoils of war are concerned, could
have been based on an Egyptian pattern. This, then, continued into the
Meroitic period. In the second case, namely the texts dealing with
military campaigns, how gender as a frame of war operates can be
observed in the discursive feminization of enemies in Napatan texts.
Just like in ancient Egyptian and Neo-Assyrian texts, enemies are
discursively framed as women or effemininate. This is in fact a
metaphor found in many cultures in which strength is associated with men
and weakness is associated with women. Rather than just framing the
power relations between the Kushite kings and their enemies, such
metaphors strengthen the gender structure of the society itself,
privileging men and masculinity. By discursively taking away
masculinity from the enemy, these texts are framing them as
subordinate and thus legitimizing the subordination of women to men.
Unfortunately, the present state of knowledge of the Meroitic language
does not allow us to investigate possible feminizations of enemies in
the Hamadab stelae written in Meroitic. It would indeed be interesting
to know if the same metaphors are used.
The reports of Graeco-Roman writers such as Agatharchides in Diodorus
Siculus and Strabo could have been a misunderstanding of Meroitic royal
ideology and the figure of kandake. We should, however, not entirely
exclude the possibility that women could have participated in war,
although we do not have any explicit ancient Nubian textual attestations
for this. We also do not have any burials attributed to “warrior women”
or “warrior queens”, based on the placement of weapons as grave goods in
graves of women. Even if such burials were to be found, one would
have to be cautious in assigning military activity to women (or men)
simply because of the associated weapons. Muscular stress markers or
potential traces of trauma on the skeletons would be more indicative,
however both could also be found in burials without such associated
weapons. Nevertheless, one should not exclude the possibility that
Meroitic queens made military decisions, just like, for example, the
17th Dynasty queen Ahhotep or the 18th Dynasty female pharaoh Hatshepsut in
Egypt, though they probably did not fight in war. The depictions
of Meroitic queens smiting enemies should be seen in the context of
royal ideology. Unlike Egyptian queens, who are depicted as women
smiting enemies only when these enemies are also women, both Meroitic
kings and certain Meroitic queens are shown smiting and spearing enemy
men. There is no difference in the gender of the enemy and therefore no
hierarchy. This can be explained with an elevated status of queenship in
Kush, in comparison to ancient Egypt. Unlike in Egypt, where a ruling
woman like Hatshepsut had to be depicted as a man when smiting enemies,
a ruling woman in Meroe could be depicted as a woman smiting male
enemies.
Clearly, gender was one of the frames of war in ancient Nubia, with a
tradition spanning several centuries and possibly even having ancient
Egyptian roots, at least where the structure for listings of the spoils
of war and some metaphors for enemies are concerned. However, as I have shown,
there are certain expressions without parallels in ancient Egyptian
texts, which testify to an independent, but equally male-privileging
discourse. Gender as a frame of war (sensu Judith Butler) justified
state violence against enemies by discursively representing them as
women. In this manner, asymmetrical power relations in one domain (war)
were tied to asymmetrical power relations in another domain (gender).
This is a prime example of symbolic violence (sensu Pierre Bourdieu and
Slavoj Žižek). Gender relations which place Kushite and enemy women as
subordinate to Kushite men are naturalized through a reference to a
subordination of enemy men to Kushite men. Simultaneously, the lack of
explicit violence conducted against enemy women and children was in a
way “the cosmetic treatment of war”, to use the words of Jean
Baudrillard. The frame of war such as this one clearly influenced how
war and violence is represented and consequently experienced by local
audiences who did not participate in war. Some forms of violence are
communicated to local audiences in specific manners relying on
asymmetrical power relations of gender. Other forms of violence which
probably occurred, such as violence against non-combatants, are
carefully avoided in texts and images as it was probably hard to justify
them.
7. Acknowledgments¶
I would like to express my enormous gratitude to Jacqueline M. Huwyler,
M.A. (University of Basel) for proofreading the English of my paper. I
am also grateful to Angelika Lohwasser and Henriette Hafsaas for their
help in acquiring some of the references.
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article⁄Words on Warfare from Christian Nubia
abstract⁄This article is an attempt to assemble the vocabulary related to war found in Nubian written sources (primarily manuscripts) and discuss the insights it offers about warfare in Christian Nubia. All four languages used in medieval Nubia are examined, but the focus is on Old Nubian. Saint Epimachos, Saint Mercurios, Saint George, and the Archangel Michael are the personae around which pivot the narratives that offer insights into weapons, offices, and practices in the otherwise very scarcely documented military of Christian Nubia.
keywords⁄Christian Nubia, Makuria, Old Nubian, Greek, Coptic, Weapons", Military Offices, Military Saints, Eparch, General, Admiral, Esquire
The purpose of this paper is to present textual evidence from Christian
Nubia relating to issues of warfare, weaponry, and military functions.
This evidence will be gleaned mainly from manuscripts, and secondarily
from monumental epigraphy. From the four languages used in Christian
Nubia, the present study will focus primarily on Old Nubian and partly
on Greek, while occasionally evidence from sources in Arabic and Coptic
will also be used. Although the material is not particularly rich, it
may add to and/or nuance the picture of warfare in Nubia during the
medieval era (ca. 5th to 15th centuries), which otherwise lacks a
systematic study.
Moreover, evidence of warfare in the archaeological record from Nubia is
scarce. One of the major reasons is the abandonment of the ancient
custom of accompanying the dead with tomb furnishings already from the
very beginnings of the Christian era in Nubia, whereas it was
precisely tombs that provided the richest material evidence for warfare
in terms of weaponry, as can be seen in A-Group, Kerma,
Napatan, Meroitic, and post-Meroitic burials. Wars were,
however, far from absent from Christian Nubia.
Warfare in Nubia is marked on the landscape by the numerous castles and
forts of the Middle Nile region, although their function was also as
sites of power, sights of might, centers of authority; it was
witnessed by the historians who recorded the frequent wars between
Christian Nubia and the Caliphate; it is related with slavery and
slaving expeditions that have impregnated the image of the past in Sudan
from prehistory until modernity; it was recorded implicitly on the
walls of the Nubian churches, where military saints, most often on
horseback, parade as martyrs of the Christian faith and as guarantors of
the security, longevity and prosperity of the Makuritan realm.
These military saints will set off the presentation of the textual
evidence on warfare in Old Nubian, because there has also been
preserved textual evidence of their cult, in the form of both shorter
texts (dedications, prayers) and longer hagiographic works, as well
as legal documents. From the sanctified humans that populated the
celestial army, we will then move to the archistratēgos of the
heavens, the archangel Michael, whose cult in Nubia has produced texts
that offer important insights into the military organization of the
Makuritan state. Finally, a question about the possibility of discerning
evidence of Makuritan naval forces in our epigraphic material will
conclude this modest contribution on warfare in Christian Nubia.
1. The Protector of the Four Corners of the Nubian Nation¶
One of the most impressive documents of legal practice from Christian
Nubia is a Royal Proclamation found at Qasr Ibrim (P.QI 3 30) and dated
to the 23rd of August 1155. Through this legal act, king Moses
George proclaims the rights and privileges of the church of Saint
Epimachos at Ibrim West. The king threatens anyone who “speaks
against and denies my statement” (P.QI 3 30, l. 30) that Epimachos will
“stab him with his spear” (ll. 30-1). The action is described by the
verb ϣⲁⲅ and the weapon by the noun ϣⲓⲅⲣ̄, but whether the latter refers
to the “spear” indeed and not to any other weapon is uncertain. Without
parallel texts in other languages, it is difficult to confirm the
definitions in OND, which seem to try to conform with the fact that the
spear was the diagnostic iconographic attribute of Epimachos in Nubian
iconography (see below). There is moreover another word in the OND for
“spear” or “lance,” i.e. ϣⲁ, which possibly has a related root, but
again it does not necessarily mean “spear.” Finally, it should be noted
that an Old Nubian term for “ruler” is ϣⲓⲕⲉⲣⲓ, and although in the OND
this is etymologically linked with a variant ϣⲏⲕⲕ of the term ϣⲁⲗ for
“administrative unit,” a verb ϣⲓⲕ, meaning “to rule” has recently been
identified in P.QI 4 93.4 and P.QI 4 108.7. It is tempting to associate
this verb with the noun ϣⲓⲅⲣ̄ and thus suggest that ϣⲓⲕⲉⲣⲓ was a military
ruler, but for the time being this hypothesis remains speculative.
In any case, the king’s threat to invoke Saint Epimachos is presented in
the royal proclamation from Qasr Ibrim as even more powerful than the
King’s curse; a heart attack; the sharing of Judas Iscariot’s faith; and
the rejection of the trespasser by the society. Again, after all these
threats/curses, it is Epimachos who is called upon “on the day of
judgment” to “come great in battle against him” (ll. 34-5). Here, the
Old Nubian word for battle is used, i.e. ⲡⲛ̄ⲅ. There is also attested a
verb form ⲡⲛ̄ⲕ, i.e. “to fight,” as well as a synonym ⲇⲓⳟⲉ (or
ⲇⲓⳟⲁⲣ). One instance of the use of the latter term in the Old
Nubian corpus translates the Greek participle πολεμουμένων, which
derives from the term πόλεμος, i.e. “war.” In Nobiin, the verb ⲇⲓⳟ also
translates as “Krieg führen,” and it is not inconceivable that a
derivative of the root ⲇⲓⳟ was also used to define “war” or “warfare.” A
military victory can also be discerned behind the meaning of the term
ⲇⲓⳟⲁⲣⲧ, attested once in the OND translating the Greek word νῖκος.
In the same semantic field as ⲇⲓⳟⲉ (or ⲇⲓⳟⲁⲣ), there is the verb ⲉⲥⲕ
meaning “to conquer,” which seems rather related with the ability to win
rather with the fight necessary to mark a military victory. However, in
one instance, the term is directly linked with the quality of a weapon,
namely a shield (about the Old Nubian terms for this weapon, see below):
P.QI 1 11.ii.2 ⲥⲟⲩⲇⲇⲟⲩ ⲙⲉⲇⲇⲕ̄ⲕⲧⲓⲛⲁ ⲅⲟⲩⲉⲓⲟⲩ ⲉⲥⲕⲓϭⲣⲉⲛⲛⲗ̄, that can be
translated as “the staff which is the victorious shield of readiness.”
Conversely, the Greek term for “war,” i.e. πόλεμος, was surely known in
Christian Nubia, since it appears several times in the Septuagint and
the New Testament. It is important to note that the Greek term is also
used in the Sahidic New Testament, suggesting that it is not impossible
that it had remained untranslated in the Old Nubian version of the Bible
too (for further evidence, see the section on Saint George).
Moreover, the adjective πολέμιος for “enemy,” deriving from the noun
“πόλεμος” is attested in a prayer to Raphael from Banganarti, composed
in “extremely corrupted” Greek. In the same text, a participle
“πολεμόντων” (sic) also appears. From the rich textual corpus
recorded at the same site one can also glean a couple of instances of
the use of the Greek noun ἐχθρὸς, meaning «enemy». These instances
seem to rather refer, however, to the devil and other demonic forces as
the par excellence enemies of the Christians.
The term πολέμιος – denoting real, earthly enemies – is read in the
text on the back of a small wooden plaque found at the late Christian
settlement of Attiri, where Saint Epimachos is called upon “to protect
the roads from the enemies.” At the same time, there is also an
Old Nubian term for “enemy,” i.e. ⲟⲩⲕⲕⲁⲧⲧ stemming apparently from the
verb ⲟⲩⲣ meaning “to oppress.”
The reference to “the roads” in the text of the Attiri plaque seems to
invest Epimachos with the role of the protector of the territory that
the ruler and/or the inhabitants of Attiri controlled. This role is
confirmed and expanded to the entire Makuritan realm in the text of P.QI
3 30.26-7, where the king makes an invocation “in order that Epimachos
might arise, come and place the four corners of the nation for care
under my feet.”
Although there are several saints with the name Epimachos, it is
generally thought that the Nubian Epimachos is the same with Epimachus
of Pelusium, who was not initially a warrior-saint, but a weaver from
Pelusium who martyred for the Christian faith under Diocletian.
Perhaps through his association with other martyrs under Diocletian,
like Saint George, Epimachos became a warrior saint in the belief system
of the Christian Nubians; perhaps this was due to his name, including
the Greek word for battle, i.e. μάχη; or perhaps thanks to some local
miracle that was not preserved to us due to the loss of the relevant
written source. In any case, the cult of Epimachos was widespread at
least in Lower Nubia and in the later centuries of Christianity there
(first half of the second millennium CE), as can also be seen from a
fragment of a stela in Coptic, two fragmentarily preserved texts
witnessing an Old Nubian version of his Martyrdom, as well as from
two painted representations at Aballah-n Irqi and Abu Oda, where the
saint is spearing a fallen figure, like in the plaque from Attiri.
There were, however, other military saints who were at least equally
venerated in Christian Nubia as Saint Epimachos, and it seems that the
idea of Epimachos spearing the enemies is inherently linked with the
function of such saints who speared the adversary, in the form of a
dragon, a pagan or an apostate, symbolizing in general terms the evil
itself.
2. The Saint Stratēlates Mercurios and George¶
The spearing of an adversary of the Christian faith is exemplified in
the Acta of Saint Mercurios. Mercurios was a Roman soldier who
martyred under Decius. The locality of his martyrdom was near Caesarea
in Cappadocia. Thence, he was linked in one legend with Saint Basil of
Caesarea. Basil was a contemporary of Julian the Apostate and, according
to a version of his Life, during Julian’s Persian campaign, Basil was
informed in a dream that Mercurios was chosen by the Theotokos to kill
the emperor. Basil rose and went to the martyrion of Mercurios, but
neither his body nor his weapons were there. Later on, the news of
Julian’s death reached him.
An exegesis for this miracle may be linked with the report by Ammianus
Marcellinus that Julian was killed by a lance “no one knows whence” (Res
Gestae XXV.3.6: incertum inde). Obviously, this vagueness gave room
to speculation for divine intervention, while the reason that Mercurios
was chosen may allegedly be linked with the role of Basil and the
geographical proximity of the martyrion with Julian’s Persian campaign.
In any case, when the narrative about the assassination of Julian
reached Egypt, it was still linked with both the dream of Basil and the
spear of Mercurios, but rather seen as part of the History of the
patriarchate of Athanasios, apparently in order to invest the miracle
with local references. An even further alienation from the narrative in
Basil’s Life is to be found in a Greek version of the Acta of Saint
Mercurios discovered at Qasr Ibrim. There, Basil has disappeared from
the miracle story, and the person who sees the dream is Pachomios. When
this dream comes, the father of coenobitic monasticism is together with
Athanasios, during the exile of the latter in the second half of
Julian’s reign, i.e. 362-3 CE. The Theotokos has also disappeared from
the narrative and it is now an angel of God who reveals things to
Pachomios. Whether this new narrative is a local, i.e. Nubian, invention
or an Egyptian contextualization of the legend around the assassination
of the Emperor Julian cannot be investigated in this context.
It can be mentioned, however, that while Mercurios is represented in
Egyptian iconography both as a holder of a spear, and as Abu
Sayfayn, i.e. the Father with the two swords, in Nubia he appears
as the slayer of Julian with his spear in all known mural
representations, i.e. from Faras, Abdel Qadir and the Central Church of
Abdallah-n Irqi. The mural from Faras is of special importance,
because it has been suggested that the story of Abu Sayfayn was already
part of the complete iconographical concept in that section of the
cathedral (see below). Thus, the iconography of Mercurios spearing
Julian unites a type of weapon with the miracle story of the saint and
underlines the identification of Mercurios with the act of eliminating
pagans and the threat of the old religion.
This identification is relevant for the purpose of this paper, when one
considers that Mercurios was the name of a very important royal figure
in the history of medieval Nubia: King Mercurios ruled during the turn
from the 7th to the 8th century and the History of the Patriarchs
of Alexandria calls him the New Constantine, who “became by his
beautiful conduct like one of the Disciples”. Although this
characterization has been linked with the annexation of Nobadia by
Makuria and the integration of the united kingdom in the hierarchy of
the Coptic Patriarchate of Alexandria, I have suggested that the name
Mercurios might have been given to him as indeed a New Constantine who
turned away from heathen practices the Nubian people remaining to be
Christianized, stamping out paganism like his name-sake saint speared
the last pagan emperor. In sum, for Christians of the Nile Valley,
the name Mercurios must have sounded extremely heroic, belligerent and
war-like.
Finally, there are three words that are attested in the Greek version of
the Acta S. Mercurii from Qasr Ibrim, which are of direct relevance for
the present investigation, namely:
- the noun πόλεμον for “war” commemorating the Persian campaign of
Julian and confirming the knowledge that the Nubians must have had of
this term.
- the noun λόγχαριν for “spear” identifying the miraculous weapon of
the martyr in Greek. About the Old Nubian term, see discussion in
previous section.
- the adjective στρατηλάτης for “general” referring to Mercurios and
linking him with the other famous “general” of the Christian faith,
saint George.
Saint George is perhaps the most renowned military saint. He belongs to
the circle of Roman soldiers who martyred for the Christian faith under
Diocletian, but his fame far surpassed that of others, for reasons that
also surpass the scope of this article. His cult reached of course
Christian Nubia too, as is witnessed by fragments of both a Greek and an
Old Nubian version of his Acta that have been unearthed at Qasr Ibrim
and Kulubnarti respectively.
The Old Nubian fragments of the Martyrdom of Saint George have been
reconstructed on the basis of the Greek editio princeps, but find also
parallels in witnesses in several other languages. As to the Greek
version, it exhibits a text written in a Greek language characteristic
of late Christian Nubia, while its content seems to be a
combination of Greek and Coptic versions. This observation led the
editor of the Qasr Ibrim fragments to the hypothesis that the text is
either the result of a free choice from both sources or a Nubian edition
of an original narrative of the martyrdom antedating the Greek editio
princeps.
In terms of vocabulary, the Martyrdom of Saint George offers interesting
attestations in both versions:
In the Greek one, the term κομητοῦρα, a Latin loan-word also
attested in the editio princeps, is worthwhile to comment upon,
because it confirms the acquaintance of Nubians with Latin military
jargon, most probably as a result of an influx of Latin terms in
medieval Greek. Moreover, it is interesting that Roman military
correspondence has been unearthed at Qasr Ibrim, the site of
provenance of the Greek version of the Nubian martyrdom of Saint George.
The influence of Roman military practices in the Middle Nile region has
also been marked on the ground through the apparent similarities between
Roman forts and those built in the Middle Nile region during Late
Antiquity.
As far as the Old Nubian version of the Acta S. Georgii is concerned,
the most interesting term is ⲡⲁⲇⲁⳡⳝⲁⲣⲓ[ⲗⲅⲟⲩⲗ], which stands for the
Greek term σπαθάριος, or etymologically “those (soldiers) who carry
sword,” combining the terms ⲡⲁⲇⲁⳡ for “sword” and ⳝⲁⲣ from ⲕⲁⲣⲣ for “to
grasp, hold”. The shift from kappa to jima can be explained as
progressive assimilation under influence of the palatal nasal nia,
while the phenomenon of the incorporation of a noun into a verbal root
complex is attested in Old Nubian.
This etymological analysis may be compromised by the existence of the
Old Nubian word ⲕⲁⲣ meaning “shield,” which could translate the term as
“the holder (sic) of the sword and the shield,” but without any morpheme
explicating the coining of the two terms, unless it can be found in the
reconstructed part of the manuscript. Moreover, the existence of a Greek
Vorlage for the Acta S. Georgii gives good ground for accepting the
original etymological analysis, while the term ⲕⲁⲣ is only attested in a
passage of the Stauros-text, that the Coptic parallel text does not
preserve.
Finally, the analysis of ⲡⲁⲇⲁⳡⳝⲁⲣⲓ[ⲗⲅⲟⲩⲗ] as “those (soldiers) who
carry sword” opens the path for a new interpretation of another office
from the titulature used in Christian Nubia, namely ⲅⲟⲩⲕⲁⲣⲕⲟⲗ.
This term is attested in P.QI 3 30.37 & 41 and seems to derive its
etymology from the word ⲅⲟⲩⲉⲓ for “shield” or “armor” more generally.
The last element ⲕⲟⲗ defines “the one who has,” forming a sort of a
participle. And the remaining three letters could again be interpreted
either as ⲕⲁⲣ meaning “shield” or as ⲕⲁⲣⲣ meaning “to grasp/hold”. In my
opinion, it makes better sense to use the latter etymology and to see
ⲅⲟⲩⲕⲁⲣⲕⲟⲗ as a term defining the officer who is wielding the
shield. For this etymology to work, one must account for the
dropping of the final glide, a phenomenon which is not unattested.
The relation of this office with the “shield” brings to mind the Greek
title ὑπασπιστής, which means “the one who is under the shield” and
derives from the Macedonian military organization, where the hypaspistēs
were a sort of esquires. The office continued into the Byzantine
period and, according to Maspero the hypaspistēs were the guard of the
duces in Egypt, often composed of mercenaries, also including
“Ethiopians”, a term used for the peoples leaving south of Egypt, but
which remains vague whether it denoted in the medieval era the Nubians
or the inhabitants of modern-day Ethiopia or both. The meaning
“guard” for hypaspistēs appears also in Byzantine sources of the 11th
century, while in later times the hypaspistēs were important
individuals close to the ruler, sort of retainers of the king.
Interestingly, the most renowned chronicle of the Fall of Constantinople
in 1453 was written by Georgios Frantzis who was – among other things
– the hypaspistēs of the last Byzantine Emperor, Constantine
Paleologos.
This interest lies with the fact that both instances of the term
ⲅⲟⲩⲕⲁⲣⲕⲟⲗ in the Old Nubian corpus derive from the royal proclamation
from Qasr Ibrim, examined in the section about Epimachos. Now, the first
instance is only preserved partially as ⲅⲟⲩⲕ ̀ⲕ ́ and has been
deciphered based on the second one, although they apparently refer to
different persons, first to someone called Papasa and then to someone
called Ounta. The first one accumulates several titles, mainly monastic,
palatial, and bureaucratic; the second one is a scribe. It is not
improbable that such individuals in Christian Nubia may also have
exercised military functions, as the etymology based on ⲅⲟⲩⲉⲓ for
“shield, armor” may indicate and the history of the term hypaspistēs in
Byzantine Egypt underlines, but it is equally probable that the office
meant in Makuria the same as in the later centuries in Byzantium, namely
an esquire. At least this seems, in my opinion, more fitting with Papasa
and Ounta in the service of king Moses George.
In any case, a military aura of the Makuritan royal court is very
plausible, given, among other things, the certainly important role that
the king played in warfare, as is attested in the Arabic sources
referring to Christian Nubia, where the king always appears as the
leader of the Nubian armies. We could look for example at this same king
Moses George who stamped with hot iron a cross on the hand of the
emissary of none less than Saladin, when he was asked to subdue and
convert to Islam; or much earlier in the 8th century, when king
Kyriakos invaded Egypt and caused chaos there attempting to liberate the
imprisoned patriarch Michael; or even in the heroic defense of
Dongola in the 7th century by king Qalidurut who signed the
much-discussed baqt with Abdalla ibn Sa’d. During the siege, the
world came to know the might of the Nubian archers who were praised by
the Arabic chroniclers and poets for centuries to come. The Old Nubian
word for bow is attested once in a passage translated from Greek
Patristic literature: ⲇⲁⲙⲁⲣ. Interestingly, in the OND, this term is
linked etymologically with the Dongolawi/Andaandi tungur, which has a
striking phonetic similarity with the Old Nubian toponym for the
Makuritan capital, namely ⲧⲟⲩⲅⲅⲟⲩⲗ. Although the term tungur for “bow”
seems unrelated to the accepted etymologies of ⲧⲟⲩⲅⲅⲟⲩⲗ, it cannot
be excluded that the inhabitants of Dongola associated their city with
the war technique that their ancestors became famous for, and they
themselves surely still practiced. This is a line of thought that might
be worth investigating further in a future study.
3. The ⲥⲟⳟⲟⳝ of Heavens and the Archistratēgos of the Makuritan King¶
Mercurios and George were sanctified and as stratēlates were
posthumously surely manning the celestial hosts in their perennial and
eternal fight against evil, along with Epimachos and the other military
saints of Nubia. In this superhuman afterlife, the martyrs would thus be
expected to join forces with the archistratēgos of heavens, the leader
of the angelic hosts, the archangel Michael.
Characteristically, the swords that Mercurios holds in his
representations in Coptic art as Abu Sayfayn are given to him by Michael
as narrated in the Encomium of Acacius, Bishop of Caesarea, on
Mercurius the Martyr. It seems that the Nubians were aware of that
story and while preserving the spear as weapon of the mounted Saint
Mercurios in the cathedral of Faras, they represented on the adjoining
wall Michael offering the sword to the saint.
The archangel Michael is the most venerated celestial being in the
Christian pantheon of medieval Nubia with innumerable sources dedicated
to his cult. One of the most popular aspects of the archangel’s
cult is an apocryphal work called “The Book of the Investiture of the
Archangel Michael,” which describes – among other things – the fall of
Mastema (i.e. the devil) from Heaven due to his objection to venerate
Adam as an image of God and his replacement by Michael who thence
becomes protector of the humans and leader/archistratēgos of the angelic
hosts.
A lot has been written about the importance of this work in Nubia.
One important element in the discussion is the coincidence that the
focal passage of the entire work – the scene of the Investiture of
Michael – is the only thing narrated in the two versions fragmentarily
preserved in two Nubian manuscripts: one in Greek from Serra East and
one in Old Nubian from Qasr Ibrim. Among other insights that this
coincidence offers, there is one that obtains a special importance in
the context of the present paper, namely that the word that translates
the Greek term ἀρχιστράτηγος in Old Nubian is ⲥⲟⳟⲟⳝ, which is most
probably the term used to define an Eparch of the Makuritan
kingdom, more often than not (but not exclusively) linked with the
Late Antique kingdom of Nobadia controlling between the 4th-5th and
the 6th-7th centuries Lower Nubia.
There are, however, more Eparchs attested in the Nubian sources than
just the Eparch of Nobadia. Whether all Eparchs were Songoj or whether
all Eparchs had (also) a military function, it is impossible to
ascertain. The Eparch of Nobadia though (the Migin Songoj of the Nubian
texts) seems to be the same term as the “Lord of the Mountain,” which is
attested in Arabic sources and although apparently linked with economic
activities (an idea based on the nature of the documents in which the
title appears) he was also understood as a military officer and also
called “Lord of the Horses.” Suffice to be reminded here that
military saints in Nubia were mostly depicted on horseback.
One more detail from the field of Nubian iconography: a mural from Faras
housed at the National Museum of Warsaw represents an unnamed Eparch who
holds a bow, perhaps the weapon par excellence of Nubians, as we
mentioned in the reference to the successful defense of Dongola against
the invading Islamic army in the 7th century. Admittedly, this is not
the only representation of an Eparch from Christian Nubia, but the sole
iconographic witness of the links between the Eparch and warfare.
So, although the title of the Eparch may have been used for a variety of
functions in the Makuritan state, the military one should not be doubted
based on the translation of ἀρχιστράτηγος as ⲥⲟⳟⲟⳝ in the Book of the
Investiture of the Archangel Michael. All this is of course the result
of the identification of the titles Eparch and ⲥⲟⳟⲟⳝ. This
identification is quite certain for some contexts, but during the
centuries (at least six) that it was in use the terms may have shifted
semantic fields. So, it is plausible that the term ⲥⲟⳟⲟⳝ translating the
Greek ἀρχιστράτηγος was a military office that supplemented the civil
functions of the Eparch, an office for which the Old Nubian term is
unknown – if it ever existed. On the same token, one may be reminded of
the existence of the offices of peseto and pelmos in Meroitic Lower
Nubia, the former having civil functions and the latter military
ones.
Leaving aside this necessary and eventually inevitable nuancing for a
different venue, it may be concluded in the context of the present paper
that the Songoj/Eparch was (also) the archistratēgos of the Makuritan
king, a sort of a præfectus prætorio or ἔπαρχος στρατευμάτων.
Hence, a complementary working hypothesis can be advanced. In the Greek
version of the Book of the Investiture of the Archangel Michael, we get
a detailed description of the celestial ceremony of investiture, where
Michael is receiving the garments of his new function, the uniform of
the archistratēgos. In the first instance that the military character of
the archangel’s dress is mentioned, the garments are called
στρατοπεδαρχίας ἀμφιάσματα, “the clothes of the chief of the military
encampment.” The Old Nubian text prefers again to state that Michael was
dressed in the garment of the office of the ⲥⲟⳟⲟⳝ. So, it seems that for
the Makuritans the Songoj was an army general presiding over an
encampment. Was this encampment permanent? Or did the role apply to the
leadership of a special type of unit stationed at a given locality? And
to what degree such στρατοπεδαρχίαι reflect the local authority that
eventually the various Eparchs attested in our sources had? These
questions should remain open until new discoveries and a more thorough
study of the material takes place.
4. War on the Nile¶
There is a last aspect that is worthwhile a comment in the framework of
the present paper. The dimensions of warfare discussed hereby all seem
to refer to land forces. However, the most characteristic element of the
Nubian civilization is its relation with the River Nile. Therefore, its
navigation cannot have left unaffected the military exploits of
Christian Nubians. Actually, it has already been suggested that the
placement of the fortresses of Makuria along the banks of the Nile
necessitated the existence of a fleet which could transport the army and
vital provisions in case of a land attack from intruders, be they desert
marauders or the Egyptian army. Unfortunately, there is very little
in our sources that gives information about the naval forces of the
Makuritans. Moreover, what is known about navigation on the Nile in
terms of Old Nubian vocabulary has already been presented and this
material includes nothing that points with certainty to warfare.
There exists, however, one title in Greek, namely ναυάρχης, for
ναύαρχος, meaning “admiral,” who has been already seen as the leader of
the fleet transporting goods and military units to the Makuritan
fortresses. Furthermore, there should be no doubt that an “admiral”
was always in existence in Nubia, since we know of a “strategos of the
water” from Meroitic times. Now, it has been shown in an early
study of the titles and honorific epithets from Nubia that ναυάρχης,
albeit of apparently Byzantine inspiration, was not the preferred
terminus technicus for a Byzantine “admiral,” but it was mainly to be
found in literary works. Thus, it is worthwhile enquiring whether
the Makuritans did not make some bookish research in order to find the
term that they would use for their admiral, as it seems that they have
done in other occasions, like in the accumulation of terms for “king” in
the renowned Kudanbes inscription, which – rather unsurprisingly under
this light – is one of the places where the term ναυάρχης is being
attested.
It would be difficult to pronounce a set of conclusions from this study
that aimed primarily at assembling lexicographical data about warfare in
Christian Nubia. Previous research has already traced the outlines of
the influence of Greek terminology upon the way Nubians created their
own titles and honorific epithets and there has not been found any new
military terms or words of weaponry that can be added to OND. However,
new apprehension of a couple of words on war was proposed here, while
the revisiting of both literary and documentary sources has offered a
reappraisal of some others and the nuancing of their contextualization
against the background of the Makuritan Christian kingdom, undoubtedly
involved in wars along its history and across the classes of its social
stratification. Finally, it is perhaps the main contribution of this
paper to show the potential of teasing out information about neglected
aspects of the Nubian past from a careful and educated but also bold and
imaginative reading of the available material.
6. References¶
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Browne, Gerald Michael. “An Old Nubian Version of the Martyrdom of Saint Epimachus.”
In 50 Years of Polish Excavations in Egypt and the Near East: Acts of
the Symposium at the Warsaw University, 1986, edited by Stefan
Jakobielski and Janusz Karkowski, pp. 74-7.
Warsaw: Centre Professeur Kazimierz Michalowski d'Archéologie
Méditerranéenne de l'Université de Varsovie: Centre d'Archéologie
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Bonnet, pp. 379-87. Geneva: Compotronic SA, 1992.
Browne, Gerald Michael. Old Nubian Dictionary. Louvain: Peeters, 1996.
Browne, Gerald Michael. The Old Nubian Martyrdom of Saint George. CSCO 575.
Subsidia 101. Louvain: Peeters, 1998.
Browne, Gerald Michael. “An Old Nubian Translation of the Martyrdom of Saint
Epimachus.” Le muséon 115 (2002): pp. 69-76.
Budge, E. A. W. Miscellaneous Texts in the Dialect of
Upper Egypt. Coptic Texts; Edited with Introductions and English
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Crawford, Osbert Guy Stanhope. Castles and Churches in the
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article⁄The Art of Revolution: The Online and Offline Perception of Communication during the Uprisings in Sudan in 2018 and 2019
abstract⁄The article deals with art from the Sudanese revolution in 2018 and 2019 (the December Revolution). The focus is on the most recognizable and widespread images from the uprising and their presence on the streets of Sudanese cities and social media. The article shows how freedom of expression exploded on the Sudanese streets after years of censorship, suppression, and violations of freedom of speech, media, and civil rights. Art and social media had significant roles in covering the uprising. Issues related to the importance and value of art in transmitting social discourse and dissent in a tightly controlled society are raised. These issues should be the subject of wider research on conflict and social media in Sudan. This article focuses only on a small part of this vast and important topic.
keywords⁄Sudan, revolution, uprising, street art, social media, protests, murals, graffiti, images, iconic
1. Introduction¶
This article focuses on the images, graphics, and photos circulating on
the internet – often photographs of murals and graffiti from the walls
of Sudanese streets. I discuss how street art manifested the discourse
of public opinion in Sudan during the revolution and how social media
became a significant part of contemporary communication. Images from
social media conveyed by the international media represented the voice
of Sudanese people outside the country. I will show how social media
helped stage events, control activities, and back the official policy of
the Sudanese government to create a different narrative of events in
Sudan. This article engages with the question of how the reach of social
media platforms has changed the nature of political disobedience, and
how it provided new tools to overcome the repression imposed by the
regime and allowed quick, safe, and anonymous going out from hiding as
public opposition.
2. Methodology¶
In this study, I will use an analytical approach to examine articles and
social media concerning the 2018/2019 December Revolution in Sudan.
International media used several terms to describe the events that began
in Sudan in December 2018, depending on whether the events resulted in
fundamental social changes or just political change. In my
understanding, the events in Sudan should be called a 'revolution',
because it was a dynamic and major shift of political power and directly
related to social changes.
In this study, I employed various data collection methods, relying on an
extensive review of news articles, reports, and social media content. At
the same time, I conducted a comparative study on international media
and its interpretation of revolutionary art. I observed social media
reactions to threads related to the Sudanese revolution; spoke with
Sudanese people in Khartoum and the provinces; followed the art groups
created on the streets and online; analysed what happened to both street
and digital art after the protests ended. All of this was the basis of
the analysis of art's impact on the Sudanese people during the
revolution and more than two years after these events. How strong
emotional charge do they still have? For the article, I limited myself
to the artwork directly related to the causes of the revolution, its
most important events, and the participation of women, as they were
strongly represented on the streets of Sudan. Chosen street art was
posted on social media in the form of photographs, paintings, graphics,
cartoons, etc. I have chosen the most frequently reproduced artworks and
the creations that had the longest impact on public opinion, because
over time these have become symbols of the revolution.
3. Politics and Social-Economic Context¶
The concept of revolution and the struggle to gain freedom is not a new
phenomenon in Sudan. In 1964, the first president of Sudan, Ibrahim
Abbūd was brought down during the October revolution. In 1969, Jafar
al-Numayri overthrew the democratic rule of al-Azhari, and then was
removed from power by the popular movement in 1985. Omar al-Bashir
also came to power through a military coup in 1989. Many reasons
contributed to the revolution in 2018. As in 1964 or 1985, the political
and social situation was complex, and many of those problems are still
relevant in 2021. However, during the 30-year reign of Omar
al-Bashir, a new threat to democracy appeared while Sudan was becoming a
fundamentalist dictatorship, which led to the economic sanctions imposed
by the US and limited the inflow of foreign capital and opportunities
for economic diversification. Media censorship and the rise of Islamic
conservatism led to systemic changes dividing citizens into classes by
origin, sex, and religion. Progressive changes in the law allowed the
authorities to censor the citizens. In 2009, the Press and Publication
Acts was introduced. This law established the National Council of the
Press and Publication, which is responsible for regulating the media and
licensing the newspapers. This Council is not independent, and the
government appoints its members. During protests in 2019, 79
journalists were arrested based on this law. In 2015, Law on Access to
Information was introduced to the public, a law restricting citizens'
access to information. This was a time of high censorship and
suppression. All of this meant silencing the political opposition and
any criticism.
The independence of South Sudan in 2011, after the devastating Second
Civil War lasting 22 years, had a dramatic effect on Sudan's economy.
The Sudanese pound was devalued, and inflation rose to 70 per cent.
Before that, since 1999, oil fueled the economic growth in Sudan. There
was a period of relative prosperity, but the government missed this
'oil boom' and the opportunity to diversify the economy. Oil deposits
are mainly located in today’s South Sudan, and with the secession of
South Sudan, Sudan's economy lost its main driving force and primary
income. In addition, US sanctions, corruption, and government
inefficiency limited any changes that would improve citizens' lives.
The economic crisis aggravates the additional costs of fighting the
insurgents in the city streets and the continuous strengthening of the
security sector. All this resulted in currency depreciation and
hyperinflation.
Thus, in the economic crisis, the government tried to recover by
drastically reducing social financing. In 2010, the activist Mohammed
Hassan ‘Al Boushi’ Alim, accused Nafi’ Ali Nafi, the Former Assistant to
the President, of corruption and human rights violations. Enas
Satir, the Sudanese artist, refers to this event in her work explaining
the causes of the 2018 revolution. On her Instagram profile, she writes:
“(…) Al Boushi, when facing Nafi’ Ali Nafi’ (…), asked him: Tell
me about the bread, that is now the size of an ear.” Every word uttered
by Al Boushi is as powerful today as it was years earlier. The
reduction in the size of the bread referred to by Enas Satir was
associated with the reduction in government subsidies on basic goods,
followed by an increase in grain prices. At the same time, bakers were
forbidden to raise the price of bread. Having no other choice, they
began to reduce the size of the bread. Nevertheless, bread shortages
were not the main reason leading to the uprising in 2018. The reason
should be sought in the Sudanese economy’s long-term deterioration. Many
years of Islamist military regime activities have allocated more funds
to the security apparatus than to economic development strategies. The
corrupt system hit all citizens and significantly increased living
costs, such as food and gas. Deteriorating living conditions
spurred the development of a strong and conscious civil society.
Professionals began forming trade unions to mobilize action for better
pay and working conditions. The protesters demanded to overthrow the
ruling National Congress Party (NCP) and a president who had held power
for three decades. Without doubt, the lack of trust in the government
and mounting tensions due to no prospects, economic collapse, and lack
of access to reliable information, forced people into the streets. In
2013, 2014, and 2016, the police and the military brutally crushed the
strikes in Khartoum.
In December 2018, the government, wanting to save the country from
financial collapse, gave up subsidies for bread and fuel, which caused
public outrage and started protests. These austerity measures were
initially introduced in smaller cities. The government believed that the
citizens from outside the urban areas would accept the measures without
protests because they wouldn’t be able to mobilize. That is why the
protests started in Atbara and other smaller cities. Before the protest
moved to the capital, the people united in these smaller cities to
demand radical political and social change. Referring to these events,
artist Abdul Rahman Al Nazeer released ‘www⁄The Bread
Loaf’, inspired by Michelangelo’s
painting ‘The creation of Adam’. In the original, God stretches out
his hand towards Adam sitting in Eden. His hand has an outstretched
finger to transfer the spark of creation to Adam. This image has
penetrated pop culture worldwide, and the symbol of conveying the
‘divine particle’ or ‘spark of life’ is often paraphrased in visual
artworks. For Abdul Rahman, this scene takes place at a typical Sudanese
bus station – a Sudanese pound in God’s hand, which symbolizes the
spark of life necessary for human survival. In waiting for being
created, Adam’s limp hand holds a bread loaf.
Figure 1: ‘Train’. Credit: Mounir Khalil. Source: www⁄https://twitter.com/TheMantle/status/1166501152537620480
The uprising started with the protests in Atbara, home of the Railway
Workers Union, the most vital trade union in Sudan and the libertarian
driving force that fuelled the 1964 and 1985 uprisings. Responsible
for the protests' organized activities, the Sudanese Professionals
Association, established in 2018, follows the Union tradition.
Entry in Khartoum of a train from Atbara full of people chanting: “The
dawn has come, Atbara has arrived” has become one of the 2018-2019
revolt symbols. This event is also a reference to the October 1964
strike, when citizens from Kassala boarded their freedom train to
Khartoum to help oust General Abbūd from power.
One of
the most recognizable images of the train is the art piece by Mounir
Khalil (Figure 1), which captures the joy of the people on the train and
the tense anticipation of the crowd gathering at the tracks.
Hussein Merghani (Figure 2) immortalized this moment in a painting
showing hundreds of people welcoming the train filled with waving flags.
Merghani’s painting exudes strength, energy, and a sense of community –
it reflects the atmosphere in Sudan during the revolution.
Figure 2: ‘Freedom Train’. Credit: Hussein Merghani. Source: www⁄https://www.usip.org/blog/2020/11/how-art-helped-propel-sudans-revolution
Protests broke out in Sudan in December 2019, calling for the stepdown
of President Omar al-Bashir and his regime. In particular, large
numbers of young people, especially women, took to the streets. The
mobilization of people in Atbara began the pursuit of political change
for the entire nation. On December 19, girls from one of the schools in
Atbara marched in one of the largest markets in the city chanting
slogans against cutting subsidies. This was the result of increasing
grain and bread prices and thus increasing prices for school meals. The
girls were joined by others, and photos from the demonstration quickly
circulated on social media and sparked protests in al-Gedarif, Madani
(near Khartoum), Nyala (Darfur), and Port Sudan.
Contrary to the
uprisings of 1964 and 1985, where trade unions played a leading role,
the uprisings in 2013, and especially that of 2018, were driven by
masses of young people and activists organizing protests and providing
up-to-date information. As far as the uprising of 2019 is concerned, the
protests had a unique character because they were a combination of
efforts by professional and social groups – those that were first
mobilized in 2013, community-based structures and initiatives training
from the beginning in non-violent civil engagement. The Sudanese
Professional Association (SPA) showed extraordinary leadership skills,
however, it was the involvement of civil society that made it possible
to sustain a decentralized campaign based on non-violent protests.
The
collaboration of local groups and trade unions (which always were a very
strong part of civil society organizations) was particularly noticeable.
SPA mobilized the people and actively participated in the activities
against al-Bashir's regime, as during previous revolutions in which
professional organizations took an active part. However, despite the
similarities, the situation in 2019 was different due to the
organizational structure. Decentralized activities in social media
influenced the spread of information and mobilization of people across
the country. Youth became more politically involved and joined
volunteers and professional associations in training and organizing
civil society during the protests. Even threats of arrest and attacks on
protesters did not stop Sudanese citizens from going out in the streets.
The dramatic situation in which the Sudanese found themselves and the
exhaustion of their trust in the government is shown in Khalid Albaih’s
artwork (Figure 3). In his graphic, people are queuing for bread
and other necessities and this queue ends with a bomb. The graphic is
inspired by everyday life because people are forming a tight queue.
There is already a fuse lit at the end of the queue, illustrating that
citizens’ patience has its limits, that the process of social awakening
has already started, and that there is no turning back.
Figure 3: Cartoon by Khalid Albaih. Source: www⁄https://kultwatch.se/wp-content/uploads/2019/03/KhalidAlbaih_QueuingBomb_Sudan.jpg
In the face of widespread frustration and anger, president al-Bashir
dissolved the government and appointed military officers in its place to
avoid stepping down from power. However, on April 10, a military coup
led to his resignation. History has come full circle, and al-Bashir was
removed from power the same way that he seized power 30 years earlier.
The protests continued as the army that forced al-Bashir to step down
was engaged in the Transitional Military Council (TMC), chaired by
General Mohamed Hamdan Dagalo, also known as Hemeti. Hemeti is
known in Sudan for his ties to The Rapid Support Forces (RSF), a
paramilitary group descended from the infamous Janjaweed militias.
Protesters demanded civilian participation in the transitional
government and the dissolution of TMC. Among the protesters were young
women seen on the frontline of the marches, women whose rights were
systematically violated by the Bashir regime. Female protesters have
been verbally and sexually harassed by the police and security forces.
This meant that each of the protesting women had to face great fear.
They had to be strong, and their strength emanated from the other women
sharing the struggle. Each woman shouting anti-government slogans led
masses of protesters behind her.
The protests continued nationwide despite the increasing acts of
aggression from the armed forces. On June 3, the RSF cordoned off sit-in
protesters and used firearms. This attack on peaceful protesters in
front of the military headquarters in Khartoum resulted in the killing
of at least 127 people, and the attack is called the Khartoum
massacre. The RSF could not have acted on their own, and it seems
that the TMC had approved the attack. Khartoum was cut off from the
world by an internet blackout. Suddenly, all social media platforms
updating daily on the situation in Sudan went silent. There was no
possibility to use traditional media, television did not broadcast
information, and newspapers were suspended. Acts of violence escalated,
and shocking descriptions of attacks, shootings of protesters, and rapes
of women appeared in reports of witnesses calling for international
help. Increasing social tensions prolongated peace talks that were
completed with the signing of the Draft Constitutional Declaration on
August 4 by the Forces of Freedom and change – consisting of the
uprising movement and the TMC. The agreement stipulated that a
Transitional Government of four civilians and three military officers
would oversee changes in the country during a three-year transition
period. The declaration did not contain specific economic reforms,
specific mandates to improve the rights of women and youth, any plan to
prosecute those guilty of war crimes, or a rigorous investigation into
the June 3 massacre. However, changes began with dissolving
al-Bashir's NCP party and the repealing of the Public Order Act,
which targeted women drastically and restricted their freedom.
Female Genital Mutilation (FGM) was prohibited under penalty of
imprisonment.
Strikes are over, but the Sudanese still fear that history will repeat
itself and that the military will try again to usurp power.
Democratization in Sudan has begun, but the elites associated with
al-Bashir’s regime can slow down the process significantly. The failure
to include social and economic reforms in the constitution may
compromise the main postulates of the movement. The agreement also
avoids issues of war and peace, racism, and the marginalization of
minorities and refugees. However, solving such important and challenging
problems requires time and careful observation of the government's
actions, and Sudanese activists seem to be watching. Such a high civic
mobilization may allow the building of a strong democracy because public
opinion will hold both transitional and elected political leaders
accountable. The Constitutional Charter from 2019 established a
government consisting of a civilian cabinet, a Sovereignty Council, and
a Legislative Council. Decisions regarding domestic and foreign policy
are taken by Lieutenant General Abdel Fattah al-Burhan, the head of the
army and the chairman of the Sovereign Council, which bypasses civilian
leadership and calls for the dissolution of the government. Meanwhile,
citizens continue to demand a civilian government with full executive
powers.
4. Art beyond Divisions and Prejudices¶
The core of the uprising and the source of its strength was the equality
of all Sudanese people. No protests in Sudan had previously included
every ethnic group and social class included. The Sudanese have
emphasized that not only the people of Khartoum took protests to the
streets, but also the peoples of Kordofan, Nuba Mountains, and Darfur.
In a video from the protests, a woman chants: “From Kordofan [the
revolution] has emerged after we have been hit by gunfire. This is a
government with no feelings… and the Nuba mountains, like Darfur,
their blood is very expensive. We will protect our land, oh farmer. Our
Sudan will be set free!” Three decades of hate speech used on
generations of people was an easy and effective way to turn people
against each other. NCP promoted ethnic, religious, and social
discrimination and justified hatred and violence against minorities and
refugees. Government propaganda polarized the country and aroused distrust
between different ethnic groups while emphasizing the supremacy of
Sudan's Arabic-speaking Muslims. Ethnic identification
has been used by al-Bashir's regime for decades, dividing the country
and fuelling inequality. During the civil war in Darfur, the rebel
tribes were called by the government “Black Africans”. In opposition to
them, the Sudan army was identified as Arabs. Attempts to implement
the same ethnical division on young people impacted the social response
and became a double-edged weapon. The opposite, as expected, brought
people closer under the slogan: “We want a country free of racism!”
Young activists created a new quality of communication
and collective disobedience. No one felt excluded, and a concept of
peaceful demonstrations, so different from the terror used by the
security apparatus, appealed to all people. The opposition to al-Bashir's
rule formed a fertile ground for the unification of all Sudanese people
and pushed them to act as one.
The long-lasting civil war in Darfur was used as a government excuse for
the deepening economic crisis and the stricter racist policy towards
non-Arabs. During the sit-in, protesters have often stressed that,
as a result of long-term government campaigns targeting ethnic
minorities, the division of society is a severe problem. Currently,
there are studies on the Arab Islamist Sudanese government inspiring the
conflict in Darfur. In 2018, the government accused ten young
Darfur men of planning a terrorist attack on protesters on the streets
of Khartoum. According to public records, they planned to use self-made
bombs. The plot was exposed in social media and showcased the same
race-based politics that the al-Bashir regime was known for. The friends
of the young Darfurians identified them as peaceful students rather than
terrorists. In response to such a despicable attempt to spark
ethnic riots, protesters called for unification with a special message
to the government: You racist egomaniac! We are all Darfur! As a
counter-narrative to the regime’s propaganda, artists embraced Sudan’s
cultural diversity and appreciation for uniting differences. One of the
murals by Mughira, a fine arts student, shows a series of figures
standing next to each other in traditional and contemporary clothes and
headgear – symbolizing participation in protests regardless of origin.
Racism in Sudan is a complex issue due to the mixture of various
populations. Deep-rooted racism, discrimination, and intolerance are the
results of years of government propaganda emphasizing racial and ethnic
superiority. With the spread of the internet, propaganda moved to social
media. Pages responsible for spreading ethnic propaganda were often
exposed on Facebook during the revolution in 2019. Sudanese knew the
regime’s methods and remembered many cases when fake news and hate
speech started violence between ethnic groups, especially in the
South. The exclusionary policy not only covered non-Arab tribes but
also women, who were the primary victims of the Public Order Act.
Coupled with physical and verbal abuse, women were gradually forced out
of society. Women were in the front of the protests from the first
day of the revolution; they became symbols of strength and muses for the
artists. 60-70% of the participants were women, so there is a reason why
this revolution is often described as the Women's Revolution.
Women inspired artists with their steadfastness when facing the
oppressive army officers, strength during the long sit-in and ululation,
kindness, and readiness to help the wounded and those in need. Female
artists' perspective was crucial for showing women’s everyday life
without beautifying it and of priceless value for understanding their
motivation and hopes. The artist Almoger Abdulbagey painted 17 images of
walking women in traditional and contemporary clothes – reflecting
their ethnic diversity. These abstract figures painted with vivid
colours emanate power, as reporters who witnesses the marches and
chanting described the women’s presence in the demonstrations. This
is an example of how fake news targeting ethnic groups spread by the
regime backfired during the protests. Art began to express the
opposition to the state propaganda, and this became a turning point in
the perception of social divisions by the Sudanese themselves. There is
no consent to racist propaganda in these artworks.
On 8 April 2019, Lana Haroun took the photo of Alaa Salah in front of
the military headquarters in Khartoum. The iconic photo shows
Alaa Salah standing on the car’s roof, with her hand up, leading the
chant and making the crowd cheer together. Alaa Salah was then a
22-year-old architecture student who advocated for women's rights. Her
photo became a symbol of protests in Sudan and sparked a new trend in
artworks focusing on women's rights, strength, steadfastness, and
constant motivation to get the people around them involved. Of course,
there are many photos and videos from this event. However, this photo
widely echoed around the world. Alaa Salah’s white tobe is associated
with professions such as teachers, nurses, and midwives – they adopted
it as their uniform and is still considered a modest garment for
educated and independent women. The thoughtful selection of Alaa Salah’s
clothing makes reference to the tradition of Sudanese female activists
from the 1940s and 1950s, and the dress emphasizes the legacy of
women's fight for social justice. “At a national conference in
1969, activist and first female member of Sudan’s Parliament, Fatima
Ahmed Ibrahim, argued that women’s rights were in keeping with Sudanese
traditions. As evidence of this, Ibrahim asked the audience to compare
her tobe with the western business suit of then-President Gaafar
Numeiri, who stood next to her.” The choice of the outfit was
undoubtedly a well-thought-out move and its message spread widely and
drew attention to the feminist movement in Sudan. This image of a young
student is still the most recognizable and most shared image in social
media of the 2018/2019 revolution. The only downside to the attention
the image attracted is that the focus was not on the words spoken by
Alaa Salah but only on her outfit. She was quoting the reaction of
Sudanese poet Azhari Mohamed Ali against the Public Order Act: “They
imprisoned us in the name of religion, burned us in the name of religion
… killed us in the name of religion”. Lana Haroun’s photo,
referred to as a symbol of the revolution, was repeatedly adapted and
changed by artists worldwide, sometimes in an optimistic or satirical
way, and sometimes in a more serious and sublime manner. For example, in
Ali Hamra’s cartoon where Alaa Salah replaced the Statue of Liberty on
the pedestal, al-Bashir runs away in panic upon seeing her. Kesh Malek’s
mural presents Alaa Salah standing among the flashes of mobile phones
commemorating the event with a slogan next to it: “Liberty is not a
statue anymore. She is alive with flesh and blood”. In an
impressionist manner, a painting by Fatima Abdullahi shows Alaa Salah
raising her arm in the air amidst a mostly female crowd of protesters,
holding their phones with a flashlight, which creates a magical glow and
gives the picture a nearly mystical expression. Of course,
Alaa Salah is one of the thousands of women taking part in the
revolution, standing up against uniformed men. However, this image
became viral, and Alaa Salah became an icon of the revolution, a symbol
of women's fights for equal rights. Thanks to her recognition, she also
became an activist raising Sudanese women's rights to the international
agenda. "Every revolution inspires another revolution," Alaa Salah
says in an interview, stressing that women will not hesitate to take to
the streets again when needed.
Figure 4. An adaptation of Bint El Sudan perfume label. Credit: Amado Alfadni. Source: www⁄https://twitter.com/shambat2000/status/1251838673362001921/photo/1
A unique adaptation of Alaa Salah as
“The scent of the revolution” was created by artist Amado Alfadni
(Figure 4). He brilliantly turned the renowned Bint El Sudan perfume emblem
into a powerful message of revolution. The exhibition of Bint El Sudan perfume labels created by Amado shows how the iconography has changed over the decades, from the original to a censored version of an Arabian woman dressed from head to toe. This collection reflects the political discourse and social changes in Sudan without words and helps realize the extent of changes and restrictions in the lives of all Sudanese women.
A billboard with a photo of
Alaa Salah next to the sign: “My grandmother was a Kandaka.” In a
powerful way, this picture emphasizes Sudanese women’s strength. These words were also chanted during the demonstration,
empowering, and connecting generations of women walking together. On a
mural painted by artists Amir Saleh and Belal Abdelrahman it is stated:
Our history returns back with Kandaka. It shows a woman wearing a
helmet and brandishing a sword for her enemies.
Sudanese artist Yasmin Elnour’s Instagram account is Kandaka Khronicles.
The nickname is inspired by the Kushite queen. Her works beautifully and
harmoniously draw on Nubian traditions and combine ethnic aesthetics
with modern symbols.
The art piece “Kandaka factory" emphasizes the
participation of women in strikes (Figure 5). She traces the women's
ancestry back to the pyramids of Ancient Kush, where she placed the
factory producing all the brave Sudanese warriors. With the art piece
'Women rights?' Yasmin Elnour asks where are women's rights, and why are
Sudanese women second-class citizens? She writes on her
Instagram account: "A surprising status quo in the old stomping ground
of the Kandakes - Nubian Warrior Queens that fought off foreign powers
and steadfastly ruled the Kingdom of Kush. We cannot blindly accept
oppressive frameworks but instead carve a path of resistance, in the
glowing spirit of our female ancestors.”
Figure 5: ‘Kandaka Factory’. Credit: Yasmin El Nour’s aka Kandaka Khronikles. Source: www⁄https://www.instagram.com/p/B6gu7tBHds7/
A collage by Mahammed Mahdi shows women in white tobes and modern
clothes marching with their fists raised in protest and as signs of
anger. Above them, in the air, as if freed and freely soaring upwards,
there is a woman in white and next to her the inscription: Long live
the women’s struggle! The artist emphasizes women’s daily battle
for equality, free speech, and fair governance (Figure 6).
Figure 6: Graphic by Mahammed Mahdi reading ‘Long live the women’s struggle’. Source: www⁄https://kultwatch.se/wp-content/uploads/2019/03/866BFC8F-AF67-4463-8BDA-08D5CAD648B6-760x1024.jpeg
Artist Alaa Satir focused on the socio-political aspects of women's
lives in Sudan. Her series of cartoons, "We are the revolution",
honours female protesters' centrality in uplifting and sustaining the
resistance through their strength, courage, and commitment. In her graphic, she also refers to Sudan's Independence Flag,
which no longer represents the state. Gaafar Nimeiry replaced this flag
with the tricolor black-white-red flag with a green triangle at the
hoist in 1970. The Independence Flag, as seen on the Alaa Satir
graphics, resembled the flags of Rwanda and Tanzania, emphasizing the
racial diversity of Sudan and the joining of all ethnic groups, while
Nimeiry’s flag derives from purely Arab aesthetics and refers to the
Sudanese Arab identity. Many protesters waved the Independence Flag
during the rallies. Its colors emphasize the combination of Arab and
African roots, which was also reflected in the people's outfits on the
streets. Like many young activists, Alaa Satir raised a very important
issue regarding identity and ethnicity, which was widely discussed
during the sit-in. For the first time, these matters were discussed
openly and emphasized that multi-ethnicity is what makes Sudan stronger.
In her works, Alaa Satir also shows the everyday life of protests and
the enormous influence of women who took the fight to the streets and
for whom giving up is not an option. One of the murals with the
inscription: ‘We are the revolution, and the revolution continues’
portrayed women in traditional clothes with their hands raised and their
fists clenched in a gesture of victory.
Another mural,
painted on a blue background, shows a woman with a raised hand in a sign
of victory with slogans next to this like: ‘Freedom, peace, and
justice’, ‘Tasqut Bas’ and ‘Ladies, stand your ground; this is a women’s
revolution’. The artist writes about the events in Sudan:
“We are not here just to overthrow a political regime but the corrupt
social system that came along with it, that targeted women and used all
techniques to try and push them backwards!”
Mergani Salih chose a different form of expression by creating a mosaic
with thousands of photos of women protesting and suffering from an
oppressive government. With dedication, he searched the Internet to
choose the right photos to create a representation of Sudan's
embodiment. The character is deeply rooted in Sudan folklore – Habouba,
grandmother and caretaker. He adopted a photo of an older woman in a
traditional headdress, with a calm expression on her face, curious eyes,
and a face bearing traces of work and time – like Sudan itself, tired
and aged but still with a sparkle in the eyes looking to the future. This video mosaic is available online and even now makes an
unforgettable impression on the onlooker.
An anonymous female artist who adapted Banksy’s 'Mona Lisa with rocket
launcher' created a mural deeply inspired by pop culture. After all,
Banksy's London mural was referring to Da Vinci's ‘Mona Lisa’. The
mural in Khartoum shows a figure whose outline resembles Banksy’s ‘Mona
Lisa’, but her face is that of a Sudanese woman with a scarf on her head
and a rocket launcher in her hands. This simple image has a
powerful and direct message: beware of women’s power.
5. Online Art¶
A new generation of young activists looks back to the Girifna (meaning ‘we are fed up’) movement,
founded by students in Khartoum in 2009, for inspiration. Their fight
shifted the protest onto completely different tracks than those known
from previous uprisings. Girifna volunteers organized just before the
elections that would take place in 2010, realizing that the society was
under-informed, and deciding to change this situation. Awareness
campaigns quickly expanded to organizing protests and publishing news
without censorship. Within a few years, these activists became the main
opposition force, and they are now visible on the political scene in
Sudan. Contemporary opposition groups significantly differ from
classical parties such as the National Umma Party, the Democratic
Unionist Party, and the Communist Party. The SPA distinguished
itself through their activities in social media, thanks to which
Sudanese people were allied to their demands. At the beginning of the
revolution, SPA formed alliances with many political parties. As a
result, ‘The Forces of Freedom and Change’ was formed. Very quickly
the SPA started expressing the voices of all Sudanese and published
daily on Facebook the public opinion on the current situation in Sudan.
The activists arousing political awareness among young people and
manifesting their social needs come from various regions of Sudan and
even the diaspora. Thanks to such participation of young people,
revolutionary agitation was very effectively transferred to social media
and developed countless forms of expression. These tactics have so far
been entirely ignored by political parties, but young innovative
activists identify themselves without any problems with them. Elusive on
the web, they are free to report on events in Sudan and strengthen
international support for the protesters. Online communication has been
constantly changing over the years, adapting to the situation and
guaranteeing optimal and safest oppositionist conditions. NISS (National
Intelligence and Security Service) created cyber units called jihadist
cyber units. Members created false accounts on Facebook or Twitter to
disinform protesters, spread propaganda, or lure individual activists
into traps. These efforts did not go unnoticed. The SPA has created
applications for contact between members and a website that broadcasts
protests live. Social media became the primary source of information
about events in Sudan and the main communication tool for
revolutionaries. One can say that they even fuelled their activities.
The regime controlled the state media and for a long time provided only
propaganda to improve its image. At the same time, information was
published on Twitter and Facebook, simultaneously translated from Arabic
to English.
Al Jaili ‘Jaili’ Hajo is an artist who has pointed out
the lack of information about the situation in the country in the media.
In his collages, he compares public television news with photos from
protests, showing how the reality on the streets of Khartoum is
diametrically different from government propaganda broadcasted on
television. In one of his collages, we see people
injured after the June 3 2019 crackdown. In a manner, such artworks
replace public media, which had no information about this event.
The live-streaming massacre on 3 June 2019 was an unprecedented case
made possible by the courage of the protesters who shared photos and
videos in social media. Journalists producing “Africa Eye” for BBC have
collected several videos from the attack by RSF in a shocking short
documentary about the revolution. The documentary shows the
ruthless and planned actions of the militia and the terror of the
protesters. Live posts on Twitter reported a minute-by-minute escalation
of violence by the RSF. Photos showed people injured and killed on the
streets, overcrowded hospitals, and bodies pulled out from the Nile. All
this, seen almost live, confronted the world with what was happening in
Sudan in an unprecedented manner. Social media flooded with digital art
after these horrifying events.
The artist Enas Satir created the series
‘Kaizan and why they are bad for you’ – a compilation of drawings
explaining the origin of the word ‘kaizan’ (metal mug) and why the
Sudanese use it as a name for the government (see also below). This
series is aesthetically appealing and, for those from abroad, also very
informative. Enas Satir put a broader context on Sudan’s situation in a
simple and clever manner. She writes on one of her drawings: If
Sudan was a person, it would by now be gravely ill next to a metal cup
(‘Kaizan’) filled with blood.
Under al-Bashir's rule, any political expression was forbidden, so
artists developed a way to spread anti-government content, in an
indirect way. However, during the uprising, the freedom of
expression replaced all restrictions, and artists finally could speak
their minds, and via social media they could reach people anywhere.
Visual and audio-visual forms of documentation attracted a larger group
of people and had a more significant impact on the audience than TV
news. Never has such an extensive range of information resources been
used to show the power of the people in Sudan. An online mobilization
aimed at identifying the aggressors who were attacking protesters,
another unprecedented method of exercising justice. Based on photos and
videos available online, a group of women recognized the RSF officers
and published their data on Facebook. For this reason, operations’
officers began to wear masks to hide their faces and prevent their
identification.
There has been an unstoppable flow of drawings, cartoons, and memes,
fuelling the protests with bold images and intelligent retorts. This
uprising sparked a social, political, and cultural awakening that
intertwined with each other, creating an image of the marginalized
before pressing problems and underlining the power of social resistance.
In art, we can find traditional symbols and African indigenous motifs.
Also, the modern cultural references blend poetically with traditional
Sudanese aesthetics, creating bold and authentic artwork. Thanks to the
influence of tradition, so deeply rooted in Sudanese consciousness, art
reached everyone, regardless of age or origin. Artists found a way to
spread ideas and share their views in an accessible and universal way.
We can distinguish references to the history of Sudan, be it ancient
(the kingdom of Kush) or more modern (independence and earlier
revolutions). For example, a collage by Merghani Salih with a young boy
reciting poetry during protests superimposed on Kushite pyramids refers
to the ancient history of Sudan (Figure 7). It is an adaptation of the
photo entitled ‘Straight Voice,’ a powerful image made by Yasuyoshi
Chiba, who won World Press Photo in 2020, in the Photo of the Year
category.
Figure 7. Adaptation of 2020 World Press Photo by Yasuyoshi Chiba. Credit: Merghani Salih. Source: www⁄https://twitter.com/Merg_Salih/status/1251875224838176771/photo/1
A famous slogan appearing on social media: Make Sudan Great Again,
on the background of monumental buildings from the Kush period, is an
ironic comment on Donald Trump’s slogan “Make America Great Again”, but
it also emphasized the reliance on the powerful Sudanese ancestors
dominating in north-eastern Africa during the Kushite period. The people of ancient Nubia were captured as slaves by Egypt. Then
the power dynamics between Nubia and Egypt shifted, and Kush ruled Egypt
as pharaohs of the 25th Dynasty (about 747-656 BCE). Thus, art
teaches history; the Sudanese cannot live in chains, and they are
capable to regain their freedom. Ben Jones, with his artworks, alludes
to modern times in world history. His graphics portray al-Bashir and his
military allies as Nazis. It is a powerful and terrifying
combination, but it is indisputably associated with the racist rhetoric
of the NCP authorities and the genocide committed in Darfur and
Kordofan.
The global movement #BlueForSudan started in solidarity with Sudanese
martyr Mohamed Mattar, whose favourite colour was blue. An
artist known as Kandaka Khronicles (see above), created a photomontage with a young
boy crying in a boat floating on a bloody river. It is a
homage to those killed in the crackdown and their families. The dark
blue backdrop honours Mohamed Mattar, the boy’s endless tears remind of
the ongoing aggressions against peaceful protesters. Also, ‘Blue Night’
by Mounir Khalil, an impressionist painting, shows people waving flags
against a starry sky background. It is a beautiful art piece full of
tranquillity and dedicated to those fallen during the uprising (Figure
8).
Figure 8: ‘Blue Night’. Painting by Mounir Khalil. Source: www⁄https://pl.pinterest.com/pin/635992778614196359/s
A graphic by Jaili Hajo is a collage of a viral photo made on the
streets of Khartoum. In a pickup truck used by security services lies a
protester knocked over on the car's back but still holding the Sudanese
flag high in the air. On the car roof, covered by the waving Sudanese
flag, stands an enormous figure of al-Bashir. He is not
essential for the artist; his face does not even deserve to be shown; he
is only a symbol of oppression. The artist thoughtfully depicts the
sense of fear that people must have felt when faced with the armed
forces. We can notice an officer with a long truncheon with a split end
on the side of the car – the truncheon was probably used against the
crowd.
When the news broke out on social media that a NISS car killed the
3-year-old boy Muayed Yasir and seriously injured his 5-year-old
brother, people worldwide were shocked and mobilized against the
impunity of the security services in Sudan. Artists decided to react
too. The ‘Hanz’ graphic designer on his Twitter account condemned
this event and asked for public support to the mother of the two boys,
one of which was still in intensive care at the hospital (Figure 9).
Figure 9. Death 3-year-old boy Muayed Yasir. Credit: Hanz. Source: www⁄https://twitter.com/mr_hanzala/media
Mustafa Alnasry created a poignant graphic of Bashir dancing on stage
during his ‘1 Million People March’ organized to underline people's
support for the government. Alnasry shows the coldly calculated dance of
the President, posing as a kind leader, at the same time, ruthlessly
attacking peaceful resistants.
Drawings inspired by pop culture reached the most remarkable popularity
online. For example, in the work of Ibrahim Jihad (known as hxmaside),
there is a reference to the Transformers’ universe of the DC comics. His
graphic entitled ‘Fallen’ presents the symbolic metal cup, “Kaizan” (see
above) damaged by bullets, dropped on the ground or thrown away, thus no
longer needed. This art piece resembles a movie poster,
and as with any poster of that kind, we can find out that “Kaizan Fall”
was produced and directed by Sudanese people – a clever artistic
move. Another point of inspiration from pop culture is the reference to
the KFC restaurants: The slogan “Al-jidād al-iliktrūni” means “The
electronic chicken”, and it is referring to people hired by the regime
to spread fake news on the Internet. In a satirical manner, the
revolutionaries created posters portraying Omar el-Bashir on a KFC
flyer, where KFC was replaced by KEC (Kaizan Electronic Chicken). What is ‘Kaizan’? It is a traditional mug made of steel and
called ‘koz’ (singular of Kaizan). There are different theories on why
Sudanese started calling the ruling party 'Kaizan’. Alshaheed Alimam
Alhassan Albana, the Muslim Brotherhood founder, once said: “Knowledge
is a sea and we are its kaizan”, which back then described Muslim
Brotherhood members but now refers to Omar al-Bashir and the National
Congress Party (NCP).
Among the artists who commented on the events in Sudan were cartoonists.
Cartoons are sarcastic, often on the verge of absurdity or insult, but
their message refers often to tragic events. They have sometimes been
made without any inscriptions because the image itself is universal and
does not need any explanation. Khalid Albaih shows how General Mohamed
Hamdan Dagalo, also known as Hemeti, climbs on the corpses of the
Sudanese people to attain power (symbolized here as a throne). A
pile of bodies wrapped in shrouds is a very powerful and upsetting image. In a violent manner, the artist addresses the civilian
casualties, which are part of the brutal rise of Hemeti to power in
Sudan. Hemeti, together with general Abdel Fattah al-Burhan, are
responsible for armed attacks in Darfur and took part in the war in
Yemen. Their rise to power was a blow for the Sudanese and, at the same
time, a call for mobilization to continue the struggle for democracy.
Sudanese cartoonist Boushra Al-Mujahid commented daily on the events in
Sudan. His images were always on point, clever, and understandable even
for foreigners unfamiliar with Arabic. The security forces were so
obedient that they even arrested a donkey that the protesters had marked
with revolutionary slogans. The event recorded by the phone of an
onlooker set in motion a wave of satirical cartoons ridiculing the
absurd attempts of the government to keep order on the streets. This
image transformed into all sorts of memes and cartoons to mock the
soldiers and express disrespect for their actions.
Participating in sit-ins was associated with the risk of an attack by
the security forces using tear gas and rubber bullets and all kinds of
physical and mental aggression. A video available online shows a group
of protesters on one side of the street and police forces on the other,
throwing tear gas canisters into a crowd. We see the brave woman Rifka
Abdel Rahman taking a tear gas canister (which is about to explode) and
throwing it back. She was named ‘Bumban Catcher’ (‘Bumban’ means tear
gas in Sudan). Merghani Salih returns to these events in his art after
the revolution using 3D models. The series is called "Living with
Revolutionaries" and, as he describes himself, it was created to
capture the icons of the Sudan Revolution. One of these 3D models,
posted on Merghani’s Twitter account, commemorated the courage of Rifka
'Bumban Catcher’.
6. Street Art¶
During the uprising, alongside regular verbal and written communication,
a flood of sketches, murals, graffiti, and cartoons spread the word
about the revolution across Sudan. Art became a platform for
transmitting information in a highly censored environment, reflecting
social tensions, and forming political discourse. Slogans were
everywhere, on people’s clothes or bodies, but mainly on all urban
structures. Sudanese people expressed their emotions on the building
walls, streets, public transport, fences, and even trees and animals.
Anti-government slogans appeared in every space that it was possible to
draw, even the smallest ones. The slogan Tasqut bas addressed to
el-Bashir and his regime can be translated as: Just fall, that’s all
or You’d better fall. This slogan was repeated and
hash-tagged many times on different kinds of brochures and online
flyers. Almost equally famous was: Ash-shaab yurid isqat an-nizam,
which means: The people want the regime to fall. It appeared on
the buildings and bus stops not only in Khartoum but in other towns and
even villages. Activists created the hashtags #BlueForSudan and
#KeepEyesOnSudan, which appeared widely both on the streets and online.
These hashtags attracted world attention on Sudan and kept up the
mobilization in favour of the revolution. #BlueForSudan represents the
favourite colour of the martyr Mohamed Mattar, who was shot protecting
two women during a police attack (see above). Another hashtag formed
during the protests was #Sudaxit. This alluded to Brexit and emphasized
that protesters identified more with African peoples than with Arabs and
demanded the separation of Sudan from the Arab League.
Due to the restrictions imposed on Internet and the censorship practised
in public television, the flow of information had to find other ways to
spread. The activists used brochures, postcards, or leaflets, sometimes
minor marks on clothes or on their bodies. That information included the
dates and places of protests, comments on current events, revolutionary
slogans or symbols, and glorifications of the martyrs. Women, for
example, used the henna painting (traditionally made before weddings)
and designed anti-government slogans or images on the hands or feet of
protesters. Also women wove revolution symbols
into their traditional clothes, adding victory signs or Tasqut bas
slogans to their toubes, which gained over the years representative
status as a reminder of feminist values fought by their mothers and
grandmothers. Older generations wore the white toube during the
previous popular uprising, which once again linked traditions with
modern times.
The artists felt responsible for showing the emotions of the Sudanese
people and spreading the revolutionary messages. Such a message can be
found on a mural in Khartoum, which is an interesting adaptation of
www⁄Eugène’a
Delacroix’, ‘La
Liberté guidant le peuple’. The accompanying text reads: The
revolution will go on. These artworks were an expression of despair and
hope. They were born out of a desperate need for change and the
necessity of speaking the truth. Street art, impermanent and unique,
could be removed at any time, and the artists who made it were in
constant danger of being caught and imprisoned. All of this was
evanescent. It emphasized the fragility of human existence and made it
even more inclined to reflect on the values of life and what is worth
fighting for. Assil Diab, a graffiti artist, known as ‘sudalove’, was
one of the many female Sudanese artists courageously creating art on the
streets of Khartoum. Diab painted murals and immortalised the
memory of Sudanese killed by security forces during the uprising.
Sometimes the families were taking part in creating the martyrs'
portraits, which allowed them to add something personal to commemorate
their loved ones. The portraits are reminders of the loss
and sacrifice, of government brutality and their disrespect for human
life, and the price of freedom and democracy.
One of the most high-profiled cases of police and intelligence services
brutality was the death of Ahmed al-Khair, a 36-year-old teacher from
Kashm al-Qirba. He was arrested at his home after the protest he was
taking part in and died on 2 February 2019, after a week of detention.
The police stated that the cause of Ahmed’s al-Khair death was the
result of his poor health condition and was not related to his
imprisonment. However, the examination of Ahmed's body, first by his
family and then by pathologists, indicated death by beating and torture
to which he was subjected during the interrogation. The horrifying
details of the torture shocked and infuriated the public and Ahmed’s
story was told nationwide. Sudanese still recall these events in
conversations, emphasizing that this was the turning point of the
revolution. There was nationwide mobilization and awareness that nothing
would stop the regime to silence the voice of the nation. Anger and
opposition to violence united the Sudanese people more than before.
Images of Ahmed were held by the protesters during the rallies, were
reproduced on the city's walls, and circulated in social media. When,
on 30 December 2020, 29 intelligence agents and police officers
responsible for Ahmed al-Khair's death were sentenced to death, a crowd
rallied outside the court in Omdurman. This event went down in history
as a moment of national mourning from which Sudanese rose resiliently.
After the revolution ended, Ahmed's story was taught in schools and
drawings of his face appeared on the walls of school buildings. These paintings were often painted over by the security services
but were always recreated by the people, determined and in strong
opposition to the regime's brutality and their efforts to censor
history.
The 3 June 2019 massacre has left a deep mark on everyone who
participated in the sit-in and watched the live streaming. RSF militia
forces opened fire on unarmed protestants, beat many of them, and raped
48 women. In their works, Galal Yousif and Amel Bashier condemned
cruelty and rape as tactics for pacifying women. Following
these events, the African Union degraded Sudan’s rights as a
member. The daily news about atrocities committed by the RSF is
reflected in the artists' work following these events. The mural of
Galal Yousif, destroyed during the June 3 crackdown, shows people
shouting or screaming. Above them, huge hands try to silence the figure
in the centre. The inscription in Arabic on the side explains: You were
born free, so live free. Yousif painted several murals in
Khartoum. One of them was placed under the bridge near the sit-in and
depicts screaming figures with horrified and distorted faces. The incomprehensible anxiety can be compared with Edward Munch's
‘Scream’.
Colourful murals, graffiti, sculptures, and installations within the
sit-in created a whole new space in the centre of Khartoum, a city
within a city. Space where people felt free, expressed their political
views with no fear, and experimented with new forms of artistic
expressions. It was an unprecedented phenomenon – there has never been
such a concentration of artists from all over Sudan with different
cultural backgrounds covering various fields of fine art. Space within
the sit-in became an exhibition on a vast scale, with paintings,
graffiti, sculptures and installations, various traditional crafts,
regional costumes, poems, songs, and dances.
In the face of a military crackdown, protesters opposed the aggression
in a very clever way. They collected military equipment and reused it
differently, peacefully changing its meaning and creating an utterly
different dichotomy between them and the government forces. They made it
possible to find a bit of humour in these difficult moments and
ridiculed the militia on the other side of the barricade. Such acts gave
people a different perspective; they began to let go of fear and
regained the dignity that was taken from them by years of oppression.
Empty tear gas canisters that were used to separate protesters have been
transformed into flower vases, containers, or electrical
connectors. There was an impressive increase of photos on social
media showing an endless creativity, among these one may pick the
"tasqut bas" slogan made with tear gas canisters. The
protesters were utterly changing the functions and common perceptions of
military equipment, almost straightforwardly saying objects themselves
are not dangerous but only become so in the hands of dangerous people.
An example is a photo of a ring made from a bullet. Art,
therefore, did not embellish reality and did not avoid showing the
violence and terror in which everyday protesters functioned.
In 2019, merchandise with symbols of the revolution started to appear in
the street markets. They were mainly produced abroad by the diaspora,
but some handmade products also circulated, albeit in a limited range,
also in Sudan: stickers, phone cases, bags, and T-shirts, on which symbols
and hashtags spread the message of the revolution. Street
art became popular and functioned as a reference to political ideas and
the current situation in the country.
7. Summary¶
The 2018/2019 revolution in Sudan was one of the most significant and
best-organized revolts in the Arab world in recent years. There were
large-scale protests, which showed social commitment and the
effectiveness of opposition by activists. The political engagement of
young activists changed the approach to protests in Sudan. They showed
extraordinary creativity and commitment, and thanks to that, they
reached vast sections of the society. Resistance groups, which have been
emerging since 2009, moved their activities to the streets, showing
their opposition through slogans, murals, and leaflets. Most of their
activities quickly spread online, where they joined forces with other
groups to create an efficient machine of resistance and for spreading
information without the fear of governmental censorship. Their actions
in the streets and online created a foundation for mass resistance,
which was used to the full during the protests in 2018-2019.
This article shows the phenomenon of revolutionary art in shaping public
opinion, transferring information, political discourse, and calls for
mass disobedience. The photos of the revolution, murals, and graphics
are still circulating in social media and the events related to them are
still present in the consciousness of the Sudanese. Most of the
murals have been painted over by the police, but the ones in the
University of Khartoum campus have remained untouched. They were
protected from destruction by the people and can also be seen in
galleries online. These murals are examples of the strong emotions
evoked in the Sudanese people, even after the end of the revolution.
Their preservation can be understood as a tool for remembering, for
commemorating the loss of loved ones and the tragedies of many families,
raising people's spirits, and keeping resistance alive.
The artwork that was created out of this revolution has a significant
role in civil disobedience. Sudanese people lived under constant
control, repression, and racism-based politics. The need to talk about
it loudly and be heard was unbearable. Art helped them express
themselves and brought people together for a common cause. It also
changed the information flow and created a dialogue with the government.
The protesters' actions inspired the artists who, over time, mobilized
the people. It was a mutually reinforcing relationship that gave birth
to a freedom movement that emanated strength and bravery. Art became an
integral part of this movement as the artists raised awareness and
became a voice of the people. Art was inclusive, anti-conformist, and
empowering, and it was used as a censorship-free source of news and
expression.
Street art and graffiti glorify people and their sacrifice, challenge
them during the revolution and after, and remain a constant memento of
the events in Sudan. War has many faces, but whether it is a cultural,
ideological, or religious war, it is associated with social change and
never leaves the country unchanged. In Sudan, during the uprising, this
change took place in the freedom of expression, greater self-awareness
of citizens and creativity in all areas of fine arts. Poetry, songs,
photography, collages, and street and online art during the revolution
in the blink of an eye responded to the ever-changing situation in
Sudan. Art inspired by actual events evokes instant connection and
understanding between the artist and the viewer. Apart from
anti-government slogans, art reflects the revolutionary reality. It
shows sadness and fear; there are visible references to police
brutality, excessive use of force, tear gas, ammunition, torture, and
mental and physical exhaustion of people. It is an incredibly moving
picture, without glorifying a peaceful uprising but considering the
dangers associated with it. Devoid of the romantic vision of the freedom
struggle in which all protesters happily return home.
The events in Sudan inspired and still inspire artists. ‘Kejer’s Prison’
– a short film by Mohamed Kordofani, in a moving way shows the social
tear during the revolution, especially among the military soldiers.
Many years of indoctrination or compulsion to obey the order have caused
the soldiers to turn against their fellow citizens. Everyone should be
held accountable, there is no doubt, but Mohamed Kordofan’s film changes
a bit our perspective on the events. We want to hear their stories and
find out how they became torturers for those they should protect.
Abu’Obayda Mohamed, known as OXDA, in his graphic shows the burning
Khartoum, where the militia’s attack on the sit-in on 3 June 2019 took
place. The graphic was created a year later with a
dedication to all the fallen and the shed blood on the dangerous road to
democracy. Also, in 2021, the anniversary of the June 3 massacre was
celebrated, emphasizing that the memory of these events is still alive,
and the victims of the regime’s violence will not be forgotten.
Even after the revolution, the role of the artists has not changed. On
the contrary, the artists have gained more momentum, and they are using
the newly acquired freedom. However, social and political change is a
long process, and Sudan's future remains unknown. The economy is
suffering from inflation and the continued devaluation of the Sudanese
pound. The locust plague and the flood disaster hit agricultural
production, and the COVID-19 pandemic has exacerbated the health crisis
in the country. All this contributed to the deepening of the recession
in 2020 and 2021. On the other hand, the U.S. removed Sudan from the
list of states assisting terrorism and mediated the signing of a peace
agreement with Israel, after which Sudan received $ 1 billion in
financial aid. The situation in Sudan will not change dramatically
overnight, however, the government has proposed fuel subsidies and tax
law reforms, as well as social protection programs. New fiscal and
monetary policies were introduced while renewing diplomatic relations
and attempts to stabilize the economic situation. Sudan is ready for
fundamental economic and institutional reforms and the first changes
have already been noticed in August 2021, when the inflation decreased
by 35 points. International media were talking about stabilization in
the country.
8. 2022 update. The conflict in Sudan is not over.¶
In October 2021 the Sudanese army carried out a coup against the
civilian leadership. Prime Minister Adballa Hamdook and his cabinet were
arrested. Strikes broke out again and the actions of the army were
condemned. This situation provoked a reaction from the international
financial institutions supporting Sudan and forced the cessation of
financial aid totaling $4.6bn. Furthermore, $700m of financial aid
from the US has been blocked, along with the supply of grain to be used
in subsidizing bread. The cost of living began to rise
dramatically, and inflation soared.
The Sudanese still protest against the military coup on a weekly basis.
Currently carried out by professional groups, students, and women's
rights groups. Protests still rely on non-violent tactics and the use of
social media is still crucial for wider media coverage. The rise of
local activism in Sudan is a phenomenon that continues to grow and reach
even larger circles. Protests re-emerged and Sudanese people demand a
constitution and a democratically elected government.
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editor⁄Henriette Hafsaas
1. Biography¶
Henriette Hafsaas is an archaeologist researching the relationship between peoples in ancient Nubia and Egypt from a southern perspective. She completed her PhD thesis titled “War on the Southern Frontier of the Emerging State of Ancient Egypt” at the University of Bergen in 2015. In the dissertation, she argues that warfare was a significant form of contact between Nubia and Egypt during the 4th millennium BCE, leading to the emergence of a distinct Nubian culture called the A-group people in the mid-4th millennium BCE and to the collapse of the A-group society towards the end of the 4th millennium BCE.
Hafsaas has worked on various archaeological projects in Sudan, Palestine, and Norway. In Sudan, she has been part of the Medieval Sai Project, which focused on the medieval cathedral of Sai. Hafsaas has published several articles in peer-reviewed academic journals. She is also engaged in ethical dilemmas for archaeologists.
Currently, Hafsaas is the Head of Research at Volda University College in Norway, and she continues to pursue her research interests in the past of ancient Nubia and Egypt.
author⁄Henriette Hafsaas
1. Biography¶
Henriette Hafsaas is an archaeologist researching the relationship between peoples in ancient Nubia and Egypt from a southern perspective. She completed her PhD thesis titled “War on the Southern Frontier of the Emerging State of Ancient Egypt” at the University of Bergen in 2015. In the dissertation, she argues that warfare was a significant form of contact between Nubia and Egypt during the 4th millennium BCE, leading to the emergence of a distinct Nubian culture called the A-group people in the mid-4th millennium BCE and to the collapse of the A-group society towards the end of the 4th millennium BCE.
Hafsaas has worked on various archaeological projects in Sudan, Palestine, and Norway. In Sudan, she has been part of the Medieval Sai Project, which focused on the medieval cathedral of Sai. Hafsaas has published several articles in peer-reviewed academic journals. She is also engaged in ethical dilemmas for archaeologists.
Currently, Hafsaas is the Head of Research at Volda University College in Norway, and she continues to pursue her research interests in the past of ancient Nubia and Egypt.
author⁄Matthieu Honegger
1. Biography¶
Matthieu Honegger is a professor of pre- and protohistoric archaeology at the University of Neuchâtel (Switzerland) and works on periods between the Mesolithic and the Bronze Age.
He has directed four excavations in Switzerland, in the Alps and on lake dwellings, as well as six excavations in the Kerma region (Sudan) where he has been working since 1994.
His research topics are material culture and society, funerary archaeology, spatial archaeology, neolithization, social stratification and valorization of the archaeological heritage.
Between 2004 and 2019, Honegger was responsible for the museographic installation of the Kerma Museum. In 2014, he organized the Thirteenth International Conference
for Nubian Studies in Neuchâtel and at the same time presented an exhibition entitled “The Origins of the Black Pharaohs: 10,000 Years of Archaeology in Nubia”.
author⁄Uroš Matić
1. Biography¶
Uroš Matić is a postdoctoral researcher at the Austrian Archaeological Institute, Austrian Academy of Sciences. He specializes in war and violence, gender, settlement archaeology, and ancient Egyptian interrelations with neighbouring cultures. Matić has more than ten years of fieldwork experience in Egypt. He is a member of archaeological teams working in Tell el-Dab’a, Aswan, and Kom Ombo. His most recent publications include Violence and Gender in Ancient Egypt (Routledge 2021) and Beautiful Bodies. Gender and Corporeal Aesthetics in the Past (Oxbow Books 2022).
author⁄Alexandros Tsakos
1. Biography¶
Alexandros Tsakos is working at the Special Collections of the University of Bergen library. He specializes in Christian Nubia, especially religious literacy, and the cult of the Archangel Michael. He has worked in the field and in museums in Sudan and is managing editor of the Nubiological Journal Dotawo.
author⁄Roksana Hajduga
1. Biography¶
Roksana Hajduga is an assistant in Department of Nubiology at the Institute of Mediterranean and Oriental Cultures of the Polish Academy of Sciences. She is an archaeologist with more than 15 years of international experience in the field and academia. Hajduga has been working in Sudan since 2010 on different types of sites: Settlements, royal city, tumuli cemetery, and sacral sites. Her research focuses on residential and monumental architecture, but she is also interested in Sudan’s culture and its history more broadly.