The Urkesh Project was never simply an archaeological excavation confined to traditional digging tools, such as the pickaxe, shovel, and the brush used by archaeologists to remove dust from ancient remains. Rather, it was a flexible project, guided by the belief that archaeological excavation should not be its sole activity, and that understanding the past and bringing its many facets to life also requires the involvement of local communities, whose knowledge, traditions, and collective memory can reveal aspects of the past that excavation tools alone may not uncover.
From this perspective, music became part of the project’s activities for many years, serving as a means of connecting with the region’s living heritage and expressing its cultural identity. How could it be otherwise, given that the ancient inhabitants of Urkesh excelled in the world of music, leaving behind musical evidence whose influence extended far beyond their city, with traces reaching places thousands of miles away? The local communities, too, were never distant from the project, nor was the project distant from them. Instead, a close relationship of communication and cooperation developed between us. Through this relationship, we sought to support and assist local people, particularly during their visits to the archaeological site, by providing as much information as possible and delivering lectures that enriched these visits and made them valuable learning experiences.
Our relationship with local communities was not limited to welcoming people at the archaeological site; it also extended to visiting them in their homes, where we, in turn, became guests in their beautiful rural houses. In this way, Urkesh was not present only within the boundaries of its archaeological site; it also accompanied us into the homes of local people, houses that continue to preserve the region’s authenticity and traditional character. The clay used in the walls of these houses closely resembled the clay of the ancient buildings if the palace at Urkesh, as though a material and cultural bond between the two places embodied the enduring relationship between people and their land.
The project’s efforts also extended to organizing lectures and exhibitions in the towns and cities of the region, reaching beyond its borders to Beirut, Damascus, and Italy. Thus, the aim of the Mozan Project was not merely to uncover the remains of the past, but also to reconnect that past with the communities living on its land, foster greater awareness of its cultural and historical significance, and offer wider audiences the opportunity to discover the region’s history and rich heritage.
Back to top: Introductory