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Afterlives of Ancient Egypt with Kara Cooney: Daily Summaries Delivered
by Kara Cooney
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- 2 weeks ago2h 10m
Art in Motion, a Social Tool of Power and Resistance
Kara and Amber host a special episode with Art historian and Egyptologist Alisée Devillers to spotlight their MDPI Arts special issue “Art in Motion,” which treats Egyptian art as a verb—something commissioned, negotiated, and used to make identity, signal status, and manufacture (or resist) power across makers, patrons, and audiences. This is a long one, but it’s totally worth it. Stick around for the ‘tea’ on the realities of working in modern academic publishing. And hear all about the volume’s 24 (yes!) papers (now with 115,000 views) spanning coffins, tombs, textiles, Nubia, Persia, the Renaissance afterlife of hieroglyphs, museums, and even contemporary artistic interventions.About our GuestAlisée Devillers is an Egyptologist, archaeologist, and art historian specializing in ancient Egyptian art, artists, and social identities. Her research examines how artists and other non-elite or sub-elite communities represented themselves through visual and textual culture in ancient Egypt. She has held postdoctoral fellowships at the University of California, Los Angeles (UCLA), Leiden University, and the University of Cologne, where she is an Alexander von Humboldt Postdoctoral Fellow. Her doctoral research focused on the self-representation of artists in ancient Egyptian art and their social status in Pharaonic society. Academia ProfileAncient Egyptian Art Studies: Art in Motion, a Social Tool of Power and ResistanceThis Special Issue will focus on ancient Egyptian Art as a dynamic. Artistic production is here envisioned as being in motion and taking part in a constant feedback loop of competing actors.Art itself is understood as an agent, which works on multiple people: the artists, the commissioners and the consumers.This Issue will underline how art acts upon society as a tool of power and eventually leads to identity questions, both for people who controlled human and economic resources and for those who could not afford monumental self-commemoration. Inclusion into certain parts of “high” society created opportunities and/or demands for art production; those close to but not within “high” society tried to emulate elite creations. Craftsmen/artist-producers and merchant-procurers found themselves negotiating much of this dynamic and are, thus, a part of it. In this highly competitive context, elite and non-elite were, thus, part of a never-ending competing sphere, using art production as a means of messaging their social place.Art starts with the actors and their agenda. It is, thus, socially reactive. Commissioners both innovated newness and reverted to the past, sometimes with the same social goals in mind. Art, therefore, encapsulated the hierarchy dynamics and social changes of ancient Egyptian society while forcing its multiple actors to interact.From this perspective, this Issue will re-examine epistemological and ontological questions about ancient Egyptian art and its fundamental actors. It will question how innovations were created, in which circumstances people manipulated past productions and how iconographic motives were put into motion for the purposes of creating useful social identities. It will underline how powerful art can be, whether put into the hands of the upper elite or their subordinates. Get full access to Ancient/Now at ancientnow.substack.com/subscribe
- Aug 8, 20261h 8m
Crafted to Last
In todays episode, we welcome wood-and-coffin specialist Carrie Arbuckle McLeod for a deep dive into why ancient Egyptian coffins are basically time capsules: tiny wood samples reveal trade and value, tool marks preserve the hands-on actions of carpenters, and joints can map changing technology and belief. You’ll hear why cedar (often linked to Osiris) was a luxury imported “king of woods,” how local sycamore fig became the womb of Nut, and why coffins and boats share the same journey-to-the-afterlife logic—plus the surprising “magic” of red-painted and even inscribed joints. We also unpack the messy afterlife of coffins in modern times: early excavators burning plain coffins for warmth, collectors mixing bodies and boxes, and over-conservation that can repaint or plasticize the past.About CarrieCaroline Arbuckle MacLeod is Assistant Professor of Classical and Near Eastern Archaeology at St Thomas More College at the University of Saskatchewan. She specializes in the archaeology of wood and woodworking, focusing on the history of ancient Egyptian wooden coffin production. She has recently published Archaeological Wood and Woodworking, in the Cambridge University Press Elements series, and has won awards for her experiential approaches to teaching. She is part of the Turin-Leiden excavation team at Saqqara, and is currently working on a volume on the coffins from Assiut housed in the Museo Egizio, Turin.Academia PageCambridge Elements: Archaeological Wood and WoodworkingShow NotesHaida WoodworkingMedjehu ProjectTrees of EgyptTamariskAcaciaSycomore Fig Zizithus (aka Christ Thorn)Cedar (cedrus lebani)Egyptian words for cedar: ash 𓂝𓈙𓇫 and meru 𓌸𓂋𓅱𓇫𓆱Tale of WenamunYear 5, fourth month of summer, day 16, the day of departure of Wenamun, the Elder of the Portal of the Temple of Amun, Lord of Thrones-of-the-Two-Lands, to fetch timber for the great noble bark of Amen-Re, King of Gods, which is upon the river and [is called] Amen-user-he.Bunbury, Judith and Reim Rowe 2021. The Nile: mobility and management. Cambridge Elements: Elements in Ancient Egypt in Context. Cambridge: Cambridge University Press. DOI: 10.1017/9781108919913.Box Coffin with Rope from the Old Kingdom (MET), made of TamariskDeath of Osiris Typhon (Seth), having secretly measured Osiris's body and having made ready a beautiful chest of corresponding size artistically ornamented, caused it to be brought into the room where the festivity was in progress. The company was much pleased at the sight of it and admired it greatly, whereupon Typhon jestingly promised to present it to the man who should find the chest to be exactly his length when he lay down in it. They all tried it in turn, but no one fitted it; then Osiris got into it and lay down, and those who were in the plot ran to it and slammed down the lid, which they fastened by nails from the outside and also by using molten lead. Then they carried the chest to the river and sent it on its way to the sea through the Tanitic Mouth.Thereafter Isis, as they relate, learnedthat the chest had been cast up by the sea near the land of Byblos, and that the waves had gently set it down in the midst of a clump of heather. The heather in a short time ran up into a very beautiful and massive stock, and enfolded and embraced the chest with its growth and concealed it within its trunk.Tale of Two BrothersI shall go to the Valley of the Cedar…I shall extract my heart and put it on top of the cone of the cedar tree. And if the cedar is cut down and falls to the ground, you are to come search for it.‘Lady of the Sycomore,’ “Womb of Nut” <a
- Jul 4, 20261h 35m
Anatomy of the Ancient Egyptian Soul: The Akh
Not everyone gets to become effective. Not everyone gets to matter after they’re gone. Not everyone becomes a saint. Your Ka, your Ba, your Ren — those showed up the moment you were born, automatic, no work required, the way your name did. The Akh is different. You had to earn it, build it.Amber and I have been in this journey about the different parts of the human personality for weeks now. This is the fourth episode in our series on the anatomy of the Egyptian soul, and definitely the hardest one so far. The Ka and the Ba you can make a go at describing. The Akh doesn’t allow that. It’s not really even a noun. It’s closer to a verb, the same energy as the Egyptian word kheper, “becoming,” transformation-in-progress. This podcast convo ended up going places I didn’t expect: gender, hubris, ecological grief even, and a king who tried to grab the most fleeting, liminal power in the whole Egyptian cosmos and hold it in his own two hands like in that Guardians of the Galaxy movie except without the happy ending. Akh as PhotosynthesisIn his dictionary of Middle Egyptian words, Faulkner tells us that akh means to be effective, glorious, useful, profitable. An Akh is what happens when something works or grows or becomes. This is not metaphorical but actual, like sunlight hitting a seed, the seed becomes a plant. That’s akh. If a person dies and manages to keep acting in the world of the living, that’s akh too, assuming the person passed the scales and saw his heart come out on top, assuming the funerary rituals did their job. The akh has the same kind of power as the plural bau of the word ba, for the soul of mobility. Bau is raw strength. Akh is strength that connects, that intervenes, that changes something.Florence Friedman spent her dissertation and a large part of her career on this topic, and her argument is that calling the Akh a “spirit” tells you nothing. She reads the word as something closer to sunlight. But what does that even mean? Friedman focuses on sunlight specifically, because it is effectiveness par excellence, the mechanism by which the divine reaches across into this world and makes something happen. Sun light is the tree growing, the fruit emerging, the people happily eating that fruit. If you think photosynthesis, you would come close, I think, to what the Egyptians had in mind with the notion of the akh. This effectiveness of spirit can be used for good or ill. The word survives into Coptic language where it means demon. That’s not later Christian problematizing of pagan things but sheer respect for power that cannot be contained. An Akh could bless you or smite you, same as any god could. The force that grows your wheat is the same one that can destroy it in a blight of grasshoppers.The bird that stopped migrating to Egypt :(The hieroglyph for Akh is a real bird—the northern bald ibis, common in Egypt through the Old Kingdom, and then, after that, poof, just gone. The bird’s habitat dried out, Egypt’s climate shifted, and the bird that had given its shape to effective transformation disappeared from the Nile Valley within living memory of the people who used its picture every day in their texts. I did not know this. I am still stunned to have learned it. The Egyptians kept drawing the bird glyph, of course. For thousands of years after its disappearance from their Nile waters, they drew it. A bird nobody living had ever actually seen, got more abstract and stylized the further it got from anyone’s lived experience, until by the New Kingdom it’s sporting something that looks suspiciously like a nemes headdress. The feathers Old Kingdom scribes had faithfully and realistically drawn to identify the bird were reimagined as a kind of linen headcloth or a nod at royal regalia.As far as I know, nobody’s done the actual philological legwork of tracing exactly when the faithfully drawn Akh starts dropping out of the textual record, and I wonder whether it clusters around the sixth through tenth dynasties, right when Egypt is drying up into famine and subsequent civil war. Let me know if there is work out there on this. Somebody go write that dissertation and tell me what you find. Ancient/Now is always free for all! Consider becoming a paid subscriber. All your $$ goes directly to paying Amber and Jordan, which means more of this, more often.Insemination, wombs, and who gets to make things happenNow it’s gonna get sexual, because… Egypt. The Akh is masculine. Akhet the horizon, the place where the sun is born and dies, the zone between worlds, is feminine. The akhet was a container, a womb, the hills cradling the sun like you would hold a newborn. There’s a strange archaic ritual Egyptologists called the Vogellauf, the “bird run,” where the king sprints toward a goddess with a live ibis in his hand and hands
- Jun 12, 20261h 7m
Anatomy of the Ancient Egyptian Soul: The Ren
Part three of our ongoing series on the anatomy of the ancient Egyptian soul. Previously: the Ba and the Ka. Next up: the Akh, the Ib, the Shut, and the Khat.In turbulent times, let Egyptology be your resistance. That’s the spirit in which we (Kara and Amber) sat down for this episode — and if that sounds like an unusual rallying cry, well, you’ve come to the right place.Today’s topic is the Ren: the name. And before you go, I know what a name is, you don’t. Because the ancient Egyptians understood something about names that we’ve spent the last several thousand years forgetting (and that the modern American government is actively exploiting right now; yes, I know, we make everything political and history is now and all that…).What Is the Ren?In Faulkner’s Concise Dictionary of Middle Egyptian, the entry for rn (ren as we would say it in an Egyptian reading class) is almost insultingly short. Two phonetic characters, the mouth hieroglyph (r) and a single water sign (n). No dramatic determinative. No elaborate sign to illustrate it. Compare this to the Ba — the human-headed bird that flutters, moves and exists visually in the world — or the Ka, with its famous outstretched arms, intimate and embodied, ready to embrace. The Ren just sits there with no explanatory symbolism whatsoever. The writing of the word betrays the secrecy surrounding the name itself.But that spareness is the point. The Ren’s power is its abstraction. It is not a thing you can see or touch. It is a sound, an utterance, a vibration shaped by lips and tongue and the specific quality of a human mind. And this is where things get interesting: the hieroglyphic word rn begins with the mouth sign, because of course it does. The name lives in speech. It is born from the human body in the most literal sense possible. The name is utterance incarnate, which takes us to the Egyptian understanding of creation.In the Beginning Was the NameThe Memphite Theology is an inscription said to be copied from an ancient, worm-eaten papyrus, even though this particular version comes to us as the so-called Shabaka Stone of the 25th Dynasty Kushite kings, and it describes the god Ptah creating the world through utterance. Ptah conceives (sia, abstract thought) of things with his heart (ib) and then brings them into material existence through his mouth (r) using the force of heka (magic). He speaks the name of something, and it becomes real by passing through the lips, tongue, and teeth.In the beginning was the word, as we know from the Bible. The idea that spoken language is a creative force, that naming something is a form of making it, runs through ancient Egyptian creation theology, including the Memphite Theology, through the Hebrew Bible, through Neoplatonic philosophy, and straight into the digital age, where the naming of things (brands, identities) still confers power. The ancient Egyptians were not doing something primitive or naive when they enshrined this idea. They were identifying something true. A name captures the essence of something.And crucially, in this theology, the name is not just descriptive. It doesn’t label something that already exists. It creates the thing. Which means that whoever speaks the name first, whoever utters it properly, with the right cadence and pronunciation, has a claim on the essence of the thing named. They hold a piece of it. And this is where the Ren gets genuinely dangerous.Isis and the Secret Name of the Sun GodThe most famous story about the power of the Ren comes from Papyrus Turin 1993, a 20th Dynasty text currently in the Egyptian Museum in Turin. It tells the story of Isis and Re.Re, the sun god, is old. He is aging and drooling—both poignant and humanizing for the head of the Egyptian pantheon—and Isis, the Mistress of Magic, decides to use the moment to her advantage. She collects his spittle and uses it to fashion a clay snake, which she places in his path. Re is bitten by this snake made from his own essence. He cannot heal himself: you cannot cure a wound that comes from within your own body, apparently. And so he has to call upon Isis.She shows up, calm and helpful, and says: I can heal you. But first, I need to know your secret name. She doesn’t want the name that priests chant in temples, or the name carved onto obelisks. She wants his other name, the real name, the one that encapsulates his true essence, the name that, if you knew it, would give you power over the sun god himself.Re, who is dying, tells it to her. She heals him. And the text informs us he passes the name to her with the stipulation that she share it only with her son Horus, who can use it only for healing.There is so much to unpack here. Isis is conniving—she engineers the crisis herself, lest we
- Jun 3, 20261h 35m
Building Tutankhamun's Digital Afterlife
Summary:Kara and Jordan welcome Griffith Institute staff Daniela Rosenow and Lara Bampfield to discuss the new Tutankhamun Spatial Archive, a searchable, metadata-driven platform that reconnects Carter’s excavation records to the tomb spaces, seasons, people, and objects. We learn about the trials and tribulations behind such an endevour, future plans for the project, and some of the fabulous stories behind lesser-known pieces in Tut’s tomb. Tutankhamun Spatial Archive Guest Bios:Lara Bampfield has recently submitted her DPhil in Assyriology at the University of Oxford. Her research investigates change and continuity in the motifs of Old Babylonian and Kassite cylinder seals, applying advanced digital methods such as 2D and 3D modelling, image-annotation software, and machine learning to analyse these transformations. In 2025 Lara joined the Griffith team as research assistant for the Tutankhamun Spatial Archive project focusing on the digital and metadata components.Daniela Rosenow studied Egyptology and Classics at the Humboldt University Berlin where she obtained her PhD on Late Period sacred architecture. She has worked at UCL’s Institute of Archaeology, the British Museum, the University of Munich and the German Archaeological Institute Cairo. In February 2021 Daniela joined the Griffith Institute, University of Oxford, where she co-curated the exhibition “Tutankhamun – Excavating the Archive“, and she is now the Manager of the Griffith Institute.Show Notes:Griffith Institute Main WebsiteTutankhamun Spatial Archive The latest story on the Egyptian WorkforceCast of Characters* Francis Llewellyn Griffith* Kate Bradbury * Nora MacDonald* Howard Carter* Harry Burton* Phyllis CarterOEB- Online Egyptological BibliographyTOB- Topographical Bibliography Middle Coffin (Compare)* Tutankhamun’s Floral Wreath* Hamza, N. M. (2020) Study and Investigations of Archaeobotanical Remains From Tutankhamun Tomb. ProQuest Dissertations & Theses.* For more information about the Egyptian workers – Quirke, S. (2010) Hidden hands : Egyptian workforces in Petrie excavation archives 1880-1924 / Stephen Quirke. London: Duckworth.* Smithsonian Magazine, “Remembering the Unsung Egyptians Who Helped Discover King Tut’s Tomb”* 1939 BBC Radio: playing of Tut’s trumpet with modern mouthpiece* Minnie Burton’s Diary Ancient/Now is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Get full access to Ancient/Now at ancientnow.substack.com/subscribe
- May 26, 20261h 0m
The Hidden and the Formalized: Female Queerness in Ancient Egypt
Thank you paid subscribers, KinchStalker, Phoenix, Tomas Johansson, and many others for tuning into this live video with Jordan Galczynski and Amber Myers! You filled the chat with such sharp and interesting questions. This is exactly the kind of conversation we love — primary sources, spirited disagreement, duck genitalia, and the occasional new moon. We’ll be back soon. CW— mature themes; sex; sexuality; sexual assaultWhat does it mean to look for queer lives in the ancient world? We don’t want to impose today’s freedoms onto a patriarchal past, but we also don’t want to erase the biological reality that queer people have always existed in the world. That tension—generative, unresolved, and genuinely fun to argue about—animated our latest live conversation, and we’re thrilled so many of you joined us for it.Two Women, Arms EntwinedWe kicked things off with a pair statue currently held at the Museo Egizio in Turin. Amber had shared it earlier in the week and it immediately sparked debate among the three of us. Dating to the Thutmosid period and likely from a tomb in the Theban necropolis, it shows two women — Idu and Rui — seated side by side in white linen shifts and elegant bipartite wigs, arms wrapped around each other in precisely the embrace you’d expect to see between a husband and wife. The museum’s own description calls the relationship between them “unclear.”Which is, of course, the perennial problem.Are they friends? Sisters? Mother and daughter? Could they be something more? Kara was the self-described cynical voice in the room, skeptical that ancient Egyptian society would have allowed a formally commemorated queer female relationship — while also being completely open to the possibility that a very real relationship could have existed behind the scenes, just one that could and would never be named outright. Jordan pointed out something quietly fascinating: Idu holds the title nebet per — Mistress of the House — while Rui carries no title at all, no indication of kinship or any named social role. That asymmetry suggests a dependent relationship, but of what kind, we simply can’t say. They seem to have wanted to show themselves as the core of their household.What we can say is that someone commissioned this statue, paid for it, and had it placed in a tomb context so that both women would receive offerings in the afterlife. That’s not nothing. Whatever Idu and Rui were to each other, there was care—plus money, and intention—and a desire to keep this person in one’s eternal company.The group also floated an intriguing hypothesis: what if Idu had outlived her husband, inherited his property, and then got to live exactly as she chose? Two women, a shared household, just friends, obviously. Roommates even. The ancient world’s version of companions traveling down the Nile together — who, as Jordan noted, everyone quietly understood were probably lovers, but who would never in a thousand years have said so in a formal inscription.The Notorious Tomb of Niankhkhnum and KhnumhotepFrom there we moved to the far more famous case of the two manicurists of the Old Kingdom royal court: Niankhkhnum and Khnumhotep, buried together at Saqqara in a shared tomb decorated with images of the two men nose-to-nose, embracing in ways typically reserved for married couples. Scholars have argued they were brothers, conjoined twins, or colleagues — with Kara noting, drily, that “conjoined twins” seems like a remarkable amount of effort just to avoid the word gay. But who knows? This scene is unique and perplexing. We should not try to flatten the complexity of the image: we can acknowledge that queer people existed in the ancient world without pretending they enjoyed anything like modern queer freedom or visibility in society.What the Texts Actually Say (or Don’t)So what does the written record give us? Rather less than you might hope, and rather more ambiguous than anyone would like.Jordan pulled up Book of the Dead 125—the famous Negative Confession—the list of sins the deceased declares they have not committed before the scales of Ma’at. One entry reads something like: I have not copulated with a catamite — or, depending on your translation, I have not copulated with a boy, or I have not laid with a man. The Egy
- Mar 19, 20261h 22m
Anatomy of the Ancient Egyptian Soul: The Ka
In this episode Kara and Amber continue their series on the ancient Egyptian anatomy of the self by exploring the ka—often translated as a “life force,” but an element far more complex than that simple phrase suggests. Drawing on textual evidence like the Pyramid Texts and Coffin Texts, art, architecture, and funerary practices, Kara and Amber examine how the ka functioned as a sustaining power tied to food offerings, lineage, divine capabilities, and the material world. Their discussion reveals how the ancient Egyptians understood the survival of the ka as something deeply materialistic: a system of bodies, images, offerings, and rituals designed to sustain the ka for eternity.Show NotesAllen, James P. 1988. Genesis in Egypt : The Philosophy of Ancient Egyptian Creation Accounts. Yale Egyptological Seminar, Dept. of Near Eastern Languages and Civilizations, Graduate School, Yale University.Goebs, Katja. 2008. Crowns in Egyptian funerary literature: royalty, rebirth, and destruction. Griffith Institute Monographs. Oxford: Griffith Institute, Ashmolean Museum.Lobban, Richard, “A Solution to the Mystery of Was Scepter of Ancient Egypt and Nubia,” KMT: A Modern Journal of Ancient Egypt (10/3), 1999, 68–77.Lobban, R. A. and M. Sprague, “Bulls and the W3s Sceptre in Ancient Egypt and Sudan,” Anthrozoös 10, 1997, 14-22.Schwabe, Calvin W., Joyce Adams, and Carleton T. Hodge, “Egyptian Beliefs about the Bull’s Spine: An Anatomical Origin for Ankh,” Anthropological Linguistics 24, no. 4 (1982): 445–79. http://www.jstor.org/stable/30027646. Get full access to Ancient/Now at ancientnow.substack.com/subscribe
- Feb 27, 202659 min
Anatomy of the Ancient Egyptian soul: The Ba
What, exactly, makes a person a person? In this episode, Kara and Amber launch a new series exploring the anatomy of the ancient Egyptian soul. They begin with the ba—often translated as “soul,” but far stranger and more powerful than that simple word suggests. The ba is the part of you that moves, that transforms, that survives death. Drawing from art, funerary texts, and literary works like The Dialogue of a Man with His Ba, the Egyptians unpack how the ba functioned as a mobile, solar, and deeply dynamic aspect of the individual.What emerges is an understanding that the ancient Egyptians did not view the self as singular. They saw it as layered and multifaceted—existing everywhere all at once: still and enduring, yet constantly in motion.This episode begins a multipart exploration of the ancient Egyptian individual—from the ba to the ka, the name, the heart, and beyond—asking how this ancient civilization imagined identity, survival, and how the Egyptians sought eternal existence in a world where death is inevitable.NotesAllen, James P. 2011. The debate between a man and his soul: a masterpiece of ancient Egyptian literature. Culture and History of the Ancient Near East 44. Leiden: Brill. Janák, Jiří. 2016. Ba. In Jacco Dieleman, Willeke Wendrich (eds.), UCLA Encyclopedia of Egyptology, Los Angeles. http://digital2.library.ucla.edu/viewItem.do?ark=21198/zz002k7g85Lichtheim, Miriam. 1973. Ancient Egyptian literature. A book of readings, volume I: The Old and Middle Kingdoms. Los Angeles, CA: University of California Press. Get full access to Ancient/Now at ancientnow.substack.com/subscribe
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