2019 Conference Program IssueVolume 45, Number 2

ARARA 2019 CONFERENCE PROGRAM

Welcome to Flagstaff!46th Annual ARARA Conference, 2019

Welcome to Flagstaff, Arizona. We have arrived at the campus of Northern Arizona University (NAU)! We are all here to attend another outstanding annual conference, planned by a devoted volunteer conference committee. ARARA is fortunate to have such dedicated volunteers to bring the 2019 Annual Conference to fruition. Here we come NAU!! Many thanks to the Hopi Tribe and the Navajo Nation, the surrounding National Forests, Bureau of Land Management, National Park Service, State Parks, Game and Fish, City of Flag-staff, City of Holbrook, and the private landowners that have granted permission to the ARARA membership to access the lands upon which the beautiful, sacred, unique rock art resides. To the Tribes, agencies, and private landowners, I applaud your understanding and willingness to coordinate efforts to assist with the 2019 ARARA Annual Conference. ARARA is a volunteer-based organization. Those members that step forward to volunteer keep this organization in opera-tion—because of that, we are able to offer these Annual Confer-ences in various geographic locations. I would ask that you all recognize them for their dedication and contributions to the ARARA organization, as these individuals wish to resign from their duties: Jan Gorski, Membership Committee; Chris Gralapp, Nominating Committee; Donna Yoder, Conference Registrar; Margaret Berrier, Awards; and Amy Gilreath, La Pintura Editor. I’m thankful for your dedication and wish you the best. As some of our volunteers will be leaving us next year, the ARARA organization needs and wants you to come forward and bring your talents, expertise, and dedication to serve in one of these volunteer positions. If you have a strong interest, please reach out to one of the Board Members or myself, as I welcome your support. I’m wishing all of you safe travels and good health as we embark on our next ARARA adventure, the place that will bring together new and established friends, colleagues, and students by sharing memories and creating new ones. Our meeting in Flagstaff will land us all in the right place—the rock art landscape. Respectfully, Ann Brierty, ARARA President

2019 ARARA Acknowledgments

ARARA Annual Business MeetingSunday, June 16, 2019, 8:30 a.m., Ballroom

AgendaI. Call to Order—President Ann BriertyII. Officers’ Reports a. President Ann Brierty b. Vice President Linda Olson c. Secretary Steve Waller i. Minutes, 2018 Annual Meeting, Grand Junction, Colorado (published in La Pintura, Vol. 44(3), September 2018) ACTION NEEDED: Approval of Minutes d. Treasurer Jack WedgwoodIII. Committee Reports* a. Standing Committees i. Nominating Committee—Chair Chris Gralapp Election of Board Members—Results b. Ad Hoc CommitteesIV. Annual Conference Report—Conference Co-coordinators Donna Gillette and Evelyn BilloV. New Business a. Nominating Committee ACTION NEEDED: Elect 3 ARARA members to serve on the 2019-2020 Nominating CommitteeVI. Adjourn*Additional committee reports may be added by the Board prior to the Business Meeting.

• Auction: Janine Hernbrode, assistants, and donors • Auctioneer: Louis Hillman • Audiovisual: Daniel McCarthy and Scott Seibel • Awards: Margaret Berrier (Chair) and her committee • Conference Logo: Scott Seibel and Margaret Berrier • Conference On-line Registration: Troy Scotter • Conference Program Layout: Ken Hedges • Conference Registrar: Donna Yoder and assistants • Field Trip Leaders are Acknowledged on page 13 • Program: Jenny Huang (Chair) and anonymous reviewers • Program Cover Photo: Robert Mark • Program Special Speakers: Kelley Hays-Gilpin • Public Relations: Chris Gralapp • Student Travel Support Committee: Karen Steelman • T-Shirt and Logo Layout: Scott Seibel and Evelyn Billo • Vendor Room: Gladys Swanson and Linda Olson • Volunteer Coordinator: Teresa Saltzman • NAU Conference Planners: Jill Larson, Kristen Morale, and

Margo Kincaide • The ARARA Board of Directors for their help in many ways. Many people support ARARA and help with the Annual Conference—if we have inadvertently left anyone off this list, please accept our apologies along with our thanks!

On behalf of the ARARA membership, Conference Co-Coordinators Evelyn Billo and Donna Gillette welcome you to Flagstaff for another ARARA Conference made possible by the dedication of our Local NAU Hosts Kelley Hays-Gilpin and Richard Rogers; Program Chair Jenny Huang; Field Trip Coordinators Robert Mark and Evelyn Billo; and the many volunteers from our membership and the Flagstaff area. We are pleased to acknowledge the hard work and contributions of the following individuals:

ARARA 2019 Conference ProgramNorthern Arizona University

Flagstaff, ArizonaPre-Conference Activities – Thursday, June 13, 2019

9:00 a.m. - 5:00 p.m. Board of Directors Meeting – SBS Castro Building, Room #233Noon - 7:00 p.m. Conference Registration – SBS Castro Building Foyer Area near Room #1105:00 - 6:00 p.m. Field Trip Orientation for all Participants – SBS Castro Building, Room #210

Friday, June 14, 20196:30 a.m. Dining Area Opens for Breakfast, Box Lunch Pickup – DuBois South Union Building, Main

Level7:30 a.m. Field Trip Troubleshooting near Box Lunch Pickup in Dining Area – DuBois South Union

Building, Main LevelAll Day Field Trips – Meeting times and places were announced at Thursday meeting1:00 - 5:00 p.m. Conference Registration – SBS Castro Building Foyer Area near Room #1105:30 - 8:30 p.m. Vendor Room Setup – DuBois South Union Building, Rooms A and B5:30 - 8:30 p.m. Auction Items may be taken to the Auction Table in the Auction Room – DuBois Ballroom

Room B5:00 - 8:30 p.m. Reception – Hopi Musician and Storyteller Ed Kabotie. Light hors d’oeuvres and

entertainment – SBS Castro Building, Room #110 Auditorium and Foyer Area8:30 - 9:00 p.m. Presenter Meeting and Delivery of PowerPoint files to the A/V Coordinator – SBS Castro

Building, Room #233

Saturday Morning, June 15, 20196:30 - 8:00 a.m. Vendor Room Setup – DuBois Ballroom Room A6:30 - 8:00 a.m. Posters Setup – DuBois Ballroom between Rooms A and B6:30 - 8:00 a.m. Auction Items to be delivered to the Auction Table in the Auction Room – DuBois Ballroom

Room B7:30 - 8:30 a.m. Publication Committee Meeting – Dubois Center, Aspen B Room7:30 - 8:30 a.m. Conservation Committee Meeting – Dubois Center, Aspen C Room8:00 a.m. - 5:00 p.m. Conference Registration – DuBois South Union Building, Ballroom8:00 - 9:00 a.m. Vendor Room Open (also open during breaks, lunch, and until 5:40 p.m.) – DuBois Ballroom

Room A8:00 a.m. Silent Auction Begins – DuBois Ballroom Room B8:00 - 9:00 a.m. Delivery of Remaining PowerPoint files to the A/V Coordinator – DuBois South Union

Building, Ballroom9:00 - 10:00 a.m. Conference Welcome and Opening Presentations – DuBois South Union Building, Ballroom Welcome and Announcements – Ann Brierty, ARARA President

9:05 - 9:15 a.m. Blessing – Ora Marek-Martinez, Ph.D. Diné | Nez Perce | Hopi – Executive Director, NAU Native American Cultural Center

9:15 - 10:00 a.m. Keynote Presentation: Grand Canyon Archaic: An Exploration Scott Thybony (Writer, Anthropologist, Explorer)

4 Conference Program June 14 –17, 2019Note: All Sessions will be held in the DuBois South Union Building Ballroom

Conference Moderator: Jenny Huang

10:00 - 10:40 a.m. Session 1 – New Discoveries Rock Art in the Permian Basin, New Mexico – Lawrence Loendorf (Sacred Sites Research, Inc.)

The paintings of the Red Rock Shelter—An example of rock art of the Sonora Central Coast/Las pinturas del Abrigo Roca Roja—Un ejemplo de la gráfica rupestre de la Costa Central de Sonora – César Quijada (Instituto Nacional de Antropología e Historia, Centro INAH Sonora).

10:40 - 11:00 a.m. BREAK – light snacks/beverages Vendor Room Open – DuBois Ballroom Room A Posters Viewing – DuBois Ballroom between Rooms A and B. See Posters list on page 6

11:00 a.m. - Noon Session 2 – Communication of and About Rock Art Hoofprints and Footprints—The Grammar of Biographic Rock Art – David A. Kaiser and

James D. Keyser (Oregon Archaeological Society)

A Sociological, Media, and Semiotic Analysis of Rock Art in the American Southwest as a Form of Media Communication – Timothy Hoxha (University of Calgary)

“Your Guess is as Good as Any”: Rock Art, Public Interpretation, and Ownership –Richard Rogers (Northern Arizona University)

Noon - 1:20 p.m. LUNCH

Vendor Room Open – DuBois Ballroom Room ANoon - 1:00 p.m. Education Committee Meeting – Dubois Center, Aspen B Room Archives Committee Meeting – Dubois Center, Aspen C Room

Saturday Afternoon, June 15, 20191:20 - 2:40 p.m. Session 3 – Focus on Motif I Don’t See Sheep! – Kevin Conti and Maria Ortiz Martinez (ARARA)

The Case for Bison antiquus at the Upper Sand Island Paleocomplex near Bluff, Utah – Ekkehart Malotki (Northern Arizona University)

Samsal: A Bison-form Petroglyph Boulder near the Sweet Grass Hills, Montana – Cynthia Sturm and James D. Keyser (Oregon Archaeological Society)

Contested Versions of the Past: Further Investigations of the Labyrinth Glyphs in the American Southwest – Kirk Astroth (University of Arizona)

2:40 - 3:10 p.m. BREAK – light snacks/beverages Vendor Room Open – DuBois Ballroom Room A Posters Viewing – DuBois Ballroom between Rooms A and B.

3:10 - 4:40 p.m. Session 4 – Taking Another Look New Life for Old Images – John Meredith (Museum of Northern Arizona)

A Reexamination of Two Pictograph Sites in Southwestern Maine – Peter Anick (Brandeis University)

A Leviathan in the Desert – Jon Harman (DStretch.com)

Update: Geoglyphs Along the Colorado—Then & Now – Richard Colman (California Rock Art Foundation)

5June 14 –17, 2019Conference Program Reclaiming Connections: Ethnography, Archaeology, and Images on Stone in the

Southwestern United States – Kelley Hays-Gilpin (Northern Arizona University) and Dennis Gilpin (PaleoWest Archaeology)

4:40 - 5:40 p.m. Vendor Room Open – DuBois Ballroom Room A Posters Viewing – DuBois Ballroom between Rooms A and B6:00 - 8:00 p.m. LIVE AUCTION and No-Host Cash Bar with light hors d’oeuvres – 1899 Bar and Grill at

307 W. Dupont Ave, Flagstaff, AZ 86001. North campus with free event parking.

Sunday Morning, June 16, 20197:30 - 8:30 a.m. Website Committee Meeting – Dubois Center, Aspen B Room8:00 a.m. - Noon Conference Registration – DuBois South Union Building, Ballroom8:30 - 10:00 a.m. BUSINESS MEETING – DuBois South Union Building, Ballroom10:00 - 10:15 a.m. BREAK – light snacks/beverages Vendor Room Open – DuBois Ballroom Room A Silent Auction Closes – DuBois Ballroom Room B Posters Viewing – DuBois Ballroom between Rooms A and B10:15 - 11:00 a.m. Keynote Presentation: Cultural Connections: Landscapes, Artifacts, and

Native American Identity. Jason Nez (Independent Diné Archaeologist with 14 years of experience in Northern Arizona)

11:00 a.m. - Noon Session 5 – Qualitative Analyses The Spark that Lit a Fire: The Impact of a Rock Art Organization on a Young Professional

– Nicole Lohman (Bureau of Land Management)

Rock Art as a Reflection of the Human Mind – Steven Waller (Rock Art Acoustics)

Walking, Listening, Wondering—Surveying and Documenting Rock Art in The Bear’s Ears National Monument – Janet Lever-Wood (Friends of Cedar Mesa)

Noon - 1:20 p.m. LUNCH

Vendor Room Open – DuBois Ballroom Room A Make Silent Auction Winning Bid Payments and Pick up items at Auction Table in Auction

Room – DuBois Ballroom Room B

Sunday Afternoon, June 16, 20191:20 - 2:35 p.m. Session 6 – Quantitative Analyses A Cryptic Carved Head in the Santa Cruz Mountains: Implications of ICP-MS Results –

Chester Liwosz (Independent Researcher)

XRF Analysis of Prehistoric Rock Art Pigments and a Potential Ochre Source in Lincoln County, Nevada – Michael Ligman and Tina Hart (Logan Simpson)

Traveling Through Time: The Shamans Panel in 9 Mile Canyon – David Sucec (BCS Project)

Who Shot the Deer? Elemental Analysis at the Meyers Springs Pictograph Site – Karen Steelman (Shumla Archaeological Center)

2:35 - 3:00 p.m. BREAK – light snacks/beverages Vendor Room Open (Vendor Room closes at the end of this break) – DuBois Ballroom Room A Posters to be Taken Down– DuBois Ballroom between Rooms A and B

6 Conference Program June 14 –17, 20193:00 - 4:40 p.m. Session 7 – Identifying Change Through Time Using Statistical Analysis to Explore Differences within the Dinwoody Petroglyph Style –

Alice Tratebas (Bureau of Land Management)

Rock Art of Dinetah: Stories of Heroes and Healing – Richard Jenkinson (Independent Researcher)

The Color Red from Our Prehistoric Hunter Gatherer Ancestors to 21st Century Symbolism – Elanie Moore (Citrus College)

Does the Complexity of Anthropomorphs Reflect Changes in Culture at Cocoraque Butte, Arizona? – Janine Hernbrode (Arizona Archaeological and Historical Society)

Rock Writings: Hopi Messages from the Past – Leigh Kuwanwisiwma (Hopi Cultural Preservation Office [retired])

5:00 - 6:30 p.m. Ballroom Transformation for Banquet (NAU employees only)Sunday Evening, June 16, 2019

6:30 p.m. BANQUET – DuBois South Union Building, Ballroom Banquet Speaker – Peter Pilles: The Rock Art of Coconino National Forest, Arizona

AwardsMonday, June 17, 2019

6:30 a.m. Dining Area Opens for Breakfast, Box Lunch Pickup – DuBois South Union Building, Main Level

7:30 a.m. Field Trip Troubleshooting near Box Lunch Pickup in Dining Area – DuBois South Union Building, Main Level

All Day Field Trips – Meeting times and places were announced at Thursday meeting

Posters Breaching the Dam: Collections Management of the Adobe Dam Project Archival

Collection at Arizona State University – Emily Hedges and Melissa Powell (Arizona State University)

The Chaco Rock Art Reassessment Project: Then, Now, and the Future – Jane Kolber, Scott Seibel, and Jennifer Huang (Chaco Rock Art Reassessment Project)

Starlight and Colorful Songs: Iconography and Landscape on the Margins of the Great Basin and Colorado Desert – Chester Liwosz (Independent Researcher)

Experimental Timelapse Documentation of Archaeoastronomical Sites – David Purcell (Museum of Northern Arizona)

Youngs Canyon Petroglyphs and the Northern Sinagua “Style” – Richard Rogers (Northern Arizona University)

Our 2019 Conference Logo is based on one of 125 Northern Sinagua petroglyph panels found at the Picture Canyon Natural and Cultural Preserve in Flagstaff. Harold S. Colton, founder of the Museum of Northern Arizona, researched these petroglyphs during the 1920s. They became a prototype for his definition of Sinagua Style rock art. This site is on the National Register of Historic Places.

7June 14 –17, 2019Conference Program

ARARA 2019 Conference AbstractsSorted Alphabetically by Senior Author

Peter Anick. Brandeis University.A Reexamination of Two Pictograph Sites in Southwestern Maine. (Regular Paper)Very few pictograph sites are known to exist in the northeast United States, but two lakeside locations with red ochre figures have been documented within thirty miles of each other in southwestern Maine. In the mid 1990’s, they were surveyed and dating was attempted as part of the nomination of Maine’s rock art venues to the National Register of Historic Places. With the benefit of DStretch and the growing body of photographs from Canadian rock art sites online, I reexamine Maine’s murals, which contain anthropomorphic, geometric, and amorphous images. I compare and contrast their imagery and context with pictographs and petroglyphs of the Canadian Shield and New England.

Kirk Astroth. University of Arizona.Contested Versions of the Past: Further Investigations of the Labyrinth Glyphs in the American Southwest. (Regular Paper)In their research into Indigenous oral history and archaeology, Beck and Somerville suggest five ways in which these disciplines can converse to create narratives of the past. When Western perspectives discount Native oral history, the result can be co-opting or contradictory conversations. When both views achieve parity, the result can be intersecting, parallel or complimentary conversations between disciplines. This framework provides a useful approach into the origin and meaning of the labyrinth glyphs in the American Southwest. While this image is rather old and is found all over Europe, it appears in only a few locations in Arizona. Hopi informants provide several explanations. One version is that this image was carved into the plaster at Casa Grande Ruin by the Bow Clan, the last to emerge from Palatkwapi, and it is said to represent their emergence to the 4th Way of Life. It depicts the complicated paths of migration. Another version suggests that this image is called “towi’nakvi’tata” which may mean Corn Stack Earrings. Another Hopi name given to the labyrinth is Tapu’a (Mother and Child). Waters sgguests this image represents emergence. Fewkes was familiar with a children’s game that employed a similar figure traced in the sand. The Pima, he said, call the figure Tcuhuki, ‘House of Tcuhu,’ a cultus hero sometimes identified with Moctezuma.” Colton also suggested that the imaged is related to the mythical Pima figure, Tcuoho (the Gopher) who led the Pima clans from the underworld by digging a spiral hole. Colton further relates that Hopi elders called the design the “House of Manchito,” who was the legendary founder of Oraibi. My research into the origins and meaning of the labyrinth glyph has continued to evolve, and I will share the latest results informed by Native perspectives.

Richard Colman. California Rock Art Foundation.Update: Geoglyphs along the Colorado—Then & Now. (Report)Over 40 years, archaeologist Jay von Werlhof and pilot Harry Casey cruised along the Colorado River, looking for geoglyphs (“earthen art”). Through a hole cut in the floor of Harry’s 1946 Piper Cub, they took thousands of film photographs. In 2013, the Imperial Valley Desert Museum in Ocotillo started archiving these photographs, resulting in 4,600 digital scans. In 2016 we started flying unmanned drones to photograph sites from new vantage points, documenting more inaccessible rock art sites from new angles. We extended this technology in 2018 to image 18 geoglyph sites within the Colorado River Basin, the Gila River, and in La Rumorosa within southern San Diego county and Northern Baja California, with important comparisons to older images from the Casey Archive. Now, we are extending this work to other light spectra and other locales. Infrared imaging reveals interesting details previ-ously overlooked. Flights near UK geoglyphs and ground figures suggest different interpretations.

Kevin Conti and Maria Ortiz Martinez. ARARA members.I Don’t See Sheep! (Regular Paper)This paper describes a little-known rock art motif found within the Indian Creek corridor of Southeastern Utah. Faintly abraded images of big horn sheep, often life size, are depicted on sandstone walls. The images in most cases are extremely difficult to discern, many are nearly invisible and go undetected unless viewed in low light conditions and or with digital enhancement. The primary objective of this project is to document all panels where the motif is represented particularly those that are in conflict with rock climbing. We describe the motif and investigate panels with superimpositions in order to establish relative dating. Our analysis will show that the motif has a long temporal span, with evidence suggesting a tradition of great antiquity.

Jon Harman. DStretch.com.A Leviathan in the Desert. (Regular Paper)Deep in a nearly impenetrable canyon of the Sierra de Guadalupe in Baja California Sur there is a rockshelter (called Toños after its discoverer) amazingly painted with images of humans, animals, and sea creatures. Floating above all these images is a huge whale—an orca! The paintings are within the Great Mural tradition but faded with age so that some are nearly invisible. I will use DStretch to make the fantastic images found here visible. The life-sized image (in red) of the orca is superimposed on older yellow paintings that are similar to ones found in San Borjitas and other rockshelters in the Sierra de Guadalupe. The superimpositions in

8 Conference Program June 14 –17, 2019San Borjitas indicate that the yellow figures are among the oldest Great Mural images. All typical Great Mural forms are present: anthropomorphs, deer, bighorn sheep, birds, mountain lions, turtles, fish, and the enigmatic octopus/ceremonial baton. Also pres-ent are smaller, cruder images presumably done by children learning Great Mural art. Such images are found at most Great Mural sites. Theories about Great Mural art (i.e., shamanism) need to consider this family aspect of the art.

Kelley Hays-Gilpin (Northern Arizona University) and Dennis Gilpin (PaleoWest Archaeology)Reclaiming Connections: Ethnography, Archaeology, and Images on Stone in the Southwestern United States. (Regular Paper)The history of rock art research in the Southwestern United States spans less than two centuries. In this time, relationships have changed between researchers, who are mostly non-Native, and Native Americans, whose ancestors made most of what archaeologists call rock art. Some of the changes have been cyclical rather than linear in that researchers sometimes have listened to what Native people have to say about rock art, and sometimes they have excluded Native voices. Todd Bostwick has already published a thorough review of Southwest rock art research, and we have drawn on his chapter here. We also look to a review of North American rock art research theoretical frameworks by Julie Francis. We focus on relationships between researchers and Native people in our brief overview.

Emily Hedges and Melissa Powell. Arizona State University.Breaching the Dam: Collections Management of the Adobe Dam Project Archival Collection at Arizona State University.

(Poster)The Adobe Dam Project was conducted as part of a cultural resources mitigation project that created the Deer Valley Petroglyph Preserve in Phoenix, Arizona. A collection of archival materials from the project is housed at Arizona State University’s Center for Archaeology and Society Repository. Materials in the collection were collected by Dr. J. Simon Bruder, lead archaeologist of the Adobe Dam Project. The collection was accessioned from Deer Valley in 2002 and had not been fully inventoried or organized, therefore it was of little use to researchers. A collections management project was designed to make the collection materials more accessible, in response to the expressed need for petroglyph research and education materials by Arizona State University’s anthro-pology, archaeology, and museum studies departments. The collections management project aimed to 1) inventory and document the collection, 2) evaluate housing and rehouse, 3) assess the educational and research value of the collection, and 4) make the col-lection more accessible for future petroglyph research via digitization. The project steps included inventory, documentation, subject research, digitization, labeling, rehousing, and educational assessment of the materials in the collection. One major finding of the project was that the collection includes documents and reports regarding petroglyph studies that were previously unavailable to researchers. These documents were determined to have high value for petroglyph research and education. The project deliverables include a collection inventory, finding aid, labeling system, archival care instructions, recommendations for future preservation, and digitization of collection materials. These processes resulted in the collection’s petroglyph information and research materials being accessible for researchers and educators. The digitization of collection materials is also expected to enhance research use and ensure the collection will be preserved for future research.

Janine Hernbrode. Arizona Archaeological and Historical Society.Does the Complexity of Anthropomorphs Reflect Changes in Culture at Cocoraque Butte, Arizona? (Regular Paper)Archaeological work in Southern Arizona details that the ancient native people changed their residential architecture, their mor-tuary treatments, their rate of producing petroglyphs, their agricultural cooperation, and their social connections dramatically during the Hohokam millennium (A.D.450-1450). Additionally, they changed in transition from Early Agriculture to Hohokam and from Classic Hohokam to O’odham. The more than 11,000 petroglyphs at the Cocoraque Butte Complex spans all of these transitions including the rapid change periods that have been characterized as upheaval and conflict. With anthropomorphic forms at the Cocoraque Butte Complex being consistent through time (Hernbrode 2019), is the upheaval evident in the complexity or embellishment of anthropomorphs, either to acknowledge a charismatic leader or as a result of the growing complexity, coopera-tion and conflict caused by the societal changes? An analysis of the 1067 anthropomorphs at the Cocoraque Ranch portion of the site scored the number of embellishments to the basic form in three levels of repatination from the darkest most repatinated to the brightest least repatinated. This paper discusses the amount of change in anthropomorphic embellishment evident over time and the implications of that change.

Timothy Hoxha. University of Calgary.A Sociological, Media, and Semiotic Analysis of Rock Art in the American Southwest as a Form of Media Communica-

tion. (Regular Paper)The production of each rock art panel requires a sizable financial, physical and social cost for ancient people in terms of time, labor and technology. The development, production and post-production processes, including scaffolding, planning, material sourcing and manufacturing, education and technical expertise, and access to resources, each presented challenges that tribal leaders would need to address within their populations. Given the physical design requirements of visual communication systems, rock art and contemporary media share similar organizational structures, production steps, and communication codes for associating semiotic meaning with images. This paper will draw on sociological, media, and semiotic theory to analyze how rock art in the American

9June 14 –17, 2019Conference ProgramSouthwest, specifically Barrier Canyon and Fremont styles, served as a primitive media device. It will uncover the functional simi-larities between rock art and contemporary media. Further, it will decode four key media functions of rock art, including methods by which rock art 1) showcased leadership and governance through the circulation and control of information; 2) served as a di-versified media tool to instruct populations and interpret the world around them; 3) cultivated tribal thinking and urban planning and defined political and societal roles, the use of natural resources and interactions between people, their environment and other tribes; and 4) demonstrated technological development and civil engineering as markers of social power and advancement. In all, this paper will unearth how rock art can be identified as a multifunctional media tool, historical marker, and stylistic trend that niched ancient peoples on the historical and geospatial timeline of global civilization.

Richard Jenkinson. Utah Rock Art Research Association.Rock Art of Dinetah: Stories of Heroes and Healing. (Regular Paper)The Navajo rock art of the Largo Canyon area was made recently enough that ethnography can aid in identification of much of the artwork. This presentation will look at this Navajo rock art in relation to Navajo mythology and ceremonies. Even today, Navajos would immediately associate many of these rock art images with particular characters and stories in their mythology. I will delineate these connections and tell a few stories along the way.

David A. Kaiser and James D. Keyser. Oregon Archaeological Society.Hoofprints and Footprints—The Grammar of Biographic Rock Art. (Regular Paper)Biographic art occurs across the Plains of North America, stretching from Canada to Mexico. Tribes from different linguistic groups used and understood this writing system to sing the praises of a warrior’s actions and taunt the enemy. Using rock art, robe art, and ledger drawings, researchers over the last half-century have rediscovered the lexicon of this narrative art tradition. With a vocabu-lary of objects and actions, as well as artistic conventions, Biographic rock art is a largely decipherable writing system. We can still “read” the actions of warriors from long ago. Beyond the vocabulary, we examine the artistic perspectives used and the structure of the narratives that aid in the understanding of Biographic rock art.

Leigh Kuwanwisiwma. Hopi Cultural Preservation Office (retired).Rock Writings: Hopi Messages from the Past. (Regular Paper)

Jane Kolber, Scott Seibel, and Jennifer Huang. Chaco Rock Art Reassessment Project.The Chaco Rock Art Reassessment Project: Then, Now, and the Future. (Poster)Col. James Bain led New Mexico Rock Art Recording Field Schools in Chaco National Monument from 1975-1981, developing documentation methods suitable to the conditions in the canyon. Years later, former field school participants revisited Chaco Cul-ture National Historical Park and realized the field school had barely scratched the surface of rock-art documentation there. They created the Chaco Rock-Art Reassessment Project (CRARP), which began in 1996 and still continues the systematic documenta-tion of the tens of thousands of pecked, painted, incised, scratched, and drilled rock-art elements that are integral to understanding the canyon’s past. This poster presents information about the project’s origins, the work that has been accomplished, and plans for continuing documentation.

Janet Lever-Wood. Friends of Cedar Mesa.Walking, Listening, Wondering: Surveying and Documenting Rock Art in the Bear’s Ears National Monument.

(Regular Paper)Thirty years of looking for rock art, learning about culture and context—now it’s time to reflect on a more reciprocal way of ap-proaching rock art sites. Year two of survey and documentation in the troubled territory of the Bear’s Ears National Monument has even more importance this year as we consider the richness of prehistoric Basketmaker culture, the power of the landscape, and the stories that are still being told by indigenous peoples. As a potter/sculptor and occasional poet, I hope to bring an honest and acute observational approach along with images that are appropriate to share. I am interested in materials, process, and interrelationships between people and place, now and then.

Michael Ligman and Tina Hart. Logan Simpson.XRF Analysis of Prehistoric Rock Art Pigments and a Potential Ochre Source in Lincoln County, Nevada. (Regular Paper)Portable X-ray fluorescence (pXRF) has been used to identify the geochemical source of lithic materials across North America, but comparatively few studies have applied pXRF to compositional and geochemical sourcing studies of rock art pigments. Logan Simpson conducted in situ analyses using non-invasive pXRF to analyze the elemental composition of prehistoric pigments at rock art sites across Lincoln County, Nevada. The work was conducted as part of continuing research funded by the BLM Lincoln County Archaeological Initiative program. Standardized pXRF analysis methods were developed in 2017 and these were applied to nine sites. These methods were refined and applied to additional rock art sites and a potential ochre pigment source area during 2018–2019. Samples were collected from an ochre mining area in Lincoln County and pXRF analyses of these samples studied the relationship between rock art sites and this potential pigment source. The methods and results of the 2018–2019 studies are presented here. The

10 Conference Program June 14 –17, 2019preliminary results from these new analyses will help to further evaluate the potential of this pXRF analysis to identify the minerals used in pigments; differentiate between pigment types; and detect the work of different artists, painting events, and re-touch episodes.

Chester Liwosz. Independent Researcher.A Cryptic Carved Head in the Santa Cruz Mountains: Implications of ICP-MS Results. (Report)In the mountains of Santa Cruz County, California, a larger-than-life carved sandstone head overlooks towering redwoods, breath-taking peaks, and a steep river valley below. Traces of red pigment on the lips and mouth of this enigmatic sculpture seem to speak of its origins. Surrounding outcrops feature a long and mixed sequence of material culture, from Precontact bedrock mortars to American Period mining and logging features, to modern graffiti and debris. In order to better estimate the appropriate origin period and significance of this sculpture, a small sample of the pigment was tested in a controlled experiment using inductively coupled plasma mass spectrometry (ICP-MS) to ascertain its chemical composition. These results are discussed in terms of available pig-ments in the area, and commercially available control samples. In addition to the pigments, a 3D virtual model of the rock carving enables a nuanced investigation of its surface and the likely carving techniques employed.

Chester Liwosz. Independent Researcher.Starlight and Colorful Songs: Iconography and Landscape on the Margins of the Great Basin and Colorado Desert. (Poster)Recent and ongoing rock art studies in the broad vicinity of Death Valley, California are improving understandings of the economic and ideological connections between Great Basin Numic peoples, and their neighbors along the Colorado River and its tributaries. Recent data from non-invasive field investigations and actualistic experiments, when combined with archival research, demonstrates rock art’s efficacy as an index of the movements of materials and ideas. Emergent and innovative methods that are fast becoming integrated with rock art studies are employed to provide new opportunities to infer relationships between repeated image themes, ritual technologies, and the flow of socially significant materials. Virtualized environments are employed to bridge between land-scape and microcartographic scales, with concrete examples illustrating the analytic potential of preserving 3D spatial relationships between elements and panels in digital datasets. Interpretations presented in this study are bolstered by aboriginal oral traditions in addition to concrete archaeological information. A number of previously identified and unidentified motifs are depicted here, with illustrations of relevant ethnographic and cartographic details. This study concludes that themes demonstrative of the Numic Naraya music tradition share strong roots with the pan-Uto-Aztecan Flower World Complex. Wide-reaching implications will be relevant to the greater American Southwest.

Lawrence Loendorf. Sacred Sites Research, Inc.Rock Art in the Permian Basin, New Mexico. (Regular Paper)Sacred Sites Research, Inc. and Versar, Inc., working in cooperation with the Mescalero Apache Tribe and the Hopi Tribe, recorded and evaluated 17 rock art sites in New Mexico’s Permian Basin, a project supported through the Bureau of Land Management programmatic agreement with the New Mexico State Historic Preservation Office. Sixteen of the sites contain paintings, mostly in shades of red, but some with yellow, black, and white figures. One petroglyph site is unusual because it is away from mountains on a flat surface where the figures face up toward the sky. The sites contain images that range from the Archaic through the Historic periods. An especially important site has 30 panels with a range of ages, including several horses and riders. Overall the sites add to the knowledge about rock art in the Guadalupe Mountain-Permian Basin region.

Nicole Lohman. Bureau of Land Management.The Spark that Lit a Fire: The Impact of a Rock Art Organization on a Young Professional. (Regular Paper)Engaging the next generation of rock art enthusiasts and professionals poses a unique challenge to rock art societies. Younger gen-erations may be interested in rock art and documentation methods but unsure of how and where to learn such skills, as universities rarely provide instruction on rock art documentation. This paper will discuss how a chance encounter with a rock art society influ-enced the author’s graduate research and career and the implications of that encounter. The lessons learned from the experiences of the author with the Utah Rock Art Research Association will then be extrapolated into a strategy for enhancing rock art societies outreach to younger generations.

Ekkehart Malotki. Northern Arizona University.The Case for Bison antiquus at the Upper Sand Island Paleocomplex near Bluff, Utah. (Regular Paper)The San Juan River corridor between the town of Bluff and Butler Wash is an “archaeological frontier” extraordinaire whose great appeal to a succession of native peoples, whether seasonal or longer-term inhabitants, is most visibly evident in the many thousands of rock markings on the cliff sides that border both sides of the river. Among the numerous panels that make up this impressive rock art theater is a Paleoindian complex at Upper Sand Island that features two Columbian mammoth engravings, M1 and M2. M1 is overlain by a bison glyph that I propose is an Ancient bison (Bison antiquus). One investigator, however, critical of the identification of the proboscidean images, considers the bison depiction the work of historic Ute Indians, thereby suggesting that it represents an American bison (Bison bison), popularly known as buffalo. Based on such factors as iconographic context, general morphology,

11June 14 –17, 2019Conference Programgrooving depth, degree of repatination and weathering, the case for historic Ute origin is easily rejected when comparing the Upper Sand Island bison with dozens of other bison images, both painted and engraved, from the Four Corners States of Utah, Colorado, New Mexico, and Arizona.

John Meredith. Museum of Northern Arizona Research Associate.New Life for Old Images. (Report)In 2013 the Museum of Northern Arizona received a donation from the Widdison family of more than 23,500 slides, 6,000 photographs, and 1,500 pieces of paper documentation for rock art sites throughout the greater Southwest. Since then MNA has been working to transform the collection into one that can be useful to both researchers and the general public. The report will offer a brief overview of the collection’s contents and of the many issues that have needed to be addressed in order to docu-ment and curate the images as well as prepare them for general access. Happily, almost six years after receiving the collection, researchers and general audiences will soon be able to take advantage of the materials.

Elanie Moore. Citrus College (retired).The Color Red from Our Prehistoric Hunter Gatherer Ancestors to 21st Century Symbolism. (Regular Paper)The cave paintings of Baja California, Mexico, dating from c. 5000 yrs. B.P., exemplify the hunter-gatherer mind set toward their painters’ use of color, specifically red. One of my Native American College Color Theory students asked one day, “Where do colors come from?” He did not want a scientific answer. What he wanted sent me on a fascinating adventure, discovering the multifaceted gems of creativity and knowledge preserved in ethnography, folklore, and mythology of our combined European/American and Native American histories, so much of which relates to the aboriginal art with which I am best acquainted: Baja California’s Cochimí cave paintings.

David Purcell. Museum of Northern Arizona.Experimental Timelapse Documentation of Archaeoastronomical Sites. (Poster)Horseshoe Mesa (WS834) in the Ancestral Puebloan Crack-in-Rock Community of Wupatki National Monument, Arizona, has three petroglyph panels that mark important solar events. To contextualize the known displays and potentially identify previously unknown interactions, timelapse cameras documented the daily appearance of two of these panels from September 2016 to March 2018. Panel 39 uses carefully placed petroglyph elements to interact with a winter season shadow and a summer season sunray. Panel 50 exhibits five distinct shadow or sunray interactions with petroglyphs, two that appear coincidental and three that are intentional. Ethnographic sources, design layout, and association with other panels are considered in evaluating how the panels were created, information they would have conveyed to contemporary viewers, and the contribution of the project to archaeoastronomical research in the Southwest.

César Quijada. Instituto Nacional de Antropología e Historia, Centro INAH Sonora.The Paintings of the Red Rock Shelter—An Example of Rock Art of the Sonora Central Coast/Las pinturas del

Abrigo Roca Roja—Un ejemplo de la gráfica rupestre de la Costa Central de Sonora. (Regular Paper)The archaeological tradition of the Sonora Central Coast includes a territory from the Guaymas Bay toward the northwest to the mouth of the San Ignacio River, near the community of Desemboque de los Seris, and a hundred kilometers inland, in its widest side. During 2016, the site was located and registered with Red Rock Shelter cave paintings, close to Kino bay, within the traditional Comca’ac (Seri) territory. This rockshelter consists of several panels where geometric figures exist, but anthropomorphic representa-tions predominate. In this work, it is suggested that these paintings are an example of the rock art previous to the Comca’ac group. La tradición arqueológica de la Costa Central de Sonora, comprende un territorio desde la bahía de Guaymas hacia el noroeste, hasta la desembocadura del río San Ignacio cercana a la comunidad del Desemboque de los Seris y un centenar de kilómetros tierra dentro, en su parte más ancha. Durante 2016, se localizó y registro el sitio con pinturas rupestres Abrigo Roca Roja, cercano a Bahía de Kino, dentro del territorio tradicional Comca´ac (seris). Este abrigo rocoso consta de varios paneles, donde existen figuras geométricas, pero predominan las representaciones antropomorfas. En este trabajo se plantea que dichas pinturas son un ejemplo de la gráfica rupestre anterior al grupo Comca´ac.

Richard Rogers. Northern Arizona University.Youngs Canyon Petroglyphs and the Northern Sinagua “Style.” (Poster)This poster presents early stages and long-term goals of a research project centered on northern Sinagua petroglyphs in four miles of Youngs Canyon. Youngs Canyon is in the northern Sinagua “heartland” near the southeastern edge of the San Francisco Volcanic Field. This section of Youngs Canyon is located within eight miles of major Sinagua sites such as Winona Village, Ridge Ruin, and Two Kivas, and immediately adjacent areas contain hundreds of northern Sinagua habitation and agricultural sites, providing contextual information of relevance to the age and affiliation of the petroglyphs. The replication of dated ceramic designs in some Youngs Canyon petroglyphs provides another means of inferring date ranges for the panels, which likely date to the PII-PIII period. The first goal of the project is to incorporate Youngs Canyon petroglyphs into existing records of major

12 Conference Program June 14 –17, 2019northern Sinagua rock art sites such as Picture Canyon, Turkey Tanks, and Lizard Man Village to re-examine and possibly revise descriptions of the northern Sinagua style. While many northern Sinagua rock art sites have been systematically recorded in recent decades, it seems there has been little systematic re-examination of the style as originally proposed by Colton in 1946 based primarily on the rock art of Picture Canyon. The second goal is to explore two possibilities for understanding rock art in the Wupatki “frontier zone” involving the Sinagua, Cohonina, and Kayenta. First, can we identify the cultural affiliation of rock art sites in this area based solely on formal characteristics? Second, can we identify affiliations between the rock art of these three archaeological cultures? The first of these questions echoes the culture-history approach while the second embraces recent understandings of cultures as fluid, dialogic, and defined by their relationships with other cultures.

Richard Rogers. Northern Arizona University.“Your Guess is as Good as Any”: Rock Art, Public Interpretation, and Ownership. (Regular Paper)This paper examines the public interpretation of rock art in the form of interpretive signs, pamphlets, and displays in visitor’s centers and museums. In the western US, a common pattern in interpretive materials is to posit the meaning of rock art as uncertain or unknown, followed by an invitation to visitors to develop their own interpretations. This invitation to guess is often advanced in response to a claimed or presumed lack of relevant knowledge on the part of indigenous communities and in the context of state-ments that the rock art is part of “our American heritage.” At Petroglyph National Monument, however, the public is informed that affiliated Peublos do have relevant knowledge but that the sharing of such knowledge is not appropriate. This alternative approach does not encourage visitors to guess and explicitly locates ownership of rock art in affiliated indigenous communities. Interpretive materials are developed and operate amidst multiple and at times competing exigencies and constraints, including educational, institutional, ethical, political, cultural, and epistemological factors. The public wants to know, above all, what it means. However, sometimes that knowledge doesn’t exist, sometimes the public dissemination of that knowledge is constrained, sometimes meanings may be fundamentally contested, and sometimes “meaning” isn’t the only or most relevant information to share. Perhaps unavoidably, the public interpretation of rock art involves issues of ownership and authority that complicate any simple sense of interpretation as “Here’s what we know. How can we best communicate that to the public?” This paper explores tensions involved in developing interpretive materials in terms of knowledge about the rock art, the role of affiliated tribes, issues of ownership, and the informa-tional desires of visitors. By examining examples of public interpretation, central tensions are identified as well as, tentatively, “best” and “worst” interpretive practices.

Karen Steelman. Shumla Archaeological Center.Who Shot the Deer? Elemental Analysis at the Meyers Springs Pictograph Site. (Regular Paper)Shumla Archaeological Research & Education Center visited the Meyers Springs Pictograph Site (41TE009) as part of the Alexan-dria Project to conduct baseline rock art documentation. As there are many historic era pictographs of horses, churches, crosses, and shield-bearing warriors, we were interested in the identity of the paint used by native artists during the contact period. We utilized portable X-ray fluorescence spectroscopy to non-destructively analyze the art panel in situ. As we have seen for other paintings in the Lower Pecos Canyonlands region, red paintings were primarily painted with ochers of iron mineral pigments and the few black paintings at the site were painted with manganese mineral pigments. Of note, there is an abundance of historic graffiti and numerous locations on the panel that have been damaged from bullet impacts. We were able to confirm that the black spots on the panel, even those without fracture patterns, were the result of lead bullets and shot impacting the panel. This is important for site managers who may need to confirm gunshot damage in order to obtain funding for documentation, conservation, and mitigation. This X-ray fluorescence study at Meyers Springs highlights the advantages of this non-destructive spectroscopy used in conjunction with rock art documentation.

Cynthia Sturm and James D. Keyser. Oregon Archaeological Society.Samsal: A Bison-form Petroglyph Boulder near the Sweet Grass Hills, Montana. (Regular Paper)The Samsal petroglyph boulder, located on the west flank of the Sweet Grass Hills in northern Montana, has both Hoofprint and Biographic tradition rock art. The boulder’s shape, mimicking that of a reclining bison, is the reason the initial artists carved hoofprints, faces, cupules, and humans for ritual purposes. Lines, cupules, and a shaman are carved to emphasize the boulder’s bison shape. A later artist, recognizing the boulder as sacred space, added his own war honor—a combat scene involving three warriors. This Biographic tradition scene is unique for Northern Plains petroglyph boulders, but similar to many at nearby Writing-On-Stone, in Alberta.

David Sucec. BCS Project.Traveling Through Time: The Shamans Panel in 9 Mile Canyon. (Regular Paper)At the large cluster of public rock art panels, where Daddy Canyon enters 9 Mile Canyon, is a composition of four pecked significant figures in varying degrees of repatination. This panel is known to locals as the Shamans Panel because of the skirted Fremont figure with an outsized fringed horned head dress and hands in the form of bird’s feet of three digits. The figure in the upper left of the panel appears to be the oldest and most repatinated and in the Barrier Canyon style. The Fremont figure, in the lower right, appears to be the youngest and least repatinated. The two figures in between have intermediate stages of repatination and are composed of a mix

13June 14 –17, 2019Conference Programof the two figures’ style motifs. Throughout the northern Colorado Plateau, particularly in the Escalante area, the Dirty Devil area, and here in 9 Mile Canyon, significant figures are commonly seen in a mix of the Barrier Canyon and Fremont styles and appear to support the belief of archaeologist Phil Geib, stated in Glen Canyon Revisited, that “…the term historically “related” in the sense of implying ancestry should…apply to the Barrier Canyon and Fremont styles…” The wall surface has deteriorated in places and, except for the Fremont figure, the repatinated images are difficult to make out. This presentation will parse the forms of the figures through enhancements of DStretch and over-drawing and will discuss dating and the attribution of style.

Alice Tratebas. Bureau of Land Management.Using Statistical Analysis to Explore Differences within the Dinwoody Petroglyph Style. (Regular Paper)Dinwoody petroglyphs in western Wyoming depict primarily large anthropomorphic images that represent spirit beings. Within the region of the style, the range of variability in stylistic details contributes to a feeling that the style is not fully defined or that some sites are atypical versions of the style. This preliminary analysis uses statistical techniques to help define the nature of Dinwoody petroglyphs at two sacred places important to the Shoshone. The analysis shows that these anthropomorphic images cluster into groups that appear to represent different spirit beings or spiritual concepts. The analysis of this subsample of Dinwoody petroglyphs also shows that statistical analyses can successfully identify changes through time in the style and differences in imagery between geographic locations.

Steven Waller. Rock Art Acoustics.Rock Art as a Reflection of the Human Mind. (Regular Paper)Research results from rock art sites studied in the previous year will be presented, including numerous loci at: Fish Slough (Calfornia), Little Lake (California), Canyon de Chelly (Arizona), and Valcamonica (Italy). Also presented will be a brief synopsis of presenta-tions from the 2018 IFRAO Valcamonica Congress session entitled “Archaeoacoustics for Rock Art,” organized by the author. A review of the state of the art of the field of acoustic archaeology will be given, specifically as it relates and contributes to rock art research. Further, implications of these results will be discussed relative to understanding the workings of the human mind—of both the ancient artists who produced rock art, and the modern scholars who study it.

Thank you!We wholeheartedly thank our field trip leaders, their assistants, and private landowners:

Brantley Baird, Pam and Quent Baker, Marglyph Berrier, Evelyn Billo, Peter Blystone, Ellen Brennen, Darlene Brinkerhoff, David Daniel, Betsy and Brian Donehoo, Evelyn Fredericks, Marilyn Fredericks,

Walter Gosart, Jim Graceffa, Karen Hanks, Kelley Hays-Gilpin, Jeffers family, Chuck LaRue, Gary Lentz, Jay Lincoln, Dave Manley, Connie Massingale, John Meredith, Bernie Molaskey,

Mike O’Dell, Peter Pilles, John Pitts, David Purcell, Rick Reuss, Richard Rogers, Dennis and Sky Roshay, Robert Schroeder, Troy Scotter, Scott Seibel, Jerry Snow, Karen Steelman, Connie Stone, John Tatham,

Scott Thybony, Steve Waller, Neil Weintraub, Tom Woodall, Ken Zoll, entertainer and storyteller Ed Kabotie,

and others who have helped and will be helping while at the Conference. Great team!