Archaeologist Valentina Azzarà features in National Geographic documentary on Omani archaeology
Dr Valentina Azzarà, an honorary research fellow at the Faculty of Archaeology and an expert on prehistoric Oman, was recently invited to feature in a National Geographic documentary that aired last year. The opportunity came after a series of discussions and preparations that saw her engage with the production team over an extended period of time.
Preparations
‘I was first contacted by the person responsible for archaeology in the program while I was working at an incredible site in Oman,’ Azzarà recalled. ‘I’ve been working in the area for more than 20 years, so the program's interest in this site was exciting. We had an initial meeting to see whether my expertise would be of interest, followed by regular contact via email and online meetings for almost a year before the actual filming began.’
Quick shoot
The documentary team, led by presenter Albert Lin, came to the site in December 2022 for a quick shoot. Azzarà herself arrived on a Friday evening and left by Sunday, with only one full day dedicated to filming.
‘It was fascinating to see the sheer number of people involved in making the show. There were the people with microphones and cameras, the data specialists, the fixers, and the production staff,’ Azzarà noted. ‘It was a dynamic I wasn’t fully prepared for.’
Retakes
The filming involved numerous retakes and controlled shots, allowing Azzarà to share her story. ‘The presenter was attentive, though there were moments when I had to interfere because certain statements were not historically accurate. It felt like there was room to engage in deeper conversations, and I had the opportunity to express my perspective on the archaeology of the region.’
During the shoot, the crew utilized advanced technology, such as LiDAR, thermal imaging, and Ground Penetrating Radar (GPR). However, the quick timeline meant that much of the data had been gathered before Azzarà even arrived on-site.
‘They showed me some of the results at the end of the day, but not everything was fully analysed. Some things were visible, but not all of it was useful at the time,’ she explained.
Adventure narrative
Despite her involvement in the project, Azzarà didn’t hear from National Geographic until much later, when the episode was set to air. ‘I watched it on my own when it finally came out,’ she said. ‘I was hoping for more archaeology, but in the end, it felt like a lot of the historical details were overshadowed by the adventure narrative.’
Azzarà voiced her concerns about certain inaccuracies in the documentary, particularly regarding the portrayal of Omani history. ‘For instance, there was no evidence supporting the claim that Omani populations were pioneers in copper smelting. This was actually a development from other regions, such as Anatolia, or Iran, the latter being most likely the place where the technologies documented in Oman came from,’ she stated. There was also talk of Egypt, which didn’t align with the archaeological findings.’
Wide audience
Reflecting on the broader approach of the documentary, she pointed out that the show was designed for a wide audience rather than an academic one. ‘It’s not National Geographic in its traditional sense; it's part of the Disney brand. The focus was more on adventure and presenting lesser-known countries rather than strictly historical archaeology,’ Azzarà observed. ‘It felt more like reality TV than a documentary.’
Despite these critiques, Azzarà stressed the importance of public engagement in archaeology. ‘As archaeologists, we need to be more proactive in disseminating accurate information. People often believe in strange theories about the past, like ancient aliens or advanced ancient civilizations. We need to connect with the public more effectively,’ she said. ‘Younger archaeologists are already using platforms like YouTube and social media to reach a broader audience, but we must be taught how to communicate complex topics in a simple and engaging way.’
Public engagement
Azzarà emphasised that universities and institutions should prioritize such public engagement as part of their curriculum. ‘We need to engage with the public. It’s not enough to host academic conferences or open sites for visitation. It’s a bigger challenge. One that involves debunking myths and presenting history in a way that people can understand.’
Despite her mixed feelings about the documentary, Azzarà believes that archaeologists should still participate in such projects. ‘It was a mixed experience for me, but we should embrace opportunities like this. We need to make the most of them, even if the format doesn’t always align with our expectations. It’s all part of a larger conversation about how we share the past with the public.’
Her experience highlights the ongoing tension between public interest in archaeology and the academic pursuit of historical accuracy. Still, it also underscores the importance of engaging in media formats that bring archaeology into the mainstream, whether or not they meet every scholarly expectation.
More about the episode
Valentina Azzarà's research featured in episode six of the first season of Lost Cities Revealed With Albert Lin, called Miracle in the Desert.