As the adage goes, a picture is worth a thousand words. A mere photograph can capture emotions and details that simple sentences would have a hard time describing. As such, it was my pleasure to have worked on the Raymonde Bonnefille photograph collection in my second year interning at the MMSH. My goal with this article is twofold: explain the Raymonde Bonnefille photograph collection and provide my feedback on HAL, the open source archive on which these photographs are now available. In my first internship, I focused on what most people consider to be “traditional archives”. I would open a box filled to the brim with old newspaper articles and personal letters. Then I would proceed to write a short paragraph describing them before placing them back in the same box most likely never to be seen again. This year my source material will no longer be stored away in a closed room. My work, the photos of the “Raymonde Bonnefille collection”, are now available online on HAL for all to see. I have placed over 60 photos online taken in 1968, 1973, and 1974. Under each photo there is a description along with appropriate metadata. Mrs Bonnefille herself organised her photographs into five series, corresponding to the different missions, and documented the slides.1 Raymonde Bonnefille, a French geologist, was part of the 1974 expedition in the Hadar region of Ethiopia, an effort led by Tunisian-French Anthropologist Maurice Taieb and later Paleoanthropologist joined by Donald Johanson that contributed to the discovery of Lucy, a 3.2-million-year-old _Australopithecus afarensis_ skeleton that became one of the most important fossils for understanding early human evolution. Lucy’s discovery was important because it provided one of the most complete early hominin skeletons ever found, offering clear evidence of bipedalism millions of years before the emergence of modern humans. Bonnefille’s photographs, taken between 1968 and 1980 during her various trips to the region, include landscapes, portraits of the research team, images of campsites and vehicles, portraits of local Ethiopian communities, and several photographs of Lucy. Having to adapt from newspaper clippings and party pamphlets to photographs was not the easiest transition. Articles often explain themselves and can be easily summarized. Meanwhile photographs leave much more to interpretation. Take for example the following 1973 photographs of the Hadar wilderness: Photographs of the Hadar wilderness. Taken by Raymonde Bonnefille Photograph of the mountains in the Hadar region. Taken by Raymonde Bonnefille When writing my summary, do I focus on the colors? Do I focus on the rugged nature of the landscape? Do I dive into the specifics and mention the small shadows cast by the bushes in the foreground? Should I provide supplementary information about which camera Raymonde Bonnefile used and which airline she took to arrive in Hadar? All of these bits of information could be of use to someone trying to gain a better understanding of how Lucy was discovered. After all, I am writing in an academic setting and these photos may be accessed in the future by researchers. I admit that I wrestled with these questions while I completed my internship. In some photographs you may come across dense and long descriptions focusing on the color of the sky and the shape of water currents. Others may only possess a quick description 1 sentence long. I believe both methods have their merits and I hope that those looking at the Raymonde Bonnefille collection will not focus so much on the description below the photograph but rather on the photograph itself. Before discussing HAL, the open source software I used to put the photos online, I would like to draw your attention to the photograph below: Researchers enjoying themselves. Photograph taken by Raymonde Bonnefille It humanizes the researchers by showing them in an ordinary moment of rest and conversation rather than in the midst of scientific work. It also serves as a reminder that major discoveries are made by teams of people working, living, and problem-solving together in challenging conditions. Now moving onto HAL. **HAL** (short for _Hyper Articles en Ligne_). Hyper Articles Online’ is an open archive where authors can deposit scholarly documents from all academic fields. Founded by French quantum physicist Franck Laloë in 2001, it has become the most popular research archival site used by French academics. MédiHAL is its equivalent for storing media files, specifically images. Last but not least, MédiHAL permet de cataloguer des photographies dans le format ISO international XMP (Extensible Metadata Platform). **Advantages of MédiHAL** 1. The website is free and open to all. Registration is for academics only. Access is free. In a time when many academic platforms require subscriptions or institutional logins, HAL’s openness allows students, researchers, or the general public to consult and download documents without restrictions, each use is specified by a licence. 2. Users have the ability to search by keywords and by collections. This makes it easier to locate specific materials within large collections, allowing users to filter results efficiently and avoid sifting through unrelated documents. 3. MédiHAL isn’t just for the humanities and social sciences. Disciplines range from Chemical Sciences and Physics to Quantitative Finance and Cognitive Science. This multidisciplinary structure – linked to HAL – means that researchers from very different fields can deposit and access a wide variety of materials, and also supports multiple file types, which broadens the kinds of research outputs that can be shared. For example, a HAL search for “Raymonde Bonnefille” returns 114 results, including 74 images, 36 articles, 1 book, 2 book chapters, and 1 conference paper. Despite its importance to research, HAL has many areas on which it can be improved for both those researching and those uploading. **Disadvantages of MédiHAL** 1. I have systematically indicated the GPS coordinates of the locations where the photographs were taken. The platform does not offer map navigation, which would be a plus for searching and viewing photographs taken in the same place, within the same corpus or in different collections. 2. HAL sometimes can take up to a week to move photos out of “awaiting moderation”. In the meantime, those who cannot log into HAL cannot view the photographs. And those that can, like myself, cannot make any edits to the photographs. It creates a roadblock for researchers and it should be resolved. 3. During peak usage hours, the website becomes very slow and almost unusable. Only a small number of Bonnefille photos show up. Also note the “awaiting moderation” status. Photo taken by myself. Overall, while HAL is not a perfect software, it remains a reliable and accessible platform for making archival material available to the public. Its openness, ease of use, and multidisciplinary reach make it a valuable tool for researchers and institutions alike. Working on the Raymonde Bonnefille photograph collection showed me how meaningful it can be to place historical documents online, where they can be viewed, studied, and used rather than stored away. I hope that making these photographs accessible will encourage further interest in the Hadar expeditions and in the people who took part in them. _Crédits photographiques : image “à la une”…. Toutes les photographies sont issues du fonds Raymonde Bonnefille, photographiées par Traian Oglinzanu le 7 décembre 2025. Licence CC-BY-NC._ 1. The digitisation was funded by R. Bonnefille’s research laboratory, CEREGE [↩] * * * OpenEdition vous propose de citer ce billet de la manière suivante : Traian Oglinzanu (8 décembre 2025). Working with the Raymonde Bonnefille Collection and the HAL Open Archive. _Archives de la recherche & Phonothèque de la MMSH_. Consulté le 8 décembre 2025 à l’adresse https://phonotheque.hypotheses.org/54524 * * * * * * * *

<p>Dans le cadre d’un <a href="https://theses.fr/s373285">doctorat commencé en 2023</a>, portant notamment sur la constitution de l’épigraphie arabe comme discipline, et ses évolutions depuis la fin du XIX^e siècle, les archives du <a href="http://calames.abes.fr/pub/ms/FileId-4003">fonds Solange Ory (1927-2018)</a> représentent une mine de renseignements pour le demi-siècle passé. Enseignante-chercheuse d’Aix-Marseille Université, par ailleurs passionnée de photographie, elle a en effet laissé derrière elle un grand nombre de documents en cours de classement à la médiathèque de la MMSH et en particulier les diapositives issues de son propre travail de terrain, et pour partie celui de ses étudiants.</p> <p><span id="more-48261"></span></p> <p>En vue d’un séjour en Jordanie en octobre 2024, les boîtes de diapositives correspondant à ce pays ont été numérisées par Christian Champaloux, révélant des clichés d’une grande qualité. Ces photographies documentent à la fois les palais du désert (Qaṣr al-Ḫarrāna, Quṣayr ‘Amra, al-Azraq, Qaṣr al-Ḥallābāt, Qasṭal, Mušattā<a href="https://phonotheque.hypotheses.org/48261#_ftn1" name="_ftnref1">[1]</a>), à côté de sites plus connus comme la citadelle d’Amman ou Pétra. Enfin, on y trouve des images de personnes, d’animaux, de paysages, et d’inscriptions de la <em>ḥarra</em>, région basaltique du nord-est du pays regorgeant de textes épigraphiques arabes d’époque islamique, aux côtés de textes en langues plus anciennes (safaïtique notamment).</p> <p>Si certains de ces sites (Ḫarrāna, Quṣayr ‘Amra, al-Azraq) semblent s’être figés dans le temps après le passage de Solange Ory, car n’ayant pas connu d’intervention ultérieure, il n’en est pas de même pour tous. À titre d’exemple, ses diapositives, datées pour certaines entre 1974 et 1984, illustrent l’état de conservation du complexe de Qaṣr al-Ḥallābāt ainsi que les travaux de reconstruction menés par le Département des Antiquités jordanien en 1974-1975 sur les bains omeyyades de Ḥammām al-Ṣaraḥ, inclus dans ce complexe. Dans les années 1960, l’implantation d’un nouveau village dans les environs avait effectivement donné lieu au pillage et au quasi-effondrement du monument. À la suite d’une nouvelle reconstruction à partir des années 2000, financée par <a href="https://www.exteriores.gob.es/fr/Ministerio/Sedes/Paginas/AECID.aspx">l’agence espagnole AECID</a> et la <a href="https://www.gerda-henkel-stiftung.de/en/">fondation Gerda Henkel</a>, un panneau sur le site indique que l’intervention des années 1970, ayant eu recours à du mortier de ciment, s’était avérée inadéquate. Le bâtiment a donc été à nouveau démantelé et consolidé à l’aide de mortier de chaux pour préserver les restes de la voûte originale. Ce panneau est illustré par des photos de 1927, 1960, 2007 et 2020, auxquelles celles de Solange Ory ajoutent donc une étape dont il ne reste pas de trace par ailleurs.</p> <p><a href="https://phonotheque.hypotheses.org/files/2024/12/9572843.png"><img alt="" class="alignnone size-full wp-image-48354" decoding="async" height="432" sizes="(max-width: 640px) 100vw, 640px" src="https://phonotheque.hypotheses.org/files/2024/12/9572843.png" srcset="https://phonotheque.hypotheses.org/files/2024/12/9572843.png 640w, https://phonotheque.hypotheses.org/files/2024/12/9572843-300x203.png 300w" width="640"/></a></p> <p><em>Photographie du site Qaṣr al-Ḥallābāt prise par Solange Ory, 1974 <a href="https://media.hal.science/hal-04818461v1"><span class="doc-identifier">hal-04818461</span></a><br/></em></p> <p>En comparaison, une photographie actuelle du Qaṣr al-Ḥallābāt de nos jours (pas de date précise de prise de vue) est visible sur le site Madain project : « Qasr al-Hallabat Mosque » [en ligne] <a href="https://madainproject.com/qasr_al_hallabat_mosque">https://madainproject.com/qasr_al_hallabat_mosque</a> (consultation le 2 décembre 2024).</p> <p><a href="https://phonotheque.hypotheses.org/files/2024/12/hal-04831962.png"><img alt="" class="alignnone size-full wp-image-48557" decoding="async" height="426" loading="lazy" sizes="(max-width: 640px) 100vw, 640px" src="https://phonotheque.hypotheses.org/files/2024/12/hal-04831962.png" srcset="https://phonotheque.hypotheses.org/files/2024/12/hal-04831962.png 640w, https://phonotheque.hypotheses.org/files/2024/12/hal-04831962-300x200.png 300w" width="640"/></a></p> <p><em>Photographie de Ḥammām al-Ṣaraḥ prise par Solange Ory, avril 1974. <a href="https://media.hal.science/hal-04831962v1">hal-04831962</a></em></p> <p><a href="https://phonotheque.hypotheses.org/files/2024/12/hammam-rauwel.jpg"><img alt="" class="alignnone size-full wp-image-48562" decoding="async" height="720" loading="lazy" sizes="(max-width: 960px) 100vw, 960px" src="https://phonotheque.hypotheses.org/files/2024/12/hammam-rauwel.jpg" srcset="https://phonotheque.hypotheses.org/files/2024/12/hammam-rauwel.jpg 960w, https://phonotheque.hypotheses.org/files/2024/12/hammam-rauwel-300x225.jpg 300w, https://phonotheque.hypotheses.org/files/2024/12/hammam-rauwel-768x576.jpg 768w" width="960"/></a></p> <p><em>Photographie du site Ḥammām al-Ṣaraḥ par Fanny Rauwel, oc</em><em>tobre 2024</em></p> <p><a href="https://phonotheque.hypotheses.org/files/2024/11/Ory_3.png"><img alt="Extrait du panneau informatif à Ḥammām al-Ṣaraḥ (F. Rauwel, octobre 2024)" class="alignnone size-full wp-image-48281" decoding="async" height="937" loading="lazy" sizes="(max-width: 326px) 100vw, 326px" src="https://phonotheque.hypotheses.org/files/2024/11/Ory_3.png" srcset="https://phonotheque.hypotheses.org/files/2024/11/Ory_3.png 326w, https://phonotheque.hypotheses.org/files/2024/11/Ory_3-104x300.png 104w" width="326"/></a></p> <p><em>Extrait du panneau informatif à Ḥammām al-Ṣaraḥ, photographie par Fanny Rauwel, octobre 2024</em></p> <p>En plus de leur intérêt pour se figurer, une fois sur place, les transformations urbaines et patrimoniales des lieux visités, les photos du fonds Ory témoignent de la curiosité et de la sensibilité de leur autrice, au-delà du patrimoine bâti, pour les sujets rencontrés. Ainsi, dans le dossier intitulé « Petra », trouve-t-on, à côté des parois sculptées, des images de fleurs, ou encore d’un enfant qui – peut-on supposer – vend des artefacts glanés sur le site. On la voit aussi elle-même à cheval, avec son accompagnateur, et en arrière-plan le paysage rocheux caractéristique de Pétra.</p> <p><a href="https://phonotheque.hypotheses.org/files/2024/12/hal-04832007.png"><img alt="" class="alignnone size-full wp-image-48533" decoding="async" height="432" loading="lazy" sizes="(max-width: 640px) 100vw, 640px" src="https://phonotheque.hypotheses.org/files/2024/12/hal-04832007.png" srcset="https://phonotheque.hypotheses.org/files/2024/12/hal-04832007.png 640w, https://phonotheque.hypotheses.org/files/2024/12/hal-04832007-300x203.png 300w" width="640"/></a></p> <p><em>Niches dans le rocher et végétation à Petra, photographie prise par Solange Ory, 1974 <a href="https://media.hal.science/hal-04832007v1">hal-04832007</a><br/></em></p> <p><a href="https://phonotheque.hypotheses.org/files/2024/12/hal-04832024.png"><img alt="" class="alignnone size-full wp-image-48526" decoding="async" height="432" loading="lazy" sizes="(max-width: 640px) 100vw, 640px" src="https://phonotheque.hypotheses.org/files/2024/12/hal-04832024.png" srcset="https://phonotheque.hypotheses.org/files/2024/12/hal-04832024.png 640w, https://phonotheque.hypotheses.org/files/2024/12/hal-04832024-300x203.png 300w" width="640"/></a></p> <p><em> Enfant déballant des objets à Petra, photographie prise par Solange Ory, 1974 <a href="https://media.hal.science/hal-04832024v1">hal-04832024</a></em></p> <p><a href="https://phonotheque.hypotheses.org/files/2024/12/hal-04832039.png"><img alt="" class="alignnone size-full wp-image-48519" decoding="async" height="443" loading="lazy" sizes="(max-width: 640px) 100vw, 640px" src="https://phonotheque.hypotheses.org/files/2024/12/hal-04832039.png" srcset="https://phonotheque.hypotheses.org/files/2024/12/hal-04832039.png 640w, https://phonotheque.hypotheses.org/files/2024/12/hal-04832039-300x208.png 300w" width="640"/></a></p> <p><em>Solange Ory à cheval et de son accompagnateur. Fonds Solange Ory, 1974 <a href="https://media.hal.science/hal-04832039v1">hal-04832039</a><br/></em></p> <p>Enfin, dans le seul dossier de diapositives ne contenant aucune précision de date ni de lieu, a-t-on pu reconnaître, outre d’autres photos des palais omeyyades, certains paysages typiques de la <em>ḥarra</em>, vaste désert couvert de pierres basaltiques. Solange Ory semble y avoir photographié pêle-mêle quelques graffiti arabes, des paysages entre <em>ḥarra</em> (caractérisée par de grosses pierres noires), <em>ḥašad</em> (éboulis de pierres noires plus petites) et <em>ḥamād</em> (désert calcaire jouxtant la <em>ḥarra</em>), ainsi que des scènes de vie quotidienne impliquant les habitants et leurs troupeaux. Ces scènes, à l’exception peut-être de certaines tendances vestimentaires, et d’indices de modernité comme l’évolution des voitures ou l’introduction de panneaux solaires, trouvent encore tout à fait leur équivalent aujourd’hui.</p> <p><em><a href="https://phonotheque.hypotheses.org/files/2024/12/hal-04832695.png"><img alt="" class="alignnone size-full wp-image-48537" decoding="async" height="480" loading="lazy" sizes="(max-width: 317px) 100vw, 317px" src="https://phonotheque.hypotheses.org/files/2024/12/hal-04832695.png" srcset="https://phonotheque.hypotheses.org/files/2024/12/hal-04832695.png 317w, https://phonotheque.hypotheses.org/files/2024/12/hal-04832695-198x300.png 198w" width="317"/></a></em></p> <p><em>Pierre basaltique inscrite d’un graffito sur lequel on devine une basmala et une demande de pardon à Dieu, photographie par Solange Ory, 1974 <a href="https://media.hal.science/hal-04832695v1">hal-04832695</a> – En détail dans l’image “à la une”.<br/></em></p> <p><a href="https://phonotheque.hypotheses.org/files/2024/12/hal-04832672.png"><img alt="" class="alignnone size-full wp-image-48544" decoding="async" height="399" loading="lazy" sizes="(max-width: 640px) 100vw, 640px" src="https://phonotheque.hypotheses.org/files/2024/12/hal-04832672.png" srcset="https://phonotheque.hypotheses.org/files/2024/12/hal-04832672.png 640w, https://phonotheque.hypotheses.org/files/2024/12/hal-04832672-300x187.png 300w" width="640"/></a></p> <p><em>Hommes fumant le narguilé sur fond de ḥašad, photographie par Solange Ory, 1974. <a href="https://media.hal.science/hal-04832672v1">hal-04832672</a></em></p> <p><a href="https://phonotheque.hypotheses.org/files/2024/12/hal-04832658.png"><img alt="" class="alignnone size-full wp-image-48550" decoding="async" height="422" loading="lazy" sizes="(max-width: 640px) 100vw, 640px" src="https://phonotheque.hypotheses.org/files/2024/12/hal-04832658.png" srcset="https://phonotheque.hypotheses.org/files/2024/12/hal-04832658.png 640w, https://phonotheque.hypotheses.org/files/2024/12/hal-04832658-300x198.png 300w" width="640"/></a></p> <p><em>Moutons et berger en bordure de ḥarra, photographie par Solange Ory, 1974 <a href="https://media.hal.science/hal-04832658v1">hal-04832658</a><br/></em></p> <p><a href="https://phonotheque.hypotheses.org/files/2024/12/moutons-rauwel.jpg"><img alt="" class="alignnone size-large wp-image-48568" decoding="async" height="356" loading="lazy" sizes="(max-width: 474px) 100vw, 474px" src="https://phonotheque.hypotheses.org/files/2024/12/moutons-rauwel-1024x768.jpg" srcset="https://phonotheque.hypotheses.org/files/2024/12/moutons-rauwel-1024x768.jpg 1024w, https://phonotheque.hypotheses.org/files/2024/12/moutons-rauwel-300x225.jpg 300w, https://phonotheque.hypotheses.org/files/2024/12/moutons-rauwel-768x576.jpg 768w, https://phonotheque.hypotheses.org/files/2024/12/moutons-rauwel.jpg 1386w" width="474"/></a></p> <p><em>Moutons, berger, véhicules et panneau solaire à gauche, photographie par Fanny Rauwel, octobre 2024</em></p> <p><a href="https://phonotheque.hypotheses.org/48261#_ftnref1" name="_ftn1">[1]</a> Les quatre premiers se situent entre 60 et 100 km à l’est d’Amman, les deux derniers à une trentaine de kilomètres au sud de la capitale.</p> <div class="wp-about-author-containter-top" style="background-color:#FFEAA8;"><div class="wp-about-author-pic"></div><div class="wp-about-author-text" style="margin-left:140px"><h3><a href="https://phonotheque.hypotheses.org/author/rauwel" title="Fanny Rauwel">Fanny Rauwel</a></h3><p></p><p><a href="https://phonotheque.hypotheses.org/author/rauwel" title="More posts by Fanny Rauwel">More Posts</a> </p></div></div><hr/><div class="citation"><p><span class="citation-title">OpenEdition vous propose de citer ce billet de la manière suivante :</span><br/>Fanny Rauwel (12 décembre 2024). Les photographies jordaniennes du fonds Solange Ory, témoins cinquantenaire des permanences et des transformations d’un pays. <em>Archives de la recherche &amp; Phonothèque</em>. 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