December 30, 2024
Congratulations to the individuals, projects, and publications that received AIA Awards. They will be formally recognized at the 2025 AIA Awards Ceremony, which will take place during the 126th Annual Meeting. We have contacted this year’s winners to gather insights about their projects, experiences, and what inspired them to pursue a career in archaeology.
Abidemi Babalola (The British Museum)
Award: Conservation and Heritage Management Award
What drew you to archaeology?
I have only passively heard of archaeology in my elementary school social studies class. But no intension of becoming one. However, after I partook in archaeological field schools as a sophomore and junior in the University of Ibadan, Nigeria, I was fascinated by archaeology. The digging up of artifacts from deep below, processing the finds, quantifying them, and writing up a narrative about the people through the artifacts drew my attention. It was that moment I knew archaeology is for me. It mirrors my passion for culture, heritage, and material history.
Tell us about your history with the AIA:
My first encounter with AIA was in 2017. After I published an article about my research on the 11th century indigenous glass making in Southern Nigeria, one of the writers for ARCHAEOLOGY MAGAZINE reached out to me to feature my work in the magazine in the Nov/Dec 2017 volume. After this experience, I listened to a couple of AIA sponsored talks online. So, for long, I was an “aspiring member”, but this occasion made it possible for me to become a member, officially.
I thank the AIA selection committee for the 2025 Conservation and Heritage Award. Their decision further affirms the importance of the project, and the impact is having beyond the academy. This means so much to the team, the entire community, and the stakeholders. Let me also use this opportunity to pay tribute to late chief Olatunde Falaju, the Esinja Olokun of Ile-Ife (Olokun Priest), for his unwavering support throughout the conservation work at Igbo-Olokun. The Ooni (king) of Ife has also been supportive. I am grateful to all the organizations and institutions that have been supporting the project. The Cambridge Arts & Humanities Impact Fund, the British Museum’s Endangered Material Knowledge Production, and the A. G. Leventis Foundation made the conservation work possible.
What’s next for you professionally?
My research has been on pyro-technologies in early west African with focus on glass making in Ile-Ife, Nigeria. I have argued that technologies were not compartmentalized in the past as we have it today. So, I am now working on a project around iron and copper metallurgy and how it connects with other technologies such as glass making and ceramic production in pre and early modern West Africa to explore the concept of multi and cross-craft production. Also, I am working to expand my effort on safeguarding archaeological and heritage sites in southwest Nigeria. Community engagement and education mostly among host community and school kids is of utmost priority for me. More importantly, I am excited to be part of the Museum of West African Art (MOWAA) and the British Museum Archaeology project in Benin City, Nigeria. I look forward to the completion of the project and publications that come out of it.
Questions? Learn more about AIA Awards here or reach out to awards@archaeological.org
