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Sky Magic and Writing

inkydancestudios — Sun, 21 Oct 2012 22:46:46 +0000

Astronomers found a surprise recently, but it triggered a prehistoric image for me. On October 10, 2

Spirit of Mesa Verde

seebluesky — Fri, 12 Oct 2012 22:35:25 +0000

Clouds are as mutable and changing as life is, and on a recent trip to Mesa Verde I could feel the spirit of the Anasazi’s who inhabited the land known today as Mesa Verde in southern Colorado. For a larger image at Fine Art America

What is G-Beat?

No Ego — Tue, 09 Oct 2012 02:57:17 +0000

by Oliver Sheppard | Via: souciant.com “G-Beat” is a genre tag I first started seeing last year, use

Mesa Verde: Cliff Palace, Balcony House & Heathens (Us)

Carol King — Sun, 07 Oct 2012 03:16:06 +0000

Mesa Verde – Cliff Palace Sketch

Our road trip brought the Husband and me out of Utah and into Colorado to visit Mesa Verde where we visited some of the cliff dwellings of the Anasazi who are now called Ancestral Puebloans because Anasazi is now politically incorrect.

This park was different than the others because our hikes were primarily to see the cliff dwellings where the Ancestral Puebloans lived and petroglyphs. Of course there were great mountains with deep canyons and trails where one wrong step will send you into the abyss. And of course it was beautiful. But the focus at this park was the archaeological sites. From the Mesa Verde website: Cliff Palace is the largest cliff dwelling at Mesa Verde National Park. It has 150 rooms, plus an additional 75 open areas. The number of Ancestral Puebloans living in Cliff Palace at any one time was 100 to 120.

We also visited Balcony House, another cliff dwelling. Both of these cliff dwellings require you to go on a tour with a Park Ranger and each tour costs the exorbitant amount of $3.00 per person. The day we wanted to visit both Balcony House and Cliff Palace we got to the Visitors’ Center just as it opened to purchase tickets. As the Husband was purchasing our tickets I looked around and commented at how empty the place was. The ranger looked me in the eye and said “It’s Sunday morning. Everyone is in church except the heathens.” I looked right back at him and said, “well that would be us.” I’m still not sure if he was serious or joking. Either way, we got to see both cliff dwellings and had I a religious experience while climbing the 32 foot ladder to get up to the Balcony House. So there.

Balcony House is another amazing cliff dwelling. Before we got to visit we had to listen to the Ranger tell us about the above mentioned 32 foot ladder and the three “tunnels” we had to go through, the last one on our hands and knees. If you’re claustrophobic (guilty) or afraid of heights (also guilty) this may not be the cliff dwelling for you. But I was determined to do it and glad I did. It was wonderful until the last tunnel (they aren’t really tunnels because they aren’t underground) where I had to crawl through on my hands and knees knowing my husband was taking a picture of me from behind. I was not amused.

Canyonlands, the Maze

donahuedon — Fri, 28 Sep 2012 04:01:54 +0000

Remote.

I’ve just realized that it was one year ago that I was in the Maze District of Canyonlands National Park, Utah, one of the most remote areas in the lower 48 states. We were in the Maze proper, an area of winding, intersecting canyons several hundred feet deep in the rounded reddish and cream-colored Cedar Mesa Formation. The washes in the canyon bottoms are sandy with grasses, bushes and few trees. On this night one year ago we had returned from our hike to the Harvest Scene, prehistoric documentation by the early people who lived in those canyons. No dating techniques can accurately date them, but it is believed they were created five to eight thousand years ago. High on the canyon walls, haunting, elongated figures, meaning–at the very least–”We were here!” “This is our place!”

Rob, our guide, told us it is called the Harvest Scene because of the figure to the far right, that appears to have rice grass–a staple food of the area–protruding from its hand. the figure immediately to its left is possibly bending in supplication, sowing crops, or harvesting. Bighorn sheep, jackrabbits, and raven also make appearances.

These pictures don’t show it well, but all of the figures have chipped out areas in their middles. It is believed that later people, perhaps the Ancestral Puebloan (formerly referred to as “Anasazi”), came upon this spot hundreds of years later, thought the figures were bad magic, and pecked out the hearts of the figures to release the evil. On a warm, early autumn afternoon, the quiet in the deep, winding canyons held a kind of holy peacefulness. It is a rare cathedral in our Western heritage that can as readily evoke such introspection and reflection, that can so easily fill the soul, rejuvenate the spirit. It is clear why two peoples vastly separated by time and culture would ascribe their deepest hopes, fears, and aspirations to this place.

Throughout the desert southwest there are many similar pictographs, some more remote than others. The Harvest Scene is among the more remote. A park ranger told us the next day that their hidden vehicle counter had registered 79 vehicles in the park to that point in the year–late September–and we saw only seven other vehicles over the course of five days, on a mountain bike trip that covered over one hundred miles.

The energy it takes to reach such a spot almost ensures that the Harvest Scene pictographs will continue to be witness to the sun, rain, seasons and quiet for many more thousands of years. And what traces of what we have made, on the canyon tops, will call out to those who then marvel at these figures and their secret meanings?

FiveTen Men's Anasazi Moccasym Climbing Shoe Popular

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Since I commented on the previous post, I figured that I should probably review this product. Climbing shoes are certainly very much about personal preference and feel. I have been climbing in the 5.10 Moc for the last 10 years or so, and it has been WONDERFUL! It functions well on anything: slab, microedges, smearing, cracks, sport, gym, etc. I really like the pull on slipper style, but this again is certainly personal preference. This is a climbing shoe so it is NOT going to be comfortable right out of the box if you are new to the sport. If this is the case you might want to spend some time at your local rock gym or outdoor sports gear shop and try some stuff on and get some advise on proper fitting. I wear a 9.5 street/athletic shoe (also this measurement on the metal foot measure thing in stores) and bought these in 8.5. They stretch out well and are perfectly form fitting afterwards with no deadspace.
This is a great climbing shoe for most sport climbing. Best Cure Bad Breath Best Cure Bad Breath Products Reviews In Usa . It edges pretty well and forms nicely to your foot. They smear like no other shoe. But be sure to get them small because they stretch a fair bit. They are a pretty “soft” shoe as climbing shoes go, in that they mold more to your foot and you will get a good feel of the rock. These shoes would be awful for crack climbing since they are so soft, so don’t even try them for that purpose.The Anasazi velcro is my personal favorite shoe from five ten because it is lined (won’t stretch much, if at all) and it is a bit of a stiffer shoe. If you are checking out the moccasyms seriously, also check out la sportiva cobras, which are comparable and i was also very pleased with them.

102270 Features: Their unlined leather upper will mold to your foot for great fit and feel The asymmetrical toe profile focuses power to you big toe Stealth C4 soles seriously grip the rock Side exit heel seam Triple pull-on loops Slingshot heel Specifications: Upper: Leather Lining: None Last: Slip lasted Outsole: C4 Stealth Resoleable: YesSpecifications based on size 115Since I commented on the previous post, I figured that I should probably review this product. Climbing shoes are certainly very much about personal preference and feel. I have been climbing in the 5.10 Moc for the last 10 years or so, and it has been WONDERFUL! It functions well on anything: slab, microedges, smearing, cracks, sport, gym, etc. I really like the pull on slipper style, but this again is certainly personal preference. This is a climbing shoe so it is NOT going to be comfortable right out of the box if you are new to the sport. If this is the case you might want to spend some time at your local rock gym or outdoor sports gear shop and try some stuff on and get some advise on proper fitting. I wear a 9.5 street/athletic shoe (also this measurement on the metal foot measure thing in stores) and bought these in 8.5. They stretch out well and are perfectly form fitting afterwards with no deadspace.
This is a great climbing shoe for most sport climbing. It edges pretty well and forms nicely to your foot. They smear like no other shoe. But be sure to get them small because they stretch a fair bit. They are a pretty “soft” shoe as climbing shoes go, in that they mold more to your foot and you will get a good feel of the rock. These shoes would be awful for crack climbing since they are so soft, so don’t even try them for that purpose.The Anasazi velcro is my personal favorite shoe from five ten because it is lined (won’t stretch much, if at all) and it is a bit of a stiffer shoe. If you are checking out the moccasyms seriously, also check out la sportiva cobras, which are comparable and i was also very pleased with them.

Cannibalism, It Happened. Now Why?

Almost Someone — Thu, 27 Sep 2012 02:36:02 +0000

Cannibalism in the southwest has been an extremely contentious subject within the archeological community. The debates have focused tremendously upon the questions of cannibalism’s existence; did the prehistoric natives cannibalize, or did they not cannibalize? This focus is trivial and outdated, for the evidence is in, human flesh was consumed by another human. Cannibalism happened. It’s time to move on to addressing the more fundamental and interesting questions of “Why.” Why did cannibalism occur in the southwest? Why did it occur when it did? The answer to these most assuredly lies within the spiral of context.

The Cowboy Wash site presented by Brian Billman et al in “Cannibalism, Warfare, and Drought in the Mesa Verde Region during the Twelfth Century A.D” provides an excellent starting point for the discussion of why cannibalism occurred. Their findings suggest that the cannibalism event at Cowboy Wash was one of extreme violence and not one of the usually ascribed model of starvation cannibalism. In fact I would go as far to expand that definition to one of violent terrorism. The evidence used to support this claim of violent cannibalism is the manner of abandonment, the condition of the human remains, and the position of the human coprolite.

The abandonment pattern was atypical for the Anasazi culture of abandonment. Valuable and useful materials were not packed away but left remaining in their places, the structures themselves were not decommissioned under normal fashion but left standing for the elements to tear down, and the site was never again reoccupied. The implication of this is that the inhabitants didn’t abandon the village but evacuated it, and those who did not leave quickly enough fell victim to cannibalism. The condition of the human remains exhibit the strongest evidence for the violence experienced at Cowboy Wash. The remains were disarticulated in the same manner as the butchering of an animal for consumption. More importantly though was that this process was most likely conducted with the victims own tools and after butchering and consumption the remains were deposited hap-hazard about the pithouses. Furthermore the human remains also exhibit evidence for pre-mortem trauma, such as one individual who had had their face smashed in. Finally the participants of the cannibalism act defecated within the fireplace of the pithouse; the central location to the mundane and sacred home. This act was most likely conducted as a final act of terror, a symbolic gesture to those who stumbled upon it at a later date. Overall this evidence suggests that there was more intent involved than simply being a random act of violence.

The violent cannibalism as an act of terrorism at Cowboy Wash is supported by the regional context presented by Stephen H. Lekson, in his book “A History of the Ancient Southwest.” He expresses how the area of Chacoan influence experienced an increase in violence during the period of 1150 to 1300 CE. This rise in violence is evident in changes to village structure from open hamlets to closed defensive patterning and a drop in population numbers due to mass migration out of the Chacoan area into neighboring areas as a means to escape the rising violence. This increase is attributed by Lekson to the interactions of the political and climate structure during this time period. The political structure was experiencing a great amount of instability which was generated by the transition of the capitol north from Chaco Canyon to Aztec Ruins. This transition was plagued by Aztec’s inability to maintain Chaco’s societal order and the changing climate that blasted the area with a spatially uniform drought. All this instability was then further aggravated by the ultimate collapse of the Chacoan State.

According to Lekson the rise in violence may have been a state certified method of social control, one that was initiated by the Aztec elites in response to their weakening political control over their state. This reduction in power could be attributed to Aztec’s location being in the periphery of the Chacoan sphere of influence, in that the people of the periphery may not have been true Chacoan’s but simply imitators who did not hold allegiance to the Aztec elites. Or it may have been that the Aztec elites were simply politically inept at handling the political climate and the drought as the earlier Chaco elites had been able to several times. Either way the Aztec elites may have organized marauders to conduct acts of exemplary terrorism to force social coercion.

With Cowboy Wash placed into this regional context it is not hard to see the violent act of terrorism that was the cannibalism event may have been part of a larger social coercion conducted by the Chacoan State. As discussed within the “Archeology of the Desert West” course this may have been conducted against the village due to their political alignment of not having been Chacoan but imitators, their ethnicity or language singling them out as being different, or even a group of dissenters. The attack on the village would have left them as an example of what would happen should the people not follow the Aztec elites. Interestingly this ties in well with the evidence of Cowboy Wash as the hap-hazard deposition of the human remains and the defecation in the fireplace could be taken to be symbolic acts that would function as reminders to those who stumbled upon the site, and then the fact that it was never inhabited again suggests that the terrorist event at Cowboy Wash may have entered into the mentalities of the people as the place where terrible things happened.

Cannibalism occurred within the southwest, in the case of the Cowboy Wash it may have been the result of regional politics being played out at the single village. It was an act of violent terrorism. Overall this may not be the “true” event that occurred at Cowboy Wash but it does demonstrate how the movement away from the debate of did cannibalism occur opens the floor to more interesting questions, ones that provide interesting answers and may lead to an understanding of the southwest that discusses “Real History” instead of constructed archaeologies.

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Mesa Verde

katherinejaster — Fri, 21 Sep 2012 03:29:29 +0000

While obviously not in a museum, the cliff dwellings of Mesa Verde are museums in their own right. One of the best-preserved sites in North America, Mesa Verde is one of the most complex Ancestral Puebloan communities.

Cliff Palace is the largest of the dwellings

Mesa Verde, in southwest Colorado, dates to as early as 10,000 years ago, when it was built by the Anasazi. Thousands of smaller dwellings have been discovered at the site, ranging from small pithouses to grandiose kivas. The Anasazi created remarkable irrigation systems, allowing for the use of agriculture.

Cliff Palace, pictured above, is the most famous site at Mesa Verde. Containing close to 200 rooms and 23 kivas, the dwelling was built out of nothing more than sandstone, mortar, and wood. Stairways and wooden ladders were made to accommodate multi-story pueblos.

Occupied for approximately 75-100 years, Mesa Verde was abandoned by the Anasazi for unknown reasons. It has been speculated that the site was situated among the cliffs for defensive purposes, so perhaps they were forced out by war. More likely, however, the site was abandoned due to drought. Mesa Verde, designated a World Heritage Site by UNESCO in 1978, has yielded some of the most significant archaeological finds of the southwest.

Have a look at some of the artifacts found at Mesa Verde here.

Sources

Bahn, Paul, and Christopher Catling. “The Great Sites of the Americas.” The Complete Practical Encyclopedia of Archaeology. London: Anness, 2009. 490-91. Print.

United States of America. US Department of the Interior. National Park Service. Artifact Gallery-Mesa Verde. N.p., n.d. Web. 20 Sept. 2012. <http://www.nps.gov/meve/forteachers/artifact_gallery.htm>.

United States of America. US Department of the Interior. National Park Service. Mesa Verde. N.p., n.d. Web. 20 Sept. 2012. <http://www.nps.gov/meve/index.htm>.

2012 Road Trip Photos #15: Romping Through the Manitou Cliff Dwellings

Randall A. Golden — Mon, 17 Sep 2012 02:40:43 +0000

The south exit from the Garden of the Gods is five minutes away from Manitou Springs, where we spent the next several hours of Day Five. West of the Garden on Highway 24 are the Manitou Cliff Dwellings.

Built ages ago by the Anasazi tribe in southwest Colorado around the Four Corners area, the Dwellings were carefully lifted by their foundations and transplanted further northeast in the 1900s under the care and coordination of a well-meaning anthropologist who rightly noted that they’d been abandoned anyway.

This up-close, tactile experience allows visitors to enter the old dwellings through the windows or rear entrances as space and bodily limitations allow.

The Dwellings themselves contain no furniture, artifacts, or preserved 19th-century appliances, but they do provide a spacious view of the Rockies across the way.

Also in view are the Manitou Cliff Dwellings restaurant, dining area, offices, and something else. Frankly, I never did figure out what the structure at the upper right was — possibly a luxury resort or an authentic Native American mansion.

Once you reach the far end of the Dwellings, you’ll look back and notice that didn’t really take long at all, discounting the part where you had to wait for other patrons to move along before you could step inside and feel the simulation.

Mandatory pretty flowers add to the viewing experience and provide up to three seconds of additional aesthetic pleasure per admission dollar.

You’re likely to spend twice as long in the gift shop, a three-story, partly authentic structure (with a few additions here and there) assembled in a disjointed, sprawling manner, ostensibly in the Anasazi lifestyle preference. (Only the top third is pictured.) I found myself authentically separated from my family for a while and forced to search each floor in vain, only to locate them on the ground floor near the MCD pressed-penny machine, exactly where I should’ve known my wife would wind up. Pressed pennies are her thing.

The gift shop premises include a museum of expected relics, antiquities, and artwork from the Anasazi and other area tribes. Most disturbing display would be the skull collection.

Rare is the museum that will admit they’ve simply given up on interpreting their exhibit for you, as indicated on the window label. My pictographic interpretive skills are either rusty or nonexistent, but it’s my opinion that this piece depicts an Anasazi heroic-hunter story, the genre of choice for 80% of all pictographic tales in all nations ever. Alternatively, it could be part of a graphic-novel adaptation of Charlie and the Chocolate Factory. Notice the lollipop-shaped swirls and one or two undersized stick figures that may or may not be Oompa-Loompas.

Some of the gift shop walls have been preserved rather than drywalled over, used as knick-knack shelves to exhibit jewelry, gemstones, and dioramas. These miniature Manitou Cliff Dwellings are display items only, not intended for resale as sparse dollhouses or makeshift G. I. Joe hideouts.

In all our visit was under an hour, even allowing for the part where I got lost in the Anasazi maze. It’s a pleasant historical diversion with adequate shelter from the summer heat.

My wife approved.

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A Lexicon of Moab Basketmaker Rock Art

randomcanyondiversions — Fri, 31 Aug 2012 23:38:33 +0000

MOAB BASKETMAKER ROCK ART: A LEXICON OF INTERPRETIVE ELEMENTS By Rory Tyler

This document deals primarily with the Basketmaker culture in the Moab area between 500 B.C. and 1000 A.D. It defines and codifies Moab’s Basketmaker rock art using a novel set of interpretive ideas. In the course of our many walks together between 1994 and 2004, Jose Knighton and I defined most of the basic interpretive elements of this lexicon. After Jose left Moab in 2004, I began to digitally document the area’s rock art.

The final impetus for developing this lexicon came from my observations in the South Fork of Mill Creek. Locally, this stream is known as Right Hand, as opposed to the North Fork, which is called Left Hand. There are two large concentrations of rock art in the Right Hand canyon. I call them Lower Right and Upper Right. The Upper Right rock art area is in an entrenched canyon between two mesas: Wilson Mesa, to the east, and Johnson’s-Up-On-Top to the west. It was this concentration of rock art that was the catalyst for creating this document.

In July, 2009, using the interpretive guidelines Jose and I had developed, I began to document rock art in Upper Right. I soon started to discern a sequential pictorial narrative of a game drive. This narrative was illustrated by Basketmaker artists along a two mile stretch of canyon that contains over 100 rock art panels and more than 3,000 petroglyphs. Without knowledge of the definitions we developed, the narrative cannot be discerned.

In the fall of 2010, on my second pass through the canyon, my field notes evolved a shorthand, using simple codes for frequently seen glyphs and relationships. I established codes for 77 icons and relationships. With a finite number of definitions to chose from, pattern recognition became possible. With pattern recognition, it became easier not only to identify the meaning of specific glyphs, but to identify common relationships, coherent narratives within the context of a larger panel. Many Basketmaker rock art images and tableaus, I now believe, are illustrated by an identifiable pictorial lexicon which defines shared cultural experiences.

This modern lexicon is an attempt to understand their ancient one. I start the lexicon by assigning general meanings to specific types of glyphs. Important interpretive motifs include the stances and accoutrements of humans, the stances and trackways of various animals, geometric and linear elements, connections between and among glyphs, topography as a narrative tool, and conflations of any of these elements into fantastic forms or, as I call them, ‘fantamorphs’.

After assigning meaning to a glyph, I discuss the kinds of relationships that glyph may have to other nearby glyphs. As with syllables in spoken language, a symbol’s relationship to adjacent and nearby symbols can enhance and alter its meaning. The recognition of a palate of relationships in a rock art tableau can be an important interpretive factor. The meaning of rock art symbols and tableaus can be changed, enhanced, and altered by the topology of the rock on which they are made.

The meaning can also change based on the topography of the terrain in which they were created. Therefore, I include topological and topographical elements among the lexicon’s protocols. The aesthetics, beliefs, and ability of individual artists must also be considered. These mutable characteristics reduce the likelihood of ever achieving an ‘exact meaning’ of any what any symbol, relationship, or tableau may represent. This does not bother me. After all, what ‘exactly’ does it mean to be a human? This lexicon poses a number of questions. What are the relationships between icons? How consistent are they? Are there relationships between certain icons and local topographies? What is the role of locations, activities, territories, ranges, seasons, drive lines, choke points, escape terrain, jumps, mires, ceremonies, celebrations, trade, warfare, etc? Who invented the original icons and meanings? How far and fast did icons and their meanings travel and mutate? How long were they used and by whom?

The answers to these kinds of questions, if there are answers, will probably have to wait until this lexicon can be compared to other local and regional lexicons … lexicons which have yet to be developed. Compared to most other rock art styles, Basketmaker art is highly representational. This makes it easier to interpret. Although the Upper Right game drive site was the catalyst for the lexicon, many of these interpretative concepts seem applicable to rock art throughout the Moab area and beyond. For me, the convergence of these meanings across the chasm of centuries is like opening a book on Basketmaker culture written by Basketmaker people themselves.

Rory Tyler Moab, Utah May 2012

MOAB ROCK ART LEXICON: CODES

These are the codes I use in my field work to diagram rock art panels. I have tried to keep codes to two letters. If the code represents a single word I use a capital and small case; “Anthropomorph – An”. If the code represents two words I use two capitals; “Bird Head – BH). If two words create a duplication, for example ‘Bird Track’ and Bear Track’, I use two letters for the more common icon, and three letters for the uncommon; “Common – Bird Track – BT”: “Uncommon – Bear Track – BeT”. The “No Idea”, “Connected”, and “Topography” designations use two small case letters; No Idea – ni, Connected – cn, Topography – to. (I designate “Connected” in my field diagrams by using a small circle: “o”.) In the case of Loops (Lo), Triangle Lines (TL), and Hand Holders I indicate the number of loops, triangles, or anthropomorphs in a single tableau by using parentheses. For example, a single line of five Hand Holders is written as HH(5).

ANTHROPOMORPHS

Headdresses and adornments:

Anthropomorph (without decoration) – An

Bird Head – BH

Basketmaker Necklace/Belt – BM

Cat-in-the-Hat – CH

Four Horn – FH

Flute Players – FP

Rake Head – RH

Skinned Head – Sk

Split Horn – SH

Two Horn – TH

Stances:

Atlatl Thrower – AT

Arms Down – AD

Arms Up – AU

Bow and Arrow – BA

Burden Carrier – BC

Connected – cn

Hand Holder – HH

Hand Up – HU

Running At – RA

Walking – Wk

Upside Down – UD

The Sexes:

Female – Fe

Male – Ma

FANTAMORPHS

FANTAMORPHS (Fa):

Fantamorphs pose special problems for coding since they can combine several elements. They can sometimes be codified or partially codified, but not always. For example, a sheep-headed anthropomorph, one of the most common fantamorphs, can be noted as Fa/Sh/An. A more complicated fantamorph could include more codes. However, because of the individualistic nature of many fantamorphs, a narrative description is often required as well.

GEOMETRICS

Circular:

Concentric Circles – CC

Circle – Ci

Loops – Lo

Spirals – Sp

Linear:

Cross Hatched lines – CH

Dotted lines/Dots – Do

Fence-like lines – Fn

Forked or tined lines – Ti

Gate – Ga

Geometric – Ge

Grid – Gr

Ladder – La

Lobed Circle – LC

Loops – Lo

Maze – Mz

Meander – Me

Split Tips – ST

Stars – Star

Triangle lines – TL

Trapman – TM

Wavy lines – Wa

Zig-Zag lines – ZZ

MISCELLANEOUS

AA – Atlatl

Abraded figure – Ab

Archaic – Ar

Connected -cn (marked as “o” in field notes)

Escape Terrain – ET

Lost Paint – LP

Petroglyph – Pe

Pictograph – Pi

Tableau – Ta

Topographic element – to

NO IDEA: (ni)

Many petroglyphs are undefinable; i.e., ‘ni’. Frequently, an ‘ni’ will resemble an interpretive form and be placed where one might expect, for example, a sheep in a line of sheep. However, if the form is not definitive, my tendency has been to count it as an ‘ni’.

TRACKS: (Tr)

BeT – Bear Track

BT – Bird Track

BuT – Buffalo Track

CT – Cat Track

HP – Hand Print

MT – Man Track

SP – Sheep Print

Tr – unidentified track or print

ZOOMORPHS: (zoo)

Bear – Be

Bird – Bi

Buffalo – Bu

Cats – Ca

Deer or elk – De

Dog/Coyote/Canine – Dg

Spirit Deer – SD

Sheep – Sh

Sheep Stances:

BN – Bloody Nose

Cu – Curious

Li – Lips

Pa – Panic

Pl – Placid

SS – Spirit Sheep

St – Startle

We – Weak

Snake – Sn

Zoomorph (unidentified animal) – Zo


AA – Atlatl	Fa – Fantamorph	RA – Running At
Ab – Abraded figure	Fe – Female	RH – Rake Head
AD – Arms Down	Fn – Fence	SD – Spirit Deer
Ar – Archaic	FH – Four Horn	SH – Split Horn
AT – Atlatl Thrower	FP – Flute Player	Sh – Sheep
AU – Arms Up	Ga – Gate	Sk – Skinned Head
Ba – Bag	Ge – Geometric	Sn – Snake
BA – Bow and Arrow	Gr – Grid	SP – Sheep Print
BC – Burden Carrier	HH – Hand Holders	Sp – Spiral
Be – Bear	HP – Hand Print	SS – Spirit Sheep
BH – Bird Head	HU – Hands Up	ST – Split Tip
Bi – Bird	La – Ladder	St – Startle Sheep
BM – BM Belt/ necklace	LC – Lobed Circle	Star – Star
BN – Bloody Nose	Li – Line	Ta – Tableau
Bu – Buffalo	Lo – Loops	TH – Two Horn
Ca – Cat	LP – Lost Paint	TL – Triangle Line
CC – Concentric Circles	Lp – Lips	TM – Trap Man
CH – Cat-in-the-Hat	Ma – Male	to – Topographical Feature
Ci – Circle	Me – Meander Line	Tr – Track
cn – Connected	MT – Man Track	UD – Upside Down
Cr – Crosshatched Line	Mz – Maze	Wa – Wavy Line
Cu – Curious Sheep	ni – No Idea	We – Weak Sheep
De - Deer, Elk	Pa – Panic Sheep	Wk – Walking
Dg – Dogs, Canines	Pe – Petroglyph	Zo – Zoomorph
Do – Dots, Dotted Line	Pi – Pictograph	ZZ – Zig Zag
ET – Escape Terrain	Pl – Placid Sheep

MOAB ROCK ART LEXICON: ACTION AND DIRECTION CODES

Once I assigned a representative interpretation to a rock art icon I created symbols denoting direction of the action and relationships among glyphs. Basketmaker rock art is rich with representation, action, and relationship. I use these codes in my field diagrams. These are the elements that make tie the glyphs together, making Basketmaker rock art interpretation more viable and coherent.

ACTION AND RELATIONSHIP CODES CARATS: I use carats (^, <, >) to indicate the orientation of a line, anthropomorph, or zoomorph. Horizontal line: > Li for example ZZ> – Horizontal Zigzag line Vertical line: ^Li for example ^ZZ – Vertical Zigzag line Figure facing left: < An for example <Sh – sheep facing left Figure facing right: An > for example Sh> – sheep facing right

COMBINATIONS: I Indicate a figure that combines several motifs by using a slash -( / ). Fa/Sh/An> A fantamorph/sheep/man – facing right <CH/AU – A Cat-in-the Hat with Arms Up – facing left

TABLEAUS: I draw a box around obvious tableaus and mark it with “Ta”.

DIAGRAMMING PANELS: I record panels on graph paper using these identity and action codes and protocols. The grid is created with letters on the vertical axis and numbers on the horizontal axis. A particular figure may be referenced by its location on the grid; for example B3 or F6. These diagrams provide an opportunity to do numerical take-offs and statistical analysis for different types of symbols, actions, and relationships.

MOAB ROCK ART: SYMBOLS AND DEFINITIONS ANTHROPOMORPHS: Headdresses and adornments

BASKETMAKER NECKLACE/BELT (BM): Common in Moab. The necklace and belt were pecked in. The rest of the figure was painted. The paint is almost always gone on this icon, so I do not include the Lost Paint (LP) symbol. The Necklace/Belt symbol is often seen in Hand Holder arrays. In Figure 1, they also sport the Cat-in-the-Hat headdress.

Figure 1. Old Folks Home. West Side. A line of Basketmaker Necklace/Belt figures with Cat-in-the-Hat headdresses – probably Hand Holders. ( HH(4), BM/CH, Bm/CH/, BM/CH, BM/CH.) BIRD HEAD (BH)

Figure 2 (left). Mill Creek Confluence. A Bird Head throws an atlatl toward a Placid and a Panic Sheep, both facing right. (BH/AT>, Pl>, Pa>).

BIRD HEAD (Bi): The Bird Head is common in the San Juan Basketmaker area, south of Moab. It makes occasional appearances in Moab.Where they appear in Moab, Bird Heads often play an important role; for example, throwing an atlatl or playing a flute. The appearance of Bird Head figures in Moab suggests that San Juan and Moab Basketmakers were in frequent contact and shared many activities. (Also see Figure 7.)

Figure 3 (right). Mill Creek Confluence. A Bird Head, facing left, plays the flute. (<BH/FP) CAT-IN-THE-HAT (CH)

Cat-in-the-Hat (CH): Common in the Moab area. The headdress resembles, and may represent, a lion’s tail. Most atlatl throwers in Moab rock art are Cat-in-the-Hat. This suggests that Moab’s Basketmaker hunters and warriors were often members of a cat or lion society. The Cat-in-the-Hat is also found in warrior contexts, opposed to Bird Heads in both the Moab and San Juan areas, as in Figure 7. (See also Figures 1, 9, 12, 14, 15, 21, 28, 31, 52, 58.)

Figure 4. Hidden Valley. Ray Panel. An Arms Up Cat-in-the-Hat with an exceptionally long headdress. (CH/AU).

Figure 5. Upper Right. Up, Up, Away Panel. A Cat-in-the Hat, facing left, throws an atlatl at three Startled sheep. (St>, St>, St>, <CH/AT) The Cat-in-the-Hat is also found in warrior contexts opposed to Bird Heads in both the Moab and San Juan areas, as in Figure 6.

Figure 6. Chinle Wash, Arizona. On this tributary to the San Juan River a Male Bird Head throws an atlatl through a Cat-in-the-Hat. (CH>, <BH/Ma/AT.) RAKE HEAD (RH)

Figure 7. Mill Creek Confluence. Rake Heads and Fantamorph variations.

Rake Head (RH): Common in the Moab area. Rake Heads often appear near strategic sites such as confluences and game drive sites. They seldom demonstrate actions, such as atlatl throwing or Hands Up poses, although they are often in the same panels as these other figures. The Rake Head may have been ceremonial, supervisory, hierarchical, or authority figures. The Rake Head is often interpreted as a Fremont figure. However, its presence in Mill Creek in conjunction with Cat-in-the-Hat and atlatl symbols, along with Basketmaker carbon dates of 400 B.C. from the same area, suggest that it is Basketmaker in origin. It may have been part of a cultural package that migrated north from Moab around 200 A.D.

SPLIT HORN (SH)

Figure 8. Upper Right. Junipers Panel. A Spiral, two Split Horns, a Cat-in-the-Hat, and two Split Horns in a Hand Holding tableau. (Sp, HH(5) – SH,SH,CH,TH,SH)

Split Horn (SH): The Split Horn figure has two horns on its headdress. Each is split at the tips. This split-tip motif may be related to the Split Tip (ST) linear motif that indicates trapping activities. Split Horns are often in Hand Holding, Arms Down, Arms Up, and Hands Up poses, but do not throw atlatls. This suggests that they served as herders and drivers, but not killers. After the introduction of the bow and arrow Split Horn and Two Horn figures use this weapon in hunting contexts, as seen in Figure 13. TWO HORN (TH) Two Horn (TH): Two Horn figures appear in many of the same contexts as Split Horns and may be related. The distinction can be indiscernible. (See also Fig. 11, 13)

ANTHROPOMORPHS: Stances and Actions

ATLATL THROWER (AT)

Figure 10. Throwing an atlatl.

Atlatl Thrower (AT): The atlatl, a spear throwing device, was in common use among Basketmakers at least until the introduction of the bow and arrow, between 300 and 500 A.D. It is sometimes shown as a line bisecting and projecting from a circle, probably a depiction of the fletching at the end of the spear. An atlatl thrower assumes a distinctive pose, as seen in Figure 6. The atlatl dart is frequently missing from a petroglyph, but the pose is telling. (See also Figures 2, 6, 7, 15, 21, 36, 52, 58, 59.)

ARMS DOWN (AD)

Figure 1o. Upper Right. Banner Panel. A tableau contains a double dotted line, two Panic sheep, and three Two Horns with Arms Down. (Do/D>, Pa>, Pa/Li>, TH/AD, TH/AD, TH/AD)

Arms Down (AD): In the game drive context, Arms Down indicates that the hunters want to contain the sheep without agitating them. (See also Figures 11, 12, 30, 40.) ARMS UP (AU)

Figure 11. Upper Right. Bud Longneck Panel. Two Arms Up anthropomorphs, one is a Bird Head, face a Fantamorphic sheep which has a Bloody Nose. (BH/AU>, AU>, < Fa/Sh/BN)

Arms Up (AU): Arms Up figures have their arms up, but their hands below their shoulders. Arms Up indicates intent to herd the animals without panicking them, as opposed to Arms Down where containment is the goal. (See also Figures 5, 15, 17, 40, 42.)

BOW AND ARROW (BA)

Figure 12. Upper Right. Striper Panel. A dotted line, Arms Up anthropomorph, Two Horn with a bow and arrow, and a Panic sheep. (Do>, AU, TH/BA>, <Pa)

Bow and Arrow (BA): The bow and arrow appeared in the Moab area between 300 and 500 A.D. The advent of the bow and arrow did not necessarily mean that Basketmakers stopped using the atlatl. The overlap of the atlatl and bow-and-arrow technologies is one of the better relative dating indicators for Basketmaker rock art. (See also Figures 13, 16, 47, 48.)

BURDEN CARRIERS (BC)

Figure 13. Hidden Valley. Raven Eats the Sun Panel. A flute player leads a parade of Burden Carriers.

Burden Carriers (BC): Burden Carriers are anthropomorphs carrying packs on their backs. They often appear in orderly lines. This suggests that people commonly came from some distance to join in various activities. Reinforcing this idea, Burden Carriers in Moab sometimes display San Juan Bird Heads.

FLUTE PLAYER (FP)

Figure 14. Upper Right of Mill Creek. Celebration Panel. Flute Players.

Flute Player (FP): The Flute Player appears in many contexts with Burden Carriers and Hand Holders, in battle scenes, romantic scenarios, and celebrations. Our culture has come to call the Flute Player ‘Kokopelli‘. Although ‘Kokopell’, as generally used, is a term which does not have prehistoric, historic, or ethnographic validity, its common use has imbued it with contemporary currency. (See also Figures 3, 14, 15, 60.)

HAND HOLDERS (HH)

Figure 15. Lower Right. Highland Panel. Hand Holders direct a line of animals towards a figure with a bow and arrow. (HH (9), BA>, <Zoo/Pa, <Pa, ^Wa)

Hand Holder (HH): The Hand Holder motif is common. It may represent game drivers. The proximity of Hand Holders to zig-zag and wavy lines, and to Panic sheep, could indicate part of a game driving strategy using people and barriers to direct the sheep and seal off escape routes. Hand Holders can be unadorned, Two Horn, Split Horn, Cat-in-the-Hat, and Bird Heads. (See also Figures 1,9, 16, 27, 28, 31.)

HANDS UP (HU)

Figure 16. Upper Right. Narrows Panel. Figures raise their hands above their heads at the end of a game drive. The Meandering and Dotted Lines probably indicate containment. (HU, Me, ^Do, HU).

Hands Up (HU): The Hands Up posture appears most often where animals can be driven hard, forcing them into a panic-stricken run. The Hands Up images in Figure 16 are at a site where running sheep would be forced up a short ramp and into a box canyon. (See also Figures 17, 24, 40.)

RUNNING AT (RA)

Figure 17. Moab Man Panel. The Moab Man Panel , near the golf course, has several figures running at the observor. The ear ornaments, arms, and legs all indicate motion.

Running At (RA): The Running At stance is common in Moab rock art. I do not have any strong ideas about what it might represent. Suggested meanings include an atlatl thrower coming at the viewer, a runner chasing game, and a runner participating in a ceremony. (See also Figure 29.)

ANTHROPOMORPHS:

The Sexes

Figure18. Kane Creek Road. Portal Panel. This inverted ‘U’ is on a boulder next to the Colorado River where it leaves the rich wetlands of the Moab Slough and enters the deep canyons. The relationship between its location and meaning bears consideration.

FEMALE (Fe): The inverted ‘U’ with two dots at the bottom is a Moab Basketmaker feminine indicator, probably representing a vagina. Other indicators, on other panels, include distinct labial lips, pregnancy, birthing scenes, and breasts. All these indicators are rare. (See also Figures 10, 40, 42.)

MALE (Ma): Penis depictions are common and definitive. The figure at the far right has a distinctive icon on the end of its penis. Similar design elements appear elsewhere around Moab, but isolated from a body. (See also Figures 20 and 40.)

Figure 19. Kane Creek. Penis Panel.

FANTAMORPHS (Fa):

Figure 2o. Upper Right. Lower Narrows Panel. A Fantamorph next to Cat-in-the-Hats in Atlatl pose.(<CH, <Fa/Zo, CH/AT>)

Fantamorph (Fa) As mentioned, ‘Fantamorph’ is a coined word combining ‘fantastic’ and ‘morphology’. Fantamorphs can combine any number of known and unknown design elements, conflating their meanings. A description is often necessary to describe a fantamorph and create a plausible (when possible) surmise concerning the meaning of the fantamorph’s combined motifs and its possible purpose in a panel’s narrative. (See also Figures 8, 21, 25, 26.)

GEOMETRICS (Ge):

Geometric glyphs can be divided into FORMS and LINES. Because geometric forms and lines are generic by nature, it is difficult to ascribe a specific meaning to any design of shape or line. However, because of the contexts in which they so often occur, a hunting interpretation, indicating containment, is a often a plausible definition.

FORMS: CIRCLES (Ci) AND CONCENTRIC CIRCLES (CC)

Figure 21. Behind the Rocks. Warrior Panel. Circles can have many meanings. In this example, the concentric circles may be part of an Equinox calendar.

Circles (Ci) and Concentric Cirles (CC): As noted, the generic nature of circles makes definition a problem, especially if there is no context other than the circles themselves. Interpretations include springs, snares, calendars, unifying psychological concepts, layers of initiation, vortexes, and more. (See also Figure 25.)

GRIDS (Gr)

Figure 23. Upper Right. Crisscross Panel. This panel is situated about half-way down a game drive corridor, where the canyon begins to narrow and the escape terrain becomes less frequent. A Triangle line is at the right, reiterating the theme of containment.

Grids (Gr): Geometric forms such as grids, ladders, and loops share many contextual characteristics with more linear elements such as zig-zag and crosshatched lines. They often appear in places where a net, fence, or gate might be expected in a game drive scenario.

LADDERS (La)

Ladders (La): Ladders can be horizontal or vertical. Their meaning as containment barriers (gates, fences, drive lines) is derived from their design and contextual placement in the rock art tableau. Figure 24. Hidden Valley. Spirit Sheep Panel. Two sets of connected loops act as an open gate. Once the herd has passed, the gate can be pulled across the opening, trapping the sheep.

LOOPS (Lo)

Figure 24. Hidden Valley. Spirit Sheep Panel. Two sets of connected loops act as an open gate. Once the herd has passed, the gate can be pulled across the opening, trapping the sheep.

Figure 25. Arches National Park. Skyline Panel. A set of connected loops inside a sheep with bird-like feet resembles a net. A small canyon with steep, clay sides is nearby. Sheep driven into the canyon during a wet period would be unable to climb the slippery slopes. A small zoomorph in the upper right resembles a mountain lion.

Loops (Lo): By definition, loops are connected, otherwise they would be circles. Connected loops often resemble nets, as in Figure 24. A linear array might resemble a fence, drive line, or perhaps a set of snares. (See also Figures 28, 38.)

SPIRALS (Sp)

Figure 25. Upper Right. Spinning Horn Panel. A fantamorphic Spirit Sheep appears in close proximity to the last large stretch of escape terrain in the Upper Right game drive corridor. (Sp/SS)

Spirals (Sp): Spirals often appear in close proximity to escape terrain; i.e. terrain where would allow animals to run out of a trap. This possible relationship between spirals and escape terrain bears consideration as an option in a list of potential meanings for spirals. Spirals occur in many contexts, however, and may have so many meanings as to defy categorization. (See also Figures 9, 26, 60.

LINES

Figure 26. Lower Right. Connected Panel. A single line connects Split Horns, Rake Heads, and Sheep. The two most common uses for lines are as connectors, indicating a relationship between glyphs, and as containment symbols, like fences and drive lines. A third set of linear elements, such as Split Tips, Forks, and Trapman appear to have culturally derived meanings instead of representational functions for icons such as Fences, Crosshatch, Wavy, and Zig-Zag lines, etc.

CONNECTED (cn): The Connected motif occurs in many contexts and indicates a unifying energy or relationship. For example, in Figure 26, a group of people are surrounding a flock of sheep. This may reiterate and compliment the Hand Holder theme. At other times a Connected line may indicate a relationship between two or more rock art elements; for example, a hunter and his prey. A line may connect a hunter or warrior shooting an animal or an enemy, as in Figure 6. I include these lines in the concept of the weapon, not as connecting symbols. (See also Figures 14, 24, 39.)

CROSSHATCHED (Cr:)

Figure 27. Upper Right. Drive Lines Panel. A crosshatched line in close proximity to Handholders and Sheep. Crosshatched lines are among the most common game drive symbols. They depict drive lines, corrals, and other kinds of barriers. They are also a central design element in the Trapman figure, where their containment function appears to achieve a personified metaphysical status comparable to Spirit Sheep and Cat Tracks. (See also Figure 15.)

Figure 28. Potash Panel. Crosshatched lines shaped like corrals. The corral at right has an animal inside. Note the inclusion of Split Tips and Loops, design elements that amplify the ideas of trapping and containment.

DOTTED LINES

Figure 29. Upper Right. Narrows Panel. Dotted lines appear along with game drivers, Wavy lines, and Panic sheep.

DOTTED (Do): Dotted lines often appear in the same contexts and relative locations as other linear elements such as Crosshatches, Wavy lines, and Zigzags. They may fulfill the same functions of containment and enclosure as these other designs. If so, then making a dotted line would be less work than making other types of lines. Dotted lines are among the oldest rock elements in North America. However, they usually appear without any discernible representational or contextual references. If dotted lines are part of a game drive lexicon in Moab, perhaps they fulfill similar functions at other sites that lack more apparent design elements and contexts. (See also Figures 11, 13, 17, 30, 40.)

FENCES

Figure 30. Upper Right. Chock-a-Block Panel. A Fence, Wavy line, and Hand Holders illustrate a containment tableau.

FENCES (Fe): Fences come in various sizes and shapes, but can be inferred to perform a containment function. (See also Figure 28.)

FORKS

Figure 31. Kane Creek. Magic Theater Pass Panel. A Fork above a Startled sheep. The smallest sheep on the panel is below, possibly demonstrating the Weak Sheep concept. At left, an unidentified, short-eared zoomorph watches.

FORKS (Fo): Forked elements may represent a snare, trap, or gate.

MEANDERS (Me): A simple design element with many possible meanings, including containment. (See Figures 17, 22, and 30.)

SPLIT TIP (SpT)

Figure 32. Upper Right. In the Bag Panel. A sheep is surrounded by a wavy line with Split Tips at the ends.

Split Tip (SpT): The Split Tip motif is often seen in game drive contexts. It is an abstract, rather than representational, symbol. The ability to interpret it as a hunting symbol is derived from its frequent appearance and contextual placement in hunting panels. The Split Tip is also a diagnostic element of the Trapman design. (See also Figure 33.)

STARS (star): The Star icon has no representational analog. Its meaning can only be inferred from its relationship to nearby symbols and its placement on a panel and/or the panel’s topographical location. For example, inFigure 35 the star pattern mirrors a set of Cat Tracks going down the rock. What cannot be seen in this photo are several sheep in Panic pose at the end of the line of the Cat Tracks.

Figure 33. Lower Right. Highlands Panel. The Highlands Panel contains several hunting and trapping tableaus. A possible elaboration of the Star symbol appears among the other rock art symbols.

Figure 34. Kane Creek. Portal Panels. The Star icon (at right) frequently appears in conjunction with Cat Tracks (at left) and other hunting symbols. In this panel the Star seems to reiterate the Cat Track design.

TRAPMAN (TM)

Figure 35. Kane Creek. Trapman Panel. This the largest Trapman I know of. It is in Kane Creek Canyon where the steep topography goes from very wide to very narrow.

TRAPMAN (TM): Trapman combines at least two important design elements; Crosshatched lines and Split Tips. The erect arrangement of these elements suggests an anthropomorphic intent. Trapman usually appears with other hunting elements, often in topography conducive to game drives. If ancient artists made pictures of Spirit Sheep and Cat Tracks to invoke the metaphysical energies of the prey and the hunter toensure success, it is logical to think that a metaphysical symbol of the trap itself would also become an important part of their mythology. (See also Figure 48.)

Figure 36. Upper Right. Narrows Panel. An elaborate and fanciful Trapman figure directly across the canyon from the end of the Upper Right game drive corridor. The long lines at the top of the crosshatching resemble arms, perhaps emphasizing the anthropomorphic element of the design. (Fa/TM)

TRIANGLES (TL)

Triangles (TL: Triangles are usually connected and have a similar meaning as other linear elements such as wavy lines, zig-zags, connected loops, ladders, and so on. (See also Figures 23, 51, 57.)

Figure 37. Upper Right. Roadside Attraction Panel. Linked triangles in conjunction with a Cat Track and linked loops, possibly a line of connected snares.

WAVY (Wa)

Figure 38. Lower Right. On Point Panel. Converging Zigzag lines may illustrate the schematic of a game drive.

Wavy (Wa): Wavy lines are among the most common linear elements and often illustrate the attributes of enclosure and containment that other linear elements exhibit. (See also Figures 15, 22, 31, 33)

ZIGZAG (ZZ): Zigzag lines are among the most common linear elements and often illustrate the attributes of enclosure and containment that other linear elements exhibit. The difference between Wavy and Zigzag lines is probably irrelevant.

NO IDEA NO IDEA (noid): Many glyphs are simply blobs or lines that defy any sense of meaning. Sometimes, however, they seem to partially or nearly interpretable based on a perceived and extrapolated shapes and strategic placement. Usually, erring on the side of caution, I have chosen to give these ‘nearly interpretable’ glyphs a No Idea designation. However, specific glyphs may warrant discussion and their value should not necessarily be overlooked because of a No Idea designation.

TRACKS

Figure 39. Mill Creek. Rosetta Panel. A common trackway in the Moab combines a segmented foot, tined toes, and distinct claw marks. This icon has commonly been interpreted as a bear track. However, based on the image seen in the upper left corner of Figure 40, Jose and I began interpreting this design as a Cat Track. Since lions are effective sheep hunters it seems parsimonious to use Cat Track as a default definition unless other elements compromise that interpretation.

BEAR TRACKS (Tr/Be): Definitive indicators of a bear track motif include heel counters (the round projections at the back of a bear’s foot} and claws attached to toes. In Hidden Valley a distinctive set of tracks includes these elements. The enclosing line around the track is a design element which differentiates these tracks from the many segmented tracks at Hidden Valley. This differentiation at this location seems intentional. There are no other similar tracks in Hidden Valley or, to my knowledge, anywhere else in the Moab area. There are many of the segmented tracks.

Figure 40. Hidden Valley. Bear Tracks.

BIRD TRACKS (Tr/Bi)

Bird Tracks (Tr/Bi): Some birds are notable predators, so it makes sense that hunters would invoke their power in pursuit of game. It is impossible to tell what kind of bird track the artist may have intended to render. But in the Moab area, for reasons I discuss in the zoomorph section, herons seem likely.

Figure 41. Kane Creek. The Birthing Rock. A well-known site near Moab, contains a four-step bird trackway. The size, shape, and pace of the trackway resemble a heron. Other design elements at the site, not all seen in this photo, include the birth of a baby boy, vaginas, atlatls, bow and arrow, Trapman, and a lion.

BUFFALO TRACKS (Tr/Bu): Buffalo tracks and images are rare near Moab. There are some north of town, of Ute origin. To my knowledge, Basketmakers did not make buffalo art. I include codes for it here because Ute buffalo art is local, and impressive, if not particularly germane to the discussion at hand.

CAT TRACKS (Tr/Ca)

Figure 42. Hidden Valley. Pounce Panel. Cat Track at left. Other images include a possible Archaic anthropomorph, two short-eared, short-tailed zoomorphs with Cat Track feet, a three-horned Spirit Sheep, a Placid Sheep, and a short-eared, long-tailed zoomorph, possibly a Cat that may be leaping onto the Placid Sheep. Cat Track (Tr/Ca): The Cat Track motif is often found in conjunction with hunters and sheep, often in a strategic location. Humans and lions are the most successful of sheep hunters in the canyon lands. (See also Figures 35, 38, 56, 61.)

MAN TRACKS (MT)

Figure 43. Left Hand. Waterfall Alcove. Man Tracks on a boulder top with metates.

Man Tracks (Tr/An): Human footprints can be barefooted or sandaled, as in Figure 43. They can also be fantamorphic; for example, a human track with claws, creating a conflation of hunting energies. (See also Figure 42.)

SHEEP, DEER, AND ELK TRACKS

Sheep Tracks (Tr/Sh): Because of the similarity of sheep, deer, and elk tracks, and the prevalence of sheep in rock art panels, I use the single code Tr/Sh. Typically, sheep and deer register dew claws, the two dots at the back of the hoof, when they are running. Dew claws are common in rock art, indicating that the animals were in an agitated state. It is also common to see a trackway, as seen in Figure 45.

Figure 44. Upper Right. Around the Corner Panel. Sheep tracks showing dew claws next to Panic Sheep.

Figure 45. Kane Creek. Pritchett Canyon Panel. Two sets of sheep trackways appear on this panel. The larger, descending set do not have dew claws. The smaller, ascending set show the dew claws.

ZOOMORPHS

BEARS (Be)

Figure 46. Potash Road. Bear Panel. As far as I know, this is the only definitive Basketmaker rendition of a bear in the Moab area. It’s feet are large and square. Based on the archers, this is a later Basketmaker glyph, c. 300 – 900 A.D.

Bears (Be): Definitive Basketmaker depictions of bears are rare in the Moab area. Ute depictions of bears are more common in the region. The cultural affiliation of a bear image can usually be determined by comparison to surrounding glyphs. Part of the confusion between Bear and Cat symbolism may be due to the Ute affinity for bears and bear symbols. Extant Indian ethnography at the time of European contact was Ute. Ute misrepresentation of Basketmaker symbols may have carried over into European interpretation.

BIRDS (Bi)

Figure 47. Potash Road. Oaks Panel. The most common bird depiction around Moab has a long neck, long bill, and long legs. It probably represents a heron. A less common bird depiction can be seen at the far right of the photo. It resembles a raptor or vulture. Other elements in the panel include Bow and Arrow users, sheep, Crosshatch lines, and Split Tips.

BIRDS (Bi): Heron are the most commonly depicted birds in the Moab area. Heron are common along the Colorado River corridor and are accomplished hunters. It makes sense that spear-throwing, arrow-shooting human hunters would recognize a kindred spirit in the heron, especially given the obvious comparisons between the heron’s bill and the hunter’s weapon. (See also Figure 50.)

BUFFALO (Bu)

Figure 48. Mill Canyon. A buffalo among Ute figures, a horseman, and vaginal symbols.

BUFFALO (Bu): As mentioned in the Tracks section, depictions of buffalo are rare around Moab and are of Ute, not Basketmaker origin. The Mill Canyon panel is about 10 miles north of Moab. The inclusion of a man on horseback places it well beyond the Basketmaker time frame.

CATS (Ca):

Cats (Ca): Desert bighorn sheep were common around Moab until they were almost wiped out by European diseases and guns. The two most successful sheep predators were lions and humans. It makes sense, therefore, that human art and ritual extolled the hunting prowess of lions. There are many variations of the lion motif. Sometimes the Cats have the segmented-foot/tined-toes I discuss in the Cat Track motif. Sometimes, as in Figure 49, they do not. The pecked part of the tail may be short, the remainder, perhaps painted onto the petroglyph, or simply not shown, as the atlatl is often not seen in an atlatl thrower’s pose. (See also Figures 25, 40, 43, 59.)

Figure 49. Upper Right. Butt Crack Panel (Ca>, cn, St>). A short-eared, long-tailed zoomorph, probably a lion, has its front paws sunk into the hindquarters of an exceptionally distressed sheep.

DEER OR ELK (De)

Figure 50. Dark Angel. A fantamorphic deer or elk joins a parade led by a heron and a three-horned Spirit Sheep.

Deer or Elk (De): It is impossible to tell if an antlered creature is a deer or an elk. To save time, I refer to them as deer. It is common to see deer with elaborate horns, as in Figure 50. It is likely that, like Spirit Sheep, these fantastic horns indicate that the animal is from the spirit world and is an embodiment of the deer-nature, rather than a representational depiction of an actual animal. If the figure is an elk, it is more likely to be representational, although Spirit designation cannot be excluded.(See also Figures 54 and 58.)

DOGS/COYOTES/CANINES (Dg)

Figure 51. Upper Right. Big Cat Panel. An atlatl thrower and his dogs attack a herd of sheep.

Dogs/Coyotes/Canines (Dg): Dog is a common interpretation for short-eared, long-tailed animals. However, as I state here and elsewhere, I believe Cat is a more appropriate interpretation in many cases. Dogs were depicted occassionaly, but not commonly. Figure 51 is from a panel where the Upper Right game drive corridor narrows considerably and the intensity of the action increases. This is the part of the game drive where dogs would be useful in creating fear and panic among the sheep. Prior to this, a dog would be a liability, confusing and scattering the sheep in an area that contains several large stretches of escape terrain. Note the small size and pack behavior of the dogs in this panel.

SHEEP (Sh):

As noted above, desert bighorn sheep were common in the Moab area until the introduction of European sheep diseases, forage competition, and firearms. Basketmakers were close observers of the prehistoric herds. Basketmaker art reflects these observations. In any given panel, the stances of the sheep and deer can be telling. If a sheep glyph does not exhibit a clearly defined stance, I use the ‘Sh’ code to record it.

STANCES:

BLOODY NOSE (BN): Bloody Nose (BN): The Bloody Nose motif is commonly exhibited by a sheep in distress, possibly indicating that the sheep has been attacked. It is also seen in Spirit Sheep, possibly an indication of sympathetic hunting magic illustrating the link between the spirit and material worlds. The effluent is usually pecked in. (See also Figures 12, 56.)

Figure 52. Fish Creek Cove, Torrey, Utah. Bloody Nose iconography is common throughout the Southwest. This example, using paint instead of pecking, is the most graphic example I know of.

CURIOUS (Cu)

Curious (Cu): Curious sheep are notable for their upraised heads and placid stances. They are usually found in close proximity to other sheep that are in a Panic or Startle stance, as in Figure 53. They look as if they can tell that something is happening in front of them, but don’t know what to make of it. (See also Figures 26 and 53.)

Figure 53. Moab Man Panel. A Curious deer, at left, cranes its neck to see what is going on ahead.

LIPS (Lp)

Lips (Lp): The extended Lips motif indicates a sheep in distress and may be related to the Bloody Nose motif. The Lips motif also appears in Cats, as seen in the Rosetta Panel (Figure 39). This may be an example symbolic conflation, illustrating the hunter/prey relationship. (See also Figure 11.)

Figure 54. Kane Creek. Lion Head Panel. A sheep impaled with an atlatl expresses its distress by extending its lips.

PANIC (Pa)

Panic (Pa): In Panic stance sheep appear to either be running full speed, jumping, and leaping in an erratic fashion. The Panic pose is diagnostic for hunting tableaus. At times, it is hard to differentiate between Panic and Startle poses. However, they are related and are indicators of similar situations. (See also Figures 2, 11, 13, 16, 29, 30, 45, 49, 50, 54, 56.)

Figure 55. Hidden Valley. Spirit Sheep Panel (Sp/St/BN> ,<Pa, <Pa, <Pa, An>, <Pa, CT). Four lambs in Panic stance flee from a Cat Track. A human figure appears in front of the last lamb. A three-horned Spirit Sheep, in Startle stance with a Bloody Nose, watches.

PLACID (Pl) Placid (Pl): Placid sheep typically appear in two contexts. In one, they are in no apparent danger. In the other, they are in danger but do not, as yet, seem aware of their peril. (See also Figure 2.)

Figure 56. Hidden Valley. Spirit Sheep Panel. In another view of the Spirit Sheep Panel, a line of Placid sheep appear to be oblivious to the danger they are in as they walk past a gate and into a containment area.

SPIRIT SHEEP (SS) – SPIRIT DEER (SD) Members of hunting cultures often believe that the spirit of the prey species must be appealed to, honored, and placated if it is going to allow the hunters to kill members of that species. In Basketmaker art this Spirit Sheep figure is shown with supernatural characteristics such as extravagant horns or combining sheep with other elements, such as Cat Tracks or Spirals. It is often in a prominent place in a pane. It may be in a stance distinct from other zoomorphs and it is this distinction which identifies it. See figures 12, 43, 51, 56.

STARTLE (St) Startle (St): The Startle pose is characterized by the front feet lifting off the ground, as if the animal just became aware of the danger it is in. (See also Figures 6, 13, 32, 36, 54, 55, 58, 59.)

Figure 57. Hidden Valley. Three Horn Panel. A Cat-in-the-Hat in Atlatl pose catches a deer or elk by surprise.

WEAK (We)

Weak (We): The Weak Sheep motif is characterized by a sheep that is the slowest and/or the smallest sheep on a panel (see Figure 56). At times, the sheep in the Weak sheep position may be missing a feature, such as a leg (see Figure 52). This appears to be a parsimonious illustration of the Darwinian imperative. The slow, the weak, and the lame are the first fall to the hunter. (See also Figures 52, 59.)

Figure 58. Arches National Park. Dark Angel Panel. The last and smallest sheep in a line of animals is impaled by an atlatl. A short-eared, tined-toed animal, probably a lion, watches.

SNAKE (Sn) Snake

(Sn): Snakes are fairly common. They can often be combined with Wavy lines and Spirals, as seen in Figure 60. Because of the broad psychological and ritual range that snakes can play in any culture, an accurate, general interpretation of the Snake image is not likely. (See also 22, 51, 60.)

Figure 59. Celebration Panel, Upper Right. A snake-headed spiral at the end of the game drive.

ZOOMORPH (Zo)

Zoomorph (zo): I use “zo” for an unidentified zoomorph. If there is a likelihood that it may be a particular animal, I make note by combining codes. For example, I would describe animals in Figure 61 as: <Zo/We, <Zo/We/De, Zo/Ca>, Pa>.

Figure 60. Slim’s Rock. Upper Right. A Cat Track, Startle Sheep, and several different zoomorphs of uncertain identity.

Preserve the works of man

goodbyepagoda — Sun, 26 Aug 2012 19:09:59 +0000

Want to see more from Mesa Verde National Park? Click the “Photo Vibes” at the bottom!

Day 28: Green Table & Durango

jjairstreamadventure — Sun, 26 Aug 2012 18:25:08 +0000

Miles: 254.2

It turns out that Moab, Utah is a pretty cool town. It’s a lot like Jackson except surrounded by red canyon cliffs. There are a ton of outdoor activities to do…mountain biking being to most appealing to us, especially with all the neatly kept bike lanes that run parallel to the roads.

We head further east today into Colorado, but not too hastily as we decided it is better to enjoy the southwest as much as possible and then speed though the midwest.

We made a long stop in Mesa Verde National Park which hosts several old pueblos, our cliff dwellings. Trailers are not allowed in this park although we totally could have pulled our humble airstream up and down those roads (they are nowhere near as difficult as the Arches National
Park); so we left Mr. Snake to guard our traveling abode as we trudged up 20 miles onto the mesas. They are called mesas as the resemble tabletops and the ones in this park are strikingly greener than the surrounding landscape.

The Anasazi, the people who lived in this area, slowly started settling down and became sedentary by building pit dwellings around the year 1100. These are huts that are dug halfway down into the ground and then covered with logs and mud leaving a whole at the top to enter with a ladder. Later on, they started building proper homes in what is now called the Pueblo style and which is how most buildings are built in the southwest till this day. No one really knows why these people started moving their pueblos (villages) into the cliffs, but when you are there you understand that the cliffs provide protection from wind and the sun. No one really knows what happened to these people either, they just seemed to have disappeared.

What is really interesting are the kivas. Kiva is a Hopi word for ceremonial room and it is believed that the circular underground chambers, which occupy a large part of the pueblos, we’re used for religious purposes, for praying, for gatherings or for weaving. The technology is quite ingenious; the entrance is the same as a pit dwelling and inside there is a fire pit with a deflecting stone in front of it which deflects the air that comes in from an intentional air vent. There is also always a sipapa, a small hole on the floor believed to be the access to the underworld.

After all this learning, we were pretty hungry and decided to stop in Durango, CO for some restaurant food. We chose the Steamworks Brewery, which proved delicious and allowed us to stock up on some local beer. Durango happens to be a pretty cool town too!