This article explores the potential of social media in disseminating and communicating archaeological knowledge and the ways in which their impact on the public can be enhanced through marketing plans. It examines the implementation of such a plan in the context of the Facebook page of the ERC Advanced Grant project "The sound of special places: exploring rock art soundscapes and the sacred" (acronym: Artsoundscapes). Using quantitative and qualitative data provided by the Facebook Insights altmetrics tool, the article evaluates the general performance of the Artsoundscapes page and measures the effectiveness of the marketing plan. It discusses the components of marketing plans with emphasis on a carefully designed content strategy that, in the case of the Artsoundscapes Facebook page, in only 19 months of existence has resulted in the organic development of an active online community of 757 fans and 787 followers from 45 countries. The marketing plan has contributed to raising awareness of the Artsoundscapes project and an emerging, highly specialized and little-known branch of archaeology - the archaeoacoustics of rock art sites. It rapidly and engagingly disseminates the project's activities and outcomes among both specialist and non-specialist audiences, and informs the non-specialist public about relevant advances in the multiple fields - rock art studies, acoustics, music archaeology and ethnomusicology - that intersect in it. The article concludes that social media are effective means for archaeologists and archaeological organizations and projects to reach various audiences, and that marketing plans significantly augment this process.
The French city of Nantes has been heralded for both its creative and complex engagements with the dark heritage of its history as France's main slave port. In this article we examine the ways in which the colonial heritage has been dealt with in Nantes, arguing that we find here various processes and initiatives which can be understood as expressing or combining what we suggest are four main modes of colonial heritage practice: Repression, Removal, Reframing and Re-emergence. We discuss how the city authorities and local organizations with a focus on colonial heritage have ended the silent repression of the city's slave trading heritage, and to some extent entirely reframed the city as a center of avant-garde art and culture, e.g., through the 2012 construction of Memorial to the Abolition of Slavery. Finally, we critically analyze the domesticating effect of this reframing as well as practices of removal which, by contrast, have been used to reintroduce decolonial antagonism and oppositional struggle into the public space in Nantes. Finally we investigate whether street performances of Royal de Luxe might hold what we term potential for re-emergence; a heritage practice entailing both a reemergent aesthetics able to engage the audience at a bodily and affective level, a re-emergent history able to both articulate the past and energize contemporary struggles, and the re-emergence of a broader field of voices and subjects.
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