IN TOUCH WITH THE MIMBRES, MOGOLLON, SALADO PROBLEM IN MULE CREEK NEW MEXICO, SOUTHWEST ARCHAEOLOGY FIELD SCHOOL PROBES FOR ANSWERS

The peopling of the South West is a story best told by pottery. Ceramic pottery can tell archaeologist what they ate, where it was made, who made it and with whom the owner traded or aligned with…in a sense what was important to that culture and how successful or influential the culture was, how long it survived, and finally where did they go. But until tree ring dates, the chronology of all the ruins of the southwest, was a mystery until one afternoon when two pieces of charcoal crystalized everything that was known about the prehistory of the South West. In the one hundred years since man began probing the earth beneath their feet looking for secrets from the past much has been learned revealing to archaeologist how little they know or understand about early residents.  So new strategies have evolved aided by the quick fresh minds of the next generation of archaeologist, new software that peels back the past, reveals pigment lost by time, using the sum knowledge from the past to build on future studies by incorporating all the data from all the earlier digs, aided by data from neighboring or regional sites. But more importantly, these new-age archaeologist, are tearing down fences that have long existed in the Cliff Valley and getting a first hand look at the prehistoric cultures that once called southwestern New Mexico home.

The 2015 Preservation Archaeology Field School staff is a combination of a lot of talent from Archaeology Southwest, Desert Archaeology, ASU and University of Arizona to structure a learning experience for a group of fourteen students who signed up for this opportunity to learn the general field and team work and the lab techniques necessary to extract science and knowledge from the soil.

Students are exposed to the principles of preservation archaeology, acquire the basic skills of excavation and survey, develop working strategies and write notes and reports that apply the logic of archaeological thinking to fieldwork, laboratory analysis, and applying the data we gather to answering anthropological questions. Finally think critically of issues about archaeological ethics.

As prehistoric man moved about he enjoyed a nomadic lifestyle of visiting old haunts places where they might have dropped some seed but most usually had luck hunting or gathering seasonal fruit. As more migrants entered the area, the nomadic Mogollon hunter found himself being crowded out and his old haunts now taken by the Anasazi fleeing their homes south east of Mesa Verde and looking for places to farm and live in safety. Local nomads soon were forced to stay at home and watch the crops.

The Mogollon and the Anasazi Material Cultures merge and disappear as the two groups diverge. Some Archaeologist believe the Kayenta Anasazi was traveling light, carrying what they could, leaving most of their culture behind. The nomadic Mogollon become seditary farmers, adopting some of the practices of their new neighbors, and soon they look pretty much alike. Except for ceramics! Archaeologist believe the Kayenta maintained contact with folks back home, perhaps opening trade connections with folks back home but meanwhile looping in the new immigrants settlements and establishing a trade network. When the bottom dropped out of the Colorado Plateau and everyone started looking for someplace wetter, the Kayenta knew where to go and who to stay with. They thought!
Rough corrugated ceramic pots are a clay signature for the Kayenta Anasazi and corrugated pottery left a trail from the Arizona Strip with some eventually reaching the Rio Grande and more was found south into Arizona Rim Country, visiting Mogollon Pueblos like Kinishba, Grasshopper Pueblo, Point-of-Pines, Cline Terrace. The Kayenta would build fortified hilltops above the floodplain along the Gila and San Pedro Rivers. Many of these sites are linked by signal towers to quickly communicate up and down the stream. The black and white pottery found at Salado sites suggests to some Archaeologist that the Kayenta continued to trade north to south until the end. But then Salado appears and everything changes. Four different archaeologist saw “Salado” arrive in different areas of the South West, but Harold Galdwin of Gila Pueblo received the credit for defining the Salado Culture but 85 years later we still disagree on much.

Agreement seems to be centering on Salado as a religion characterized by a distinct polychrome pottery and adobe compounds. The Salado message centered on fertility and cooperation, instead of honoring elite rulers, and some archaeologist have called it the first feminist movement, because in the day it was believed women did the most potting of clay and saved the South West from self destructing by intervening and preaching peace and working together. Others say shaman wheeled great power by producing the Mimbres Pottery characterized by “kill holes” which released the soul of the potter from the pot after his death.
The pottery design adapted reflected Mesoamerican imagery and changed in time but
researchers believe folks began thinking of themselves as Hohokam Salado or Kayenta Salado.

The Archaeology Southwest Preservation Field School in it’s 5th season is an important component of our Upper Gila research, writes Karen Schollmeyer. “The results of this work contributes to Archaeology Southwest’s research on the formation and dissolution of late prehistoric communities. Dinwiddie’s occupation in the 1300s occurred during a period of substantial changes in the Southwest. Centuries earlier, large Classic Mimbres period villages were inhabited throughout the area. Around 1130, residents left these villages, and local populations remained small and scattered for the next 150-200 years. In the 1300s, large villages again began to form in the area. While people in the Upper Gila area were aggregated in large communities in the late 1300s, much of the rest of the southern Southwest was experiencing population decline. Our research examines the effects of the 14th century influx of residents to the Upper Gila. How did migrants from diverse cultural groups form cohesive villages? How did they structure social relationships with existing communities in their new home? How were social and natural resources affected by the long-term patterns of human population aggregation, dispersal, and re-aggregation? Our research at Dinwiddie will provide insights into these questions.”

Will Russell, one of ASU’s ceramics experts, oversees the trowel work and lectures the students crawling in the dirt “to move

from what you know to what you don’t”.  Emphasizing the feel of the trowel and how it changes as it moves through the fill. “You can kinda feel these powdery, sugar forms on the floor, so you can see the visual clues…flecks of white (from the floor). You learn to read the vibrations he says. The trowel vibrates differently when hitting large particles and sounds differently–many different senses come in to play when excavating.  Time is tight for the group they are half way through the 40 day class and they still have digging to do.  Some of their time is filled with their preparation of displays for the community updates, reports, class trips to Silver City, the Gila Cliff Dwellings, Chaco Canyon, Acoma and the Zuni Pueblo. Screening is essential to separate the ceramics from the dirt and every fourth screen is window screen diameter to make sure nothing of importance is slipping through like the bones of fish and prairie dog which supplemented the prehistoric diet here in west central New Mexico.

My first morning in Mule Creek where the field school is headquartered at the Rocker Diamond X Ranch there was a morning drizzle and students scurried around before sunrise eating breakfast, brushing teeth and making lunches and preparing for their day.  Everyone has a job each day, each serves as a cog in the wheel and things happened smoothly until dinner when Mary shows up with dinner for the hungry staff, students and visitors.  Students divide up into the field crews, survey and the experiemental crew who spend the day with archaeologist Allan Denoyer who is a master flintnapper and he and his crews are putting the finishing touches on a Salado Pueblo which they have constructed during the past field seasons. Denoyer has reverse engineered the adobe pueblos the field crews are excavating at the Dinwiddie Site with hopes the students will gain a greater insight into pueblos by building one as well as digging up what remains of numerous melted room blocks.  Students learn to skin the timbers using stone axes and how to construct the roof. All knife work is from obsidian blades that slice as quick and accurately as steel.

Students are responsible for blog posts, and displays for community outreach projects which hold public meetings in the region giving archaeologist the opportunity to explain to residents what they are looking for, what they found and often those exchanges open doors to archaeology not presently known and the field school survey crew go out looking for sites people tell them about. One student turned up a ten-room pueblo which was previously unrecorded. The survey crew often camps, to allow more boots on the ground than drive time. The easy duty appears to be the field work until you see there is no shade, students on their hands and knees with metal trowels pushing back the dirt from a solid polished adobe floor.

For the past few days they have turned up almost 50 ceramic marbles of varying diameters and for whose purpose is unknown, today, they turned up a nice 3/4 groove axe head next to the unique t-shaped doorway recently unearthed.  At room one, a cry alerts us, a metate and a mano, together, intact–beautifully preserved.

A vocational archaeologist working in the 1960s and 1970s and some early work contributed important information to our knowledge of Salado archaeology. These excavations did not follow collection and reporting standards of their era, and information from these older excavations is now unavailable. Collections from these excavations were housed in private museums and everything disappeared upon their owners’ deaths, scattering collections so that they are no longer available for research. The Dinwiddie site saw several field seasons of avocational excavation, with 37 rooms in two room blocks partially excavated by Jack and Vera Mills (1972) they are thought to have taken more than a hundred pots from these rooms, some of those pots reside today in Safford, Arizona at the Museum for Eastern Arizona State.

Archaeology SouthWest’s interest in the Cliff Valley “Dinwiddie” site came as a part of the Upper Gila research, using the field school as an important component of the research, searching for the formation and dissolution of late prehistoric communities. Dinwiddie’s occupation in the 1300s came at a time of big changes in the Southwest. Centuries earlier, large Classic Mimbres period villages had inhabited throughout the area. Around 1130, those residents left these villages, and local populations remained small and scattered for the next 150-200 years. In the 1300s, large villages again began to form. People in the Upper Gila moved into large communities in the late 1300s, while much of the southern Southwest was experiencing population decline. Karen Gust Schollmeyer, believes the Dinwiddie dig will provide insights into the 14th century influx of residents to the Upper Gila. In 2008, Archaeology Southwest received a National Science Foundation grant to study the Salado phenomenon in the greater Upper Gila region of southwestern New Mexico, an area traditionally assigned to the Mogollon archaeological culture area

“The Archaeology Southwest Field School was a life changing experience. I learned more about the southwest in those 6 weeks than in my two and a half years prior exploring in Southeastern Arizona. I had just graduated from Cochise College with a degree in Anthropology and immediately attended the ASW Field School with no real experience in archaeology. I am so fortunate to be given such a great opportunity to learn. From the field trips to the guest lectures, there was never a dull moment around the camp. Even in our down time we used the skills we had learned from experimental archaeology and our guests to do assorted crafts. The research the group of students accomplished was also inspiring, and attention grabbing. Post-field school I am more interested in Archaeology than ever. I plan to use my Non-Profit Leadership and Management degree at Arizona State University to get myself and others involved in the Archaeology field.”..Joe Hall

Field school students had some unstructured time in the evenings. But most worked on their field reports, blogs and burning designs

into their wood Atlatl throwing sticks and practicing for the session-ending toss off, competing for prizes. On the stove that night was a pot of beeweed being reduced to a dark tar for a possible paint. Walnut was also being boiled down for the same purpose. A flat stone was being baked in the oven with glaze on the surface like a Piki Bread stone. Outside on the grill was a large pot of boiling water reducing a road-killed raccoon to bleached bones for a bone kit that allows archaeologist to compare known bones with unknown bones to aid in field identification. To that same purpose, during the last season, staff gathered a few shovels and dug up a road-killed deer that had been collected and buried so insects might clean the bones. The dug it up and everyone seemed pretty happy about how well this skeleton turned out.

The next morning at the Dinwiddie Dig a 40 year resident of the Duck Creek Community dropped by to visit the site and Will Russell was able to share with Bill Jamison the Field School’s focus and share with him some of what had been found. Jamison pointed out for a decade a burial eroded out of the river bank
and eventually was washed away. He did say a friend now living in San Diego had collected enough sherds to completely restore three pots and Russell asked him if photos were available or if they could be sent Another lead to another piece of the puzzle.

Digital Antiquity is a nonprofit grassroots effort to get all Archaeological data archived by creating a multi-institutional, non-profit organization dedicated to overseeing the use, development, and maintenance of the Digital Archaeological Record (tDAR), an international repository for the digital records of archaeological investigations, organizations, projects, and research.

One of Digital Antiquity’s key objectives is to foster the use of tDAR and ensure its financial, technical, and professional sustainability. Use of tDAR has the potential to transform archaeological research by providing direct access to digital data from current and historic investigations along with powerful tools to analyze and reuse it.

Digital Antiquity was created through the collaboration of archaeologists, library scientists,  and administrators from the Archaeology Data Service, the University of Arkansas, Arizona State University, the Pennsylvania State University, the SRI Foundation, and Washington State University.

By enhancing preservation of and access to digital archaeological records, the mission of  Digital Antiquity to permit researchers to more effectively create and communicate knowledge of the long-term human past; enhance the management, interpretation, and preservation of archaeological resources; and provide for the long-term preservation of irreplaceable records

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Using Decorrelation Stretch to Enhance Rock Art Images
By Jon Harman, Ph.D. (dstretch@prodigy.net) Web site: http://www.DStretch.com

Decorrelation stretch, an image enhancement technique first used in remote sensing, can be usefully applied to rock art. In pictograph images from Baja California, Utah and Arizona I demonstrate its ability to bring out elements nearly invisible to the eye and to improve visualization of difficult sites. A decorrelation stretch plugin to the imaging program ImageJ is available from the author, free for personal use. It’s free but suggested contribution is $50. You can make a contribution via PayPal. My account is JonHarman “at” prodigy.net, if you want to send a check you will find his address on the email he sends back.

Decorrelation stretch was developed at JPL and it has been used in remote sensing to enhance multispectral images. NASA used it to enhance Mars Rover images. DStretch has become a very useful tool for archaeologists

involved in the study and documentation of rock art. Its enhancement techniques can bring out very faint pictographs almost invisible to the eye. Subtle differences in hue are enhanced to puzzle out faint elements. Use of DStretch is simple as just hitting a button, but it also contains sophisticated tools for the manipulation of false color images. Because the enhancement works by increasing differences in hue, the technique gives better results for pictographs than petroglyphs.

The technique applies a Karhunen-Loeve transform to the colors of the image. This diagonalizes the covariance (or optionally the correlation) matrix of the colors. Next the contrast for each color is stretched to equalize the color variances. At this point the colors are uncorrelated and fill the colorspace. Finally the inverse transform is used to map the colors back to an approximation of the original. DStretch supports several different colorspaces, the image is converted from RGB to the colorspace, the calculation and transformation is performed, and then the colors are converted back to RGB before writing into a digital image.

The most common color found in pictographs is red, followed by black, then white, then rarely other hues. Often the rock shelter or cave wall is reddish or blackened. There are common types in the color distributions of pictograph images and this causes a consistency in the decorrelation stretch enhancements. DStretch works well to enhance red pigment but suppresses white and blacks. By bringing out the red painting and suppressing the background shades it can help clarify image composition.

DStretch is a plugin to ImageJ which is a full-featured imaging program. It is written in Java and can run on PC’s, Mac’s and Linux computers. When the button is pressed the plugin calculates the covariance matrix of the image colors (within the chosen colorspace) and then determines the transformation. Different decorrelation results are possible by selecting different parts of the image.
Different colorspaces give different results. DStretch has implemented the algorithm in the standard RGB and LAB colorspaces and also in the colorspaces: YDS, YBR, YBK, LDS, LRE. These colorspaces are modifications of the YUV or LAB colorspaces that give good decorrelation stretch results on images of rock art. The YDS and LDS colorspaces are good for general enhancements and can bring out faint yellow pigments. YBR and espeically LRE enhance reds. YBK can help with black and blue pigments and also enhances yellows well. The user can design their own colorspaces using the YXX and LXX buttons. The enhanced image is false color, the color scan be radically different from the original. In Expert Mode DStretc has the ability to shift the hues in the enhanced image to increase contrast.

CLICK HERE FOR SLIDE SHOW OF ROCK ART USING FALSE COLOR TO PRODUCE ADDITIONAL DETAIL…

http://pkweis.photoshelter.com/gallery/ROCK-ART-FILTERS/G0000oUHzJSUXcUI

Each image enhances differently, depending on its own unique distribution of colors. Another useful enhancement technique, not related to decorrelation stretch, is the manipulation of the hue and saturation of the image. DStretch (in expert mode) can do hue histogram equalization and saturation stretching. DStretch also contains a tool that allows a region of the enhanced image to be isolated by hue and then added back to the original image. This can be used to isolate an enhanced element then return it to the original image.

http://pkweis.photoshelter.com/gallery/ROCK-ART-FILTERS/G0000oUHzJSUXcUI

3D Scanning: Cultural Heritage and the Arts

Using 3D or “White Light” Scanners can uncover details from the past and today there is no better way to record a complex object than with a high resolution 3D white light scanner. The fringe projection method used in 3D white light scanning make non-contact digitization of art and sculpture and historical artifacts possible. Direct comparisons can be made of dimension and shape. Structured light Scanning allows revisitation of any object over time, creation of databases, redrawings of cross sections and 3D volume calculations. Today 3D scan data has a growing value in archaeology, paleontology and cultural heritage, collection of 3D scan data provides a digital archival record allowing access in remote locations, and the ability to produce replicas useful for exhibits.

One strategy under consideration at the Preservation Field School is the possibility of being able to actually see the “fingerprints” of the potter in ceramics. If that study moves forward there is a hope that not only will archaeologists know where the “Ancient Ones” went, they may be able to follow the fingerprints of a single women walking across an prehistoric landscape to her final resting place.

Kristin Safi in this month’s Kiva Journal outlines his “least cost” migration routes from the San Juan region to the Rio Grande Pueblo area. In this study 1200 possible routes are identified but many overlap and others had more costly terrain boiling the study down to 30 routes but when known archaeological sites were factored in, five routes were identified as the probable exodus path taken by the Kayenta Anasazi as they left the Northeast Arizona. Three of the routes probably were used by the later migrations because closer Pueblos were filled up earlier by early migrations. As for the question, “Where did the Ancient Ones go!” Not only do we know where the Kayenta went, we know why. FEAR!

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