Africa, Film, Southeast Asia

Into the Inferno – Herzog’s best yet?

Excerpt from Into the Inferno:

It is hard to take your eyes of the fire that burns deep under our feet, everywhere, under the crust of the continents and sea beds. It is a fire that wants to burst forth and it could not care less about what we are doing up here. This boiling mass is just monumentally indifferent to scurrying roaches, retarded reptiles and vapid humans alike..

01-into-the-inferno-herzog-oppenheimer.jpg Photo: Courtesy of Netflix

It’s perhaps difficult for Werner Herzog – a man who once pulled a steamboat over a mountain in the jungle – to actually top himself: He’s getting older now (he’s in his mid 70’s) and though, wonderfully grumpy as he might appear – after having made in excess of 50 films with moviestars such as Klaus Kinski, Claudia Cardinale, Christian Bale, Nicholas Cage and Nicole Kidman – he’s actually more poetic and charming than ever. In his latest documentary, Into the Inferno, he has surrounded himself (as usual) with an absolutely fascinating cross section of humanity. He travels (as usual) to any, and every, continent and corner of this earth to realize his ecstatic visions of both beauty, mystery and his own particular brand of bavarian humour.

maxresdefault.jpgPhoto: Courtesy of Netflix

In this film, Herzogs latest release since Lo and Behold: Reveries of the Conected World – his equally prophetic and thought-provoking film about the internet – we follow Herzog and vulcanologist Clive Oppenheimer from religous ceremonies, conversations with village cheifs, to his characteristic meditations on groups of singing, dancing and chanting people, to the discovery of bones of a 100,000 year old hominid, and then, suddenly, we are abruptly transported to an Orwellian socialist dystopia. Every place we see is set to the backdrop of images of the destructive powers of active vulcanos across the world. We travell from the Vanatu archipelago to Indonesia, Ethiopia, Iceland and North Korea – everywhere witnessing the majesty and terror of vulcanos, and their impact on human existence.

00-into-the-inferno.jpgPhoto: Courtesy of Netflix

Watch this documentary today on Netflix!

 

 

 

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Etruria, Italy, The Roman Empire

The Road into Etruria


Having pursued historical studies into classical antiquity for the better part of the last decade, I’ve lately found myself increasingly preoccupied with the Etruscans, a people steeped in legend, who once exerted dominion over Rome itself (otherwise my main field of interest) and whose culture is still shrouded in mystery. Most, if not all we know about the Etruscans has been are revealed by studying their graves and vast necropoleis, or Cities of the the Dead. No written accounts survive and they seems to have been almost completely ‘swallowed up’ by Roman civilization, in whose debt they unquestionably were, the Romans wouldn’t necessarlily have stressed the link to the Etruscans, instead they traced their origins back to Troy and frowned upon the excesses and luxuriant habits of the Obesus Etruscus, their former enemies and onetime rulers who often would depict themselves resting in fond embraces, feasting and enjoying the good life – not seldomly with bloated bellies – in stone on top their sarcophagi.

I’ve ventured into Etruria a few times now and visited former Etruscan cities such as Tarquinia, Cerveteri (it’s connected port Pyrgi), Orvieto, and Etruscan archeological sites managed by the Swedish Institute nearby Rome such as San Giovenale and Acquarossa. Most recently I had an fantastic opportunity to spend two weeks at Vulci3000, an archeological project and currently ongoing dig at a Roman Forum. The trench is located right next to one of the main roads, the decumanus, and on its opposite side lies the Tempio Grande, an Etruscan Temple base reused during Roman times, beside a large already excavated Roman Villa. The Roman Forum was built on top of the city center of Velch, the Etruscan name of what was once an important Etruscan citysubsequently conquered in 280 BCE and after being romanized known as Vulci. It’s location on a high plateu has today mostly a few medieval structures visible above ground, a smallish castle and a charming brigde and a damaged church ruin, apart from the concentration of Roman and Etruscan ruins appearing near and around the area of the Forum. Rural farmlands now cover mostly all of the ancient Etruscan and Roman layers and the site fuctions as an archeological park open to the public just a few kilometers inland from the coast and the nearby town of Montalto di Castro.

19452968_10211698088921336_6837534195799044455_o.jpgJune 27:th 2017
Pictured above is part of the Vulci3000 team. The project is led by Dr Maurizio Forte (centre, in blue shirt), professor at Duke University, and on his left Dr Elisa Biancifiori from Sapienza University who directs the daily excavations. The picture was taken by Todd Berreth (seated), assistant Professor at North Carolina State University ,who is currently developing a “smart trowel”, a multi-sensor tool for data recording to help archeologists record information in new ways (and I’m on the far left here).

Vulci3000 is a collborative project between the universities of Sorbonne, Wisconsin-Milwaukee, Ca’ Forscari, Padova, Federico II and Gothenburg and was an incredible experience. I’ll have reason to return (hopefully very soon) to what was discovered during my time at the dig..! Good times were had and a truly great experince! Find out more current developments and news about Vulci3000 here: https://www.facebook.com/Vulci3000

The time has come to revisit what I’ve seen so far in Etruria so the first film includes visits to Sutri and Cerveteri, with the aim to then continue along “The Road into Etruria” with other cities and sites. The first stop, Sutri, was besieged by the Etruscans in 311–310 BCE, but not taken. With Nepi and ten other Latin colonies it refused further help in the Second Punic War in 209 BCE. Its importance as a fortress explains, according to Festus, the proverb Sutrium ire, of one who goes on important business, as it occurs in Plautus. The Amphitheatre has the unique feature of being almost entirely cut out of the Tufa rock. Sutri is mentioned in the war of 41 BCE, and received a colony of veterans under the triumviri (Colonia coniuncta lulia Sutrina). Inscriptions show that it was a place of some importance under the Roman Empire, and it is mentioned as occupied by the Lombards.

Cerveteri is famous for the site of the ancient Etruscan city which was one of the most important Etruscan cntres with an area more than 15 times larger than today’s town. Etruscan Caere was previously located nearby the present location in the vicinity of the Etruscan necropolis of Banditaccia, with its about 1000 graves making it the largest ancient necropol anywhere in the Mediterranean (also featured in the film).

Music in the film is “Into the Night” by Ledjelly

Journey Thru History, Perseus Records ® 2017

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North Africa, Spain, The Roman Empire

Debod, a Ptolemaic temple in Madrid

The Templo de Debod was once located in the south of Egypt, in Lower Nubia, very close to the first cataracts and to the religious centre dedicated to the Goddess Isis, on Philae Island. This region, bordering with the powerful realm of Meroe, was the object of a dispute between the Egyptian and Meroite Governors up to the 1st century BCE, when Rome definitely established the frontier of Maharraqa. As of the 3rd century CE the region came under the control of the desert nomads and Roman control was lost.

Construction of the temple was started by Adijalamani, king of Meroe, at the beginning of the 2nd century BCE. He constructed a chapel dedicated to the Gods ’Amón of Debod’ and Isis. The chapel, decorated with reliefs, is one of the few monuments that makes reference to the life of this monarch. Subsequently, Ptolemy VI built new rooms around the original nucleus and gave it an appearance that bore more resemblance to its current appearance. His successors, Ptolemy VIII and Ptolemy XII ordered the construction of two side chapels, or naoi, also dedicated to Isis and Amón.

After Egypt was annexed to the Roman Empire, emperors Augustus, Tiberius and, possibly Adrian, decorated the entrance of the temple and added a special chapel, the mammisi. The temple was abandoned with the closure of the sanctuaries to Isis in the 6th Century. Debod in Madrid. Construction of the great Aswan Dam began in 1960. The huge lake that was created, more than 500 Kilometres in length, brought about the end of the archeological monuments and sites of the Lower Nubia, forever submerged under its waters.

At the request of Egypt and Sudan, UNESCO made an international plea for help to save the temples and monuments that were in danger. Four of the temples and monuments that were saved were donated by Egypt to the countries that contributed most to the salvage tasks. In 1968 Spain recieved the Templo de Debod in gratitude for its help in saving the temples of Abu Simbel. In 1970 the ashlars arrived in Madrid and were installed on the site of the former Cuartel de la Montaña

 
Sources and further reading:  http://templodedebod.memoriademadrid.es/eng/cronologia.html

https://irminsuldigital.wordpress.com/2014/05/22/el-templo-de-debod/

The Song in the film is ’Principles My Ass (new version)’ by Hands Of Doom.

Journey Thru History, Perseus Records ® 2016

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Italy, The Roman Empire

An Altar to Peace

When I returned to Rome from Gaul and from Spain, in the consulship of Tiberius Nero and Publius Quintilio, having brought to a satisfactory finish my works in these provinces, the Senate decreed that there should be consecrated in the Campus Martius an altar to the Augustan Peace and ordered that the officials, priests and vestal virgins should celebrate a sacrifice at it every year.”

In these words from Res Gestae, Augustus himself described the Senate’s decision to honour him with an altar to Peace, following the sucessful campaigns North of the Alps in 16-13 BCE, having subjected both the Reti, the Vindelici and effectively put the Alpine passes under Roman rule. Augustus also had recently visited Spain, finally at peace, where he founded several new colonies and had received new tributes for Rome.

The official ceremony and dedication of Ara Pacis took place on the 30th of January in 9 BCE. According to Cassius Dio the Senate initially planned to build the altar within the Curia, but instead the northernmost part of the Campo Martius was chosen, a recently urbanised vast field, previously mostly used for military exercise of infantry, cavalry and gymnastics of the Roman youth.

The Altar of Augustan Peace is a richly decorated altar, standing within a sculpted marble enclosure.  The reliefs on the upper part of the monument represented various subjects relating to the legendary founding of Rome, such as Romulus and Remus and a double procession unfolds along the monument’s length: Augustus, members of the imperial family, priests, magistrates, and senators. A fragment of this procession is currently in the Louvre, portraying a family with two children. Their identity has not been firmly established, although they may be members of the emperor’s own family.

The altar depicts the Augustan state religion, it’s lower frieze consisting of vegetal works signaling abundance and prosperity and a new peaceful age. The coninous frieze of the north and south panels is a confident display of the participants of a sacrificial ceremony; Romans in togas wearing laurel crowns, senators, priests, magistrates, lictors, the occasional slave or freedman, along with women and children, normally not portrayed in these circumstances. At least two of the little boys might be foreign princes, on account of their gallic and asiatic costumes. The base is adorned with acanthus scrolls intertwined with swans (birds sacred to Apollo who was a protector of Augustus). These luxuriant natural elements evoked the peace and prosperity that Augustus had brought to Rome.

On the southern panel the Emperor himself is in the process of performing the ritual accompanied by his closest family in tow, a symbol of the the stability and guaranteed succession of the regime. The shorter western and eastern panels, pierced by entryways to the altar are adorned by mythological motifs pertaining to the founding of Rome, it’s people and gods like mother earth, godess roma (or perhaps venus), the mythic forebearer Aeneas who also might be the first king after it’s founder Romulus who along with his brother Remus is seen suckling the she-wolf that legend has it once nurtured them.

Song in the film is Sungam Zorba by Hands Of Doom and animations made by Altair4.com

Journey Thru History, Perseus Records ® 2016

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France, The Roman Empire

Glanum: Celts, Greeks and Romans

Glanum was founded in the 6th century BCE by the Salyens, a Celto-Ligurian tribe, on the flanks of The Alpilles, a small mountain range about 20 km  (12 miles) south of Avignon, just outside present day Saint-Rémy-de-Provence. It was a  fortified town or oppidum, (a term still in use ever since Caesar’s conquest of Gaul) known for it’s healing springs. Glanum later became a Roman city in Provincia, modern day Provence, until its final abandonment in 260 CE.

It’s known for two particularly well-preserved Roman monuments, known as Les Antiques; a mausoleum and the oldest triumphal arch in France, both from the 1st century BCE. The Salyens, Provence’s largest Celto-Ligurian tribe, first built a rampart of stones on the peaks surrounding the valley of Notre-Dame-de-Laval in the 4th century BCE, then Glanum was constructed in the valley with a shrine to the Celtic god Glanis built around the spring. Glanum grew until the 2nd century BCE when another city wall was added.

The town kept a strong Celtic identity with statues and pottery telling us of residents named Vrittakos, Eporix, Litumaros, and local god Glanis and his companions the Glanicae, similar to the Roman Matres with goddesses Rosmerta and Epona. Celtic customs where upheld, such as the displaying severed heads of enemies at the city gate and cooking utensils found in the ruins shows the inhabitants favoured boiling pots over frying pans setting them apart from other Mediterranean tribes.

Glanum had early contacts with Massalia (present day Marseille), a Greek colony founded around 600 BCE, resulting in Hellenic influences in both art and architecture. 2nd century wars with Massalia however meant the Greeks soon called upon their Roman allies. In 125 BCE the Salyens were defeated by the Roman consul Flaccus, and again the following year by Sextus when much of Glanum was destroyed. The town prospered again, thanks to its popular springs, Glanum minted silver coins and new monuments were built until another rebellion against Rome in 90 BCE. This was crushed again, this time by the Roman consul Caecilius, and public buildings were yet again destroyed and replaced by more modest structures.

In 49 BCE Caesar captured Massalia, and after the civil wars a general romanization of Provence began. Emperor Augustus created the Roman province of Gallia Narbonensis in 27 BCE and gave Glanum latin citizen status. This was when Les Antiques where both built, the triumphal arch built slightly after the mausoleum between 25-10 BCE. Thet are shown at the start of the film (on the top of the page).

During the late 1st century BCE, and the early first centruy CE, a forum, temples, and a curved stone arch dam was built, Glanum Dam, the oldest of its kind, along with an aqueduct, supplying the fountains and baths in the town. Glanum became less prosperous than other Roman colonies such as Arles, Avignon or Cavaillon but still had several impressive buildings clad in marble by the 2nd century CE.

Glanum was finally overrun and destroyed by the Alemanni in 260 CE and subsequently abandoned, its inhabitants moving just a short distance north into the plain to found what later became Saint-Rémy-de-Provence. Glanum then became a source of stone and other building materials. Since the Roman sewers and drainage sytem was not maintained, the ruins were eventually flooded and became covered with mud and sediment. “Les Antiques,” remained famous however, and where eventually visited by Charles IX of France, who had the surroundings cleaned up and maintained in the 16th century.

Some excavations were made around the monuments by the marquis de Lagoy in the Vallons-de-Notre-Dame who found sculptures and coins. Further excavations began in the 19th century culminating in 1921, when the architect of historic monuments, Jules Foremigé began working on the site and remained there until 1941. Archeologist Pierre LeBrun discovered the baths, the basilica, and the residences of the northern town between 1928 – 1933. Henri Roland worked on the Iron Age sanctuary, to the south from 1942-69, excavating the area from the forum to the sanctuary. The objects he discovered are on display today at the hotel de Sade in the Saint-Remy-de-Provence. New excavation and exploration work began in 1982, devoted mainly to preservation of the site, and to exploring beneath sites already discovered for older works.

Sources: on site information signs and Private Tours Blog: http://bit.ly/22hYg3T

The songs in the film are *Volgaz’ and ’Soulburner’ both by Hands Of Doom.

Journey Thru History, Perseus Records ® 2016

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France, The Roman Empire

The best Roman Theatre in Europe

Provence has much to offer history buffs interested in the Roman Empire. Several monuments are as beautiful as they are well-preserved. Pont Du Gard overlooking the Gardon River, Arles Amphitheater, the Mausoleum of the Julii and Triumphal Arch at Glanum outside Saint-Rémy-de-Provence and The Roman Theatre of Orange are some of the most magnificent Roman buildings anywhere in the world.

The Roman Theatre from the 1st century CE is a great example of this incredible state of preservation and a UNESCO World Heritage site. Located in the heart of the Rhône Valley it’s particularly known for the still remaining stage wall, a feature usually lost making it the best-preserved Roman theatre in all of Europe. The original roof and marble plaques covering the structure are missing along with damages in the wall from erosion through the years but the impressive stage wall still stands. It gives a unique perspective on what these theaters would actually have looked like. The stage wall formed the backdrop for comedies, farces, musical works and tragedies during antiquity, and the theatre is still used for concerts. Its comparatively superb condition is in fact owed to that its been kept in continuous use throughout the ages.

”La plus belle muraille de mon royaume.” 

Louis XIV once described the postscaenium or the exterior facade as ”the finest wall in my kingdom.” The wall is 103 metres long,  37 metres high and 1.80 metres thick and the interior side is divided into three levels. The first comprises three doors which open out onto the stage and secondary doors which open onto the corridors or rooms without any access to the interior. On the second level, the wall is bare of any decoration. You can see the stone corbels which supported the roof structure and a deep groove, the remains of the anchoring for the tiles on the roof. A blind arcade on the wall embellishes the third level. With the exception of the central arch and the arches located in line with the basilicae (towers positioned each side of the stage), each has a cavity that lets light into the passage located inside the wall. At the top, there are two rows of 43 corbels which supported the velum, a large canvas canopy that protected spectators from the sun and rain.

In 1996 several tons of rubble were cleared and since then only a few large blocks have collapsed, caused by the constant flow of rainwater which hollow out deep fissures in the wall, damaging the stage floor as well. The first attempts at restoration began in the 19th century, and a new stage roof was later added to protect the site preserving its authenticity: sheltering the facings threatened with ruin, while strenghtening it in the more fragile parts.

It became a fortress in the Middle Ages when the town took possession of the buildings and built dwellings there. It was not until the 19th century that the Theatre was restored to its former glory thanks to major clearance and restoration works undertaken by the State. By 1869 it was ready to stage events again and function as originally intended.

The original stage roof was destroyed by fire in the 4th century, and the wooden roof was designed to protect the stage and the stone towers and walls from the elements. Rather than pay for an approximate reconstruction of the original wooden roof, a decidedly contemporary form of protection was chosen, making it possible to protect the unique facing of the wall. A project to reduce the impact on the ancient structures as far as possible was composed of a main beam 60 metres long, supporting most of the load of the rectangular 16.7 metres wide roof. A glass covering on the roof with a fine metallic fabric dressing under the roof.
The stage wall, the frons scaenae was important as it helped to properly project sound and comprised the only architectural décor in the theatre. During the performance it did not change, but some mobile items and props were installed to create the illusion of movement, space and perspective. Its original height of 37 metres has been entirely preserved. The wall was richly decorated with slabs of multicoloured marble, statues in niches, friezes and columns.

 In 1931, excavations under the stage enabled the columns currently in place to be restored to their original position. Originally there were 76 of them. The stage wall is also arranged in three levels. At the centre of the first level is the Royal Door or valva regia. Reserved for the principal actors, it was topped with a frieze decorated with centaurs, the remains of which are on display at the Museum of Orange. This door is surrounded by niches which were adorned with statues. Narrower, the side doors called “hospitable” doors were used for the actors’ entrances and exits. The second and third levels, comprising columns, are purely decorative.

The central niche houses the imperial statue of Augustus measuring 3.55 metres in height. This niche almost certainly contained a representation of Apollo and it’s likely the triumphant emperor was only substituted at a later date, replacing an original statue of Apollo. Augustus is dressed in a general’s coat, the paludamentum imperatoris, and is holding his staff. It serves as a reminder that to preserve peace throughout the Roman Empire everyone must respect its laws.

The Song in the film is ’Principles, My Ass’ by Hands Of Doom. Some images made using Google earth and illustrations by jeanclaudegolvin.com

Journey Thru History, Perseus Records ® 2016

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France, The Roman Empire

The Pompeii of France

Vaison-la-Romaine (Latin: Vasio Julia Vocontiorum), sometimes referred to as “The Pompeii of France” is a commune in the Provence-Alpes-Côte d’Azur region in southeastern France, and indeed has many wonderful Roman ruins. Both in the upper and lower parts of the city divided by the Ouvèze river, an area that has been inhabited at least since the Bronze Age. In the late 4th century BCE Vaison became capital of the Vocontii, a Celtic tribe.

The Roman conquest in (125-118 BCE) still allowed the Vocontii some autonomy as they managed to maintain their religious center in Luc-en-Diois. Vocontii authority in the Romanization of the Celtic oppidum (large fortified Iron Age settlent) meant the city plan wasn’t completely done over according to Roman orthography. Modern archeology (work done by Christian Goudineau) suggests that Vocontian aristocrats moved down from the oppidum and established villas along the river, around which the Gallo-Roman city then grew.

Vasio would become one of the richest cities of the Roman province Gallia Narbonensis, with many geometric mosaic pavements and a small theatre, probably built during the reign of Tiberius as his statue was found in a prominent place on its site. Also found in the theatre during the 19th century was The Polyclitan Vaison Diadumenos (now in British Museum) and Augustan historian Pompeius Trogus is an example of a prominent Roman born at Vasio.

Barbarian invasions then soon followed after the first raid hit in 276, from which Vasio actually recovered, but in the 5th century the state of affairs where such as the general disorder meant that Christians had began reusing the theatre benches as tombstones. Vaison then first belonged to the Burgundians, was taken by the Ostrogoths in 527, then by Clotaire I, King of the Franks in 545, and then became part of Provence.

Vaison-la-Romaine is well worth a visit, it’s obvius provencal charm aside it’s of particular interest for its geography and Roman ruins. The valley floor was safe from attacks during both Roman and modern times but during the Dark Ages attacks were frequent, and the medieval town retreated high on the rocky cliff to a more defensible position. The Roman ruins are found down in the valley on the banks of the river crossed by an ancient bridge from the 1st century CE, where the modern town is also located.

Reconstructions and fly-over shots in the film are by the Musée archéologique de Vaison-la-Romaine http://www.vaison-la-romaine.com/ , Additional shots of the bridge from the film Vaison ville romaine éternelle. 

The song in the film is ’Dark Heart of the Woods’ by Hands Of Doom.

Journey Thru History, Perseus Records ® 2016

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