ABSTRACT

Historical re-enactments can be understood as contemporary manifestations of popular culture. Thus, such events become outstanding social contexts for exploring the social and political foundations of ‘bottom-up’ narratives concerning the past. In this paper, we analyse the Luna Celta festival in Solosancho (Ávila province, Spain) as a case study for considering the public reception of the Iron Age in this region. For this purpose we have constructed our theoretical and methodological approach based on public archaeology and heritage studies literature. Materiality and performance as resources deployed by amateur actors are revealed as extremely effective ways of disseminating and naturalising non-academic discourses on the Iron Age, according to our ethnographic account. In contrast, scientific initiatives promoted by archaeologists show more limited success in reaching lay audiences. On-going heritagisation processes around local Iron Age sites (such as the oppidum of Ulaca) and the Vettones are also analysed, assessing the diverse agendas of the different stakeholders involved in the festival.

摘要

历史重演可以理解为流行文化的当代体现。因此，此类事件成为探讨过去“自下而上”叙事的社会和政治基础的杰出社会背景。在本文中，我们分析了Luna Celta索洛桑乔（西班牙阿维拉省）音乐节，以考虑该地区铁器时代的公众接受为例。为此，我们基于公共考古学和遗产研究文献构建了我们的理论和方法论方法。根据我们的人种学研究，作为业余演员部署的资源，物质性和表现被认为是传播和归化“铁器时代”非学术论述的极其有效的方式。相比之下，考古学家所倡导的科学举措在接触非专业观众方面取得的成功有限。上绕来绕去当地铁器时代遗址heritagisation过程（如oppidum 并分析了Vettones，评估了参与音乐节的不同利益相关者的不同议程。