Department of Cultural Heritage

Since 1988, the Hierapolis-Pamukkale site has been included in the UNESCO list for the uniqueness of its archaeological ruins and thermal installations within an extraordinary natural setting. The site is located in the active seismic area of the Denizli basin, which has been affected over the centuries by recurrent strong earthquakes that destroyed numerous ancient cities, some of which were later abandoned due to heavy damage. Hierapolis to this day exhibits faulted architectural relics distributed throughout the site, crossed by natural petrified water channels, and generally related to the largely exposed main faults visible in the SSE-NNW direction. The Basilica Bath is a partially collapsed monumental building located outside the northern part of the Hierapolis walls, where the primary faults are supposed to run, but have not been clearly identified. In this paper, we present the results of electrical resistivity tomography (ERT) carried out to detect archaeological features and, in a selected line, coupled with seismic refraction tomography (SRT) to identify possible fault directions related to the partial collapse of the Basilica Bath. Geophysical measurements provide new data on supposed buried remains, and a likely fault configuration that may have caused the partial collapse of the building, supporting further studies on its reconstruction and reuse in ancient times.

This study is based on samples recovered from an archaeological context dating back to the 6th century BC, belonging to a Tartessian sanctuary identified at the La Bienvenida site (Almodóvar del Campo, Ciudad Real, Spain). The aim of the research is to determine whether there was anthropic use of Almadén cinnabar at this time at a site that, centuries later, would become the location of the city of Sisapo. This city was mentioned by Pliny the Elder (Nat. Hist. 33, 118) as the main supplier of cinnabar to Rome.The analyses were performed using Zeeman effect atomic absorption spectrometry, following pyrolysis of the samples. We analysed the archaeological pieces, as well as the patina of detrital materials on their surfaces. The results show that Hg is present in these detrital materials, reaching concentrations of up to 350 mg kg-1. This material is undoubtedly a clear indication of the widespread distribution of the element in the environment of the area, as it corresponds to the adhesion of local soil to the pieces due to the collapse of the building and its burial. In conclusion, we can deduce that, during the corresponding historical period, Hg extracted from the Almadén mine was processed in this locality.

Although child-centred approaches are increasingly adopted in disaster risk reduction (DRR) education, cultural heritage remains largely absent from pedagogical models addressing risk, agency, and community belonging. This study explores how heritage-based experiential learning can support young children’s cognitive, emotional, and civic development in DRR contexts. A qualitative intrinsic case study was conducted with 18 pupils (ages 8–9) in a primary school in Ravenna, Italy, through a four-session intervention grounded in Learning-by-Doing and Play-Based Learning. Activities included risk identification games, tableaux vivants, archaeological puzzles, and a simulated triage of heritage objects. Data from structured observations, teacher notes, children’s artefacts, and feedback discussions were analysed through qualitative content analysis. Findings indicate that experiential, embodied, and collaborative tasks facilitated children’s understanding of risk, promoted metacognitive reflection, and nurtured an emerging sense of responsibility toward cultural heritage. Heritage provided a meaningful learning context that supported emotional engagement, sense-making, and early civic agency. The study highlights the pedagogical value of integrating cultural heritage into DRR education and suggests avenues for extending holistic, community-relevant learning in early childhood.

Abstract. This paper presents lessons learned in the digital documentation of subterranean and lowlight heritage environments, with a case‐study on the four historic forts dating from the Italian Fascist period, located in Val Divedro (Verbano-Cusio-Ossola Province, Piedmont, Italy). We employed photogrammetric techniques - adapted to total darkness conditions - within disused alpine fortifications, transforming these once inaccessible environments, completely devoid of natural light, into high-resolution and photographic textured 3D models. Key challenges included lighting design (or absence thereof), stabilising camera rings in wet or uneven terrain, dealing with darkness, narrow corridors, and deep vertical shafts. and ensuring sufficient overlap and coverage for accurate photogrammetric reconstruction. The outcome demonstrated that, despite the inherent challenges of working in total darkness, the photogrammetric system achieved unexpectedly excellent results. This success is particularly significant considering the strong variability of illumination caused by the limited light output of a single portable flash source. Even under these conditions, the workflow produced decent image orientation, consistent surface reconstruction, and colour accurate texturing, proving that photogrammetry can remain effective and precise when properly adapted to extreme low light environments. While laser scanning, LiDAR or SLAM systems are generally considered more orthodox solutions for environments without light, the photogrammetric approach was chosen here for its capacity to produce true-to-life, colour-accurate visualisation of surfaces, a key element for assessing conservation state and enhancing public dissemination. From these 3D models, four digital virtual tours were also created, providing remote access to sites that remain physically inaccessible due to safety conditions and lack of viable paths.

Culture is a complex system that influences how individuals perceive and interact with the world. High-context and low-context cultures are terms used to classify different societies on how they communicate. According to Hall (1981), high-context cultures incorporate high-context communication that relies on indirect, nonverbal cues and shared understanding within a group. Low-context cultures encompass low-context communication which uses direct, explicit verbal language to convey most information. Drawing on Hall's cross-cultural contexting theory, the distinction between high-context African traditional dance and low-context Western dance reflects their societies' respective communication styles. African dance relies heavily on unspoken, shared knowledge and cultural cues to convey complex information. It is considered "high-context" because their meaning is deeply embedded within a specific cultural and social framework. This study uses Hall’s concept of high-context and low-context culture to provide insight into how differences in communication style can militate against shared meanings and understanding of traditional African dances by non-Africans. The researcher—a native with insider perspective—uses Mwazindika spirit healing dance from the Dawida community in Kenya to explore the outworkings of the high-/low context continuum in dance mediated messages to provide indigenous perspectives in the study, understanding, and appreciation of African traditional dance forms.

Purpose The purpose of this paper is to screen out environmental mordants with good performance and less wastewater pollution by studying the mordanting effects and environmental problems of six different types of mordants in the natural curcumin dyeing of wool fabric. Design/methodology/approach In this study, the one-bath two-step post-mordant dyeing method was used for the dyeing of wool fabrics with natural curcumin pigment. The dyeing properties of the dyed wool fabric and the comprehensive indicators of the dyeing wastewater were tested. The mordanting effects and environmental problems of six kinds of mordants were compared. Based on this, the most effective and eco-friendly mordant was selected. Findings The test results of wool fabrics mordanted with citric acid exhibited high K/S values (second only to potassium dichromate) and color difference values (>25), surpassed only by darker mordants (potassium dichromate and pomegranate peel). Citric acid generated dyeing wastewater with the lowest chemical oxygen demand, ammonia nitrogen and hexavalent chromium among six mordants, significantly reducing environmental impact. Color fastness tests showed excellent results (= 4 for all except sunlight fastness). Given its colorless, easily degradable nature and superior eco-friendly performance alongside effective mordanting, citric acid is identified as the optimal environmentally sustainable mordant for curcumin-dyed wool fabrics. Originality/value At present, there are few reports on the systematic research of screening eco-friendly mordants for the dyeing of natural dyes, and the application of eco-friendly mordants in the dyeing of natural dyes belongs to the clean production process, which is beneficial to environmental protection and sustainable development.

Esta contribución invita a recorrer, a través de textos y fotografías de archivo y registros de sala, la exposición Barroco Ao Po’i de Mónica Millán (W Galería, Buenos Aires, 2023–2024), la cual condensa más de dos décadas de trabajo junto a bordadoras de Yataity del Guairá (Paraguay). Desde perspectivas complementarias, los textos abordan la práctica de Millán como una trama de vínculos y saberes situados. A modo de introducción, Ivana Salemi propone una lectura micro-política de los procesos creativos, en colaboraciones que desbordan las categorías de arte y artesanía, donde el bordado Ao Po’i opera como práctica sensible y epistemología popular. Carla Barbero, en el texto curatorial de la exposición, recorre la genealogía poética y territorial de las obras y proyectos compartidos entre Millán y las bordadoras de Yataity, poniendo el foco en la trama de afectos, memorias y saberes compartidos. Invitamos a lxs lectores a adentrarse en estas imágenes inéditas del trabajo en territorio y del montaje de sala que, acompañadas por la narrativa curatorial de Barbero, nos acercan indicios de lo inasible en estas prácticas sensibles. El trabajo comunitario, el adentro y el afuera del taller, la trama social de un pueblo cuya identidad lucha por recordar y mantener historias, subjetivas y comunitarias, a través del hacer-saber artesanal y sus remontajes en la escena del arte contemporáneo.

The partition of the Indian subcontinent in 1947 triggered one of the largest migrations in human history and profoundly reshaped the social, political, and demographic landscape of Punjab. This research article examines the socio‑historical consequences of the Partition in Jhang District, an important agrarian and cultural region of Punjab. Using historical records, census data, oral testimonies, and secondary scholarship, the study analyzes migration flows, communal tensions, refugee settlement, administrative responses, and long‑term demographic transformation. The research highlights how the departure of Hindu and Sikh populations and the arrival of Muslim refugees from East Punjab fundamentally changed the economic and cultural structure of the district. The article also explores how local institutions attempted to manage violence and migration while communities adapted to new realities. By focusing on a district‑level case study, the article contributes to the broader historiography of Partition by demonstrating how national political events were experienced and negotiated at the local level.