The Peabody Advisory Committee has selected Katie Kirakosian and John Andrew Campbell as recipients of the Linda S. Cordell Memorial Research Award for 2017. This award supports research at the Robert S. Peabody Museum of Archaeology using the collections of the museum. The endowment was named in honor of Dr. Linda S. Cordell, a distinguished archaeologist, specializing in the American Southwest. Linda was Senior Scholar at the School for Advanced Research in Santa Fe, New Mexico, a member of the National Academy of Sciences, recipient of the A.V. Kidder Medal for eminence in American Archaeology, and a valued member of the Peabody Advisory Committee.
Dr. Kirakosian received her PhD from UMass Amherst in 2014 and is currently adjunct faculty at several schools in Rhode Island. Her project focuses on archival materials from Warren Moorehead, Douglas Byers, and Frederick Johnson to continue her dissertation research and prepare a book on the history of archaeology in Massachusetts using social network analysis. Dr. Kirakosian published some of her previous research using Peabody collections in the 2015 issue of the Bulletin of the History of Archaeology: http://www.archaeologybulletin.org/articles/10.5334/bha.260/
Mr. Campbell is a PhD candidate at the Memorial University of Newfoundland. His research at the Peabody includes a re-examination of collections from the Dennysville site in Maine, as well as several other sites in New Brunswick. His dissertation research is focused on protohistoric and contact period Wabanaki peoples in Maine and the Canadian Maritimes.
Curious about the scholarly depth of the Peabody collections? Looking for material from a particular site for your research? Interested in simply browsing through the artifacts?
The site’s new and improved format is more user-friendly and provides easier access to our object records. Enter a key word to search, browse a full list of sites, and click through random images of artifacts.
In addition to a streamlined interface, the updated website also includes information about the archival collections housed at the Peabody. Temporary Archivist Irene Gates’s recent blog post highlights the completion of the first step in processing our archives. Or, explore the archival collections here.
While we do not yet have our full collection online, we add new records regularly – so come back often. I hope that you enjoy exploring the Peabody’s collections as much as I do!
The Peabody Collection Online is made possible in part by a grant from the Abbot Academy Association, continuing Abbot’s tradition of boldness, innovation, and caring.
Collection records for the Peabody’s archival collections are now online, via the museum collections management database’s online portal: take a look.
I am also very happy to announce that the processing work on the MacNeish archives is complete and that this material is now open for research. These archives have been processed as two collections, the Richard S. MacNeish papers and the Richard S. MacNeish records. The papers were donated by MacNeish in 2000, shortly before his death, while the records resulted from his directorship of the Peabody, 1968-1983, and had not left the museum since then. A finding aid with a folder-level inventory can be accessed via the link at the bottom of each collection record. There is parallel content in the two collections, so researchers are advised to consult both.
Here is one of my favorite photographs of MacNeish, from his papers – I think it exemplifies what an adventurer he was.
The Temporary Archivist position is supported by a generous grant from the Oak River Foundation of Peoria, Ill. to improve the intellectual and physical control of the museum’s collections. We hope this gift will inspire others to support our work to better catalog, document, and make accessible the Peabody’s world-class collections of objects, photographs, and archival materials. If you would like information on how you can help please contact Peabody director Ryan Wheeler at email@example.com or 978 749 4493.
Last week, the Peabody had the pleasure of hosting Dr. Paulette Steeves as she examined portions of the MacNeish collection. Dr. Steeves is currently a Lecturer of Indigenous archaeology and anthropology and the Interim Director of the certificate program in Native American Studies at UMass Amherst. Her research focuses on the peopling of the Western hemisphere, but not through the traditional Bering Strait theory.
Dr. Steeves uses indigenous theory and methodology to explore sites in the Americas that date back as far as 60,000 years ago. This is actually a big deal and an anti-establishment approach to the subject. Dr. Steeves is looking into the materials collected by Scotty MacNeish during his work in the 1960s in Peru and Mexico for additional evidence. MacNeish was also a proponent of the idea of early colonization and much of his collection has remained unanalyzed for decades.
Dr. Steeves was thrilled to see the collection and to meet MacNeish himself on her visit. We look forward to hosting her again for many research visits to come!
Once again DNA analysis of sites is opening up our understanding of how societies operated historically. By testing bone samples from Room 33 in Pueblo Bonito of Chaco Canyon, scientists were able to shed more light on the inner workings of power, class, wealth and status of ancestral Puebloans, and the major role women played within these.
Mound 72 of the Cahokia culture complex, when originally excavated in 1967, was thought to be a shining example of a burial of elite male warriors. Fast forward almost 50 years and imagine archaeologist’s surprise when one third of the skeletons found were in fact female! These findings call into question the idea that Cahokia was a male warrior-led patriarchy.
The excavation of young Hohokam woman’s grave is an example of what the excavators and author call the “Bioarchaeology of care.” The young woman, who lived about 800 years ago had scoliosis, rickets, and tuberculosis. Through looking at this site, archaeologists are able learn more about the community in which the girl lived, and how they supported and cared for her, giving a decidedly human lens to a science that can sometimes become disconnected.
This blog represents the fifth entry in a blog series – Peabody 25 – that will delve into the history of the Peabody Museum through objects in our collection. A new post will be out with each newsletter, so keep your eyes peeled for the Peabody 25 tag!
The winter 2017 issue of the Andover magazine includes a great piece by Jane Dornbusch on our repatriation of a sacred birch bark scroll to the White Earth Nation in Minnesota. In a nutshell, Peabody curator Warren Moorehead received a number of items from the White Earth Anishinaabeg in 1909 during his investigation of fraud on the reservation. That collection—principally men’s ceremonial regalia and beaded bandolier bags—also included a pictographic bark scroll used in the ceremonies of the Midewiwin, or Grand Medicine Society. Jane’s story also mentions my visit to White Earth in March 2016. The following essay was written right after I returned from Minnesota and provides a few additional details about that visit.
At the end of March 2016 I flew into Fargo and drove east, headed for the White Earth Indian Reservation. As I drove I passed an occasional cluster of houses, farmland with lots of black, rich soil, as well as lakes, streams, and groves of trees dotting the horizon of a really big sky. I learned later from Bob Shimek, executive director of the White Earth Land Recovery Project, that I had driven across a variety of ecosystems, from oak savanna to pothole prairie.
That first evening in Minnesota I sat in the White Earth community center along with college students on a spring break service learning trip while Bob told us about the White Earth Anishinaabeg. We heard about the land and how this Indian reservation—established in 1867—was designed to succeed, starting with 829,440 acres of forest lands with timber and game, good farmland, lakes and streams with fish. Greedy timber companies and their henchmen defrauded tribal members of their lands and by 1934 less than 800 acres were held by the Anishinaabeg.
Since the 1930s the White Earth Anishinaabeg have done what Bob Shimek refers to as nation building. Efforts include a casino in Mahnomen, an annual indigenous farming conference, the Gizhiigin Art Place, a tribal college, the Niijii radio station, and more. Even repatriation, the recovery of sacred objects stored in museums for decades, is nation building. A lot of these nation building activities revolve around traditional food and foodways, like wild rice and maple sugar.
When the sap runs it is all hands on deck. Even the service learning students abandoned other projects and were recruited to haul sap to the boilers. Like New England, maple sugaring is a big deal in northern Minnesota. Among the Anishinaabeg maple sugar has a deep meaning—hauling and boiling sap recalls the origins of the Anishinaabeg. Ojibwe oral literature tells how in the beginning the maple trees were full of thick, sweet syrup that could be easily collected. Manabozho—the Ojibwe trickster and culture hero—decided the people had it too easy and made the syrup thin and watery. He gave the Anishinaabeg the technology to process the sap, but only during the end of winter. The rest of the year was to be spent fishing, hunting, and in other endeavors needed to earn a living.
But afterwards, in the evening, there was time for more learning. My last night at White Earth I attended the Big Drum ceremony. This began with a potluck dinner, followed by a pipe ceremony, and then Keller Paap, one of the ceremony leaders, told the story of the Big Drum in Ojibwe. This was pretty remarkable, but things got even more interesting.
Keller and Anton Treuer, another ceremony leader, invited the college students to sit around the drum. Then they told the story of the Big Drum ceremony in English. But there was more. Paap is from Wisconsin and teaches at Waadookodading, an Ojibwe language immersion school, while Treuer is on the faculty at Bemidji State University. Together they shared the stories of religious suppression and how this didn’t change until 1978’s American Indian Religious Freedom Act, along with the importance of teaching and learning the Ojibwe language.
So, there are lots of stories at White Earth. Some are written on birch bark scrolls, others are found in the pages of the Congressional inquiry into fraud and deceit, some drip in slightly sweet maple sap, while others still float on the night air in words of Ojibwe. For us, however, perhaps most remarkable is that we—Andover, Phillips Academy, the Peabody Museum—are a tiny part of the story too.
In January 2017 we met with representatives of the tribe again and agreed to the repatriation of several additional objects that, like the birch bark scroll, are examples of cultural patrimony under the Native American Graves Protection and Repatriation Act. Anton Treuer will be speaking at All School Meeting on Wednesday, April 5, 2017.
This blog represents the fourth entry in a blog series – Peabody 25 – that will delve into the history of the Peabody Museum through objects in our collection. A new post will be out with each newsletter, so keep your eyes peeled for the Peabody 25 tag!
Contributed by: Lindsay Randall
Peabody curator Warren K. Moorehead, beginning in 1915, excavated in the Castine area of Maine in search of sites related to the Red Paint People. Moorehead believed the Red Paint People to be an ancient culture that was distinct from the more recent Algonquian tribes that still live in Maine today. He recognized a number of unusual artifact types found in Red Paint cemeteries and the liberal use of red ochre in burials, hence the name Red Paint. Ideas about the origins and relationships of the Red Paint or Moorehead Burial Tradition (as it is now called) are changing and often still hotly contested by archaeologists and tribes today. The Abbe Museum in Bar Harbor, Maine presents a timeline of contemporary Wabanaki peoples in Maine, demonstrating continuity of modern American Indians back to the earliest occupation of the state.
While Moorehead’s Castine investigation did not locate Red Paint site, numerous shell heaps were found. One of the most amazing sites to be excavated was located on the property of Professor Edmund Von Mach. Von Mach was an instructor in art and fine arts at Harvard, Wellesley and other schools in the Boston area and published books on painting and art history. He gained some notoriety during and after World War I for encouraging Americans to support the German cause and his book Official Diplomatic Documents Relating to the Outbreak of the War was withdrawn due to inaccuracies by the publisher.
Von Mach’s politics aside, the shell heap was a very impressive monument, measuring approximately 660 feet long and having a depth between 3 and 5 feet. The vast majority of the shells present were quahog clams, quite common to the area. Given that a total of twenty four hundred artifacts were recovered, combined with the sheer expanse of the heap and its numerous layers, it is believed that the site was a permanent settlement used by tribes about 2,500 years ago.
Throughout the summer, several hundred people visited the site to see what unique pieces of the past were being unearthed. Some of the most interesting artifacts discovered were fragments of pottery.
The pottery is unusual in New England as the soil conditions are very acidic and often deteriorate fragile artifacts. Ceramic specimens are more common in other parts of the country, like the American Southwest.
The only reason that the pottery was not dissolved by the acidic soils surrounding it is that the shells were deposited in the same area. Leaching of calcium carbonate from the shells neutralized the harmful acidic soil. Altering the soil matrix in this manner allows for almost unprecedented preservation of sensitive material.
The pottery helps us to learn about technology and artwork in the community. The introduction and development of ceramics into Maine around 2,700 years ago was very important. It is during this same period that the populations increased and became more sedentary in permanent villages.
The majority of the pottery pieces in our collections are small and fragile, despite being preserved in the shell heaps. The ceramic pieces also are decorated with stamped and incised lines. This method of decoration not only reflects the aesthetics of the time, but may have helped reduce air bubbles prior to firing.
Interestingly, archaeologists are now investigating the language that we use to describe archaeological sites. In her 2014 PhD dissertation at UMass Amherst Katie Kirakosian looks at the terms used by archaeologists like Warren Moorehead and his contemporaries to describe shell-bearing sites like Von Mach’s and how these terms have influenced our thinking about the sites and the people that made them. Kirakosian concludes that use of terms like “shell midden” to describe these sites (and, by extension, their Native constructors) denies their complexity and can result in a narrow and biased narrative.
The bulk of the Peabody’s collection is stored in the basement. It has been challenging over the years to control the temperature and humidity in the basement – an essential factor in maintaining an artifact collection. A small fluctuation of both temperature and humidity is normal and expected as seasons change. However, extreme variation lead to damage – bone can become fragile, ceramics can develop weak-points, and even stone tools can become brittle.
For the past four years, I have been tracking the environment throughout Peabody and noticed these strong fluctuations. By taking readings of the temperature and humidity in all our storage spaces once an hour (through the use of a datalogger), I determined that the influx of outdoor air through these poorly sealed windows is large contributing factor. There is only one way to fix this.
In collaboration with the Office of Physical Plant on campus, we are implementing a plan to mitigate some of this fluctuation. Contractors are working to seal the windows in the basement to stop outside air from sneaking into the storage.
This will stabilize the environment and lead to fewer changes in both temperature and humidity. The first step on the road to environmental control!
This article talks about the role of diseases in shaping the genetic diversity of contemporary Native American communities. Historically these effects were documented by written accounts with little to no physical evidence since most European introduced diseases leave no evidence on bone. Recent breakthroughs in DNA markers, however, have been able to physically prove the evolutionary effects of these pandemics.
An interesting article that not only highlights the use of modern science in investigating historic traumas, but a great example of how important cultural context is both historically and in a contemporary lens.
Not only is this a super cool article talking about the first example of in situ beer making in China, but also a great example of how archaeologists are able to extrapolate larger and further reaching conclusions from a small snap shot of the past.
The central staircase of the Peabody includes a mural of American Indian life and history titled “Culture Areas of North America” by Stuart Travis (1868-1942). Travis was an accomplished and prolific American artist, illustrator, and designer who studied at the Académie Julian in Paris. His works—mostly drawings and watercolors—appeared frequently in magazines, books, and advertisements in the early twentieth century. Travis first came to Phillips Academy in 1928 to create the mural “History and Traditions of the School and Vicinity” in the Oliver Wendell Holmes Library. He continued to work at Phillips Academy, where he painted a total of three murals; he also designed the stone and wood gate that now leads to the Moncrieff Cochran Sanctuary.
The Peabody mural measures 13’11” by 10’2” and reflects ideas about anthropology and archaeology in the 1930s and 1940s. Major elements include the Maya Pyramid of the Magician at Uxmal on the left and a totem pole of the Northwest Coast on the right, with a map of cultures areas of North and Middle America occupying a central position, surmounted by six portraits across the top of the mural. Details and insets abound, illustrating artifacts, archaeological sites, ethnographic items, and scenes from Aztec and Maya codices. Illustrations of artifacts are drawn from the British Museum, the Museum of the American Indian (now the National Museum of the American Indian), the American Museum of Natural History, the Robert S. Peabody Museum of Archaeology, as well as several other prominent institutions.
Major Maya archaeological sites are labeled on the central map, but the majority of the map surface only depicts watersheds and topography, suggesting that Travis may have planned to add even more detail to the mural. The shadow of a thunderbird is painted over the central map, with a note explaining the widespread belief in supernatural birds in the Americas. Other details include an inset illustrating details of the Cahokia, Etowah, and Hopewell sites—likely a nod to long-time Peabody Director Warren K. Moorehead’s work. In all, there are over 30 American Indian artifacts illustrated (some in low relief), ranging from an example of Mi’kmaq writing on birch bark to a Tlingit “raven hat.” Many of these artifacts were probably drawn from contemporary books and articles on archaeology, while some may have been suggested by Museum staff. Detailed notes about the artifacts were likely included so the mural could be used as a teaching tool for visitors.
Stuart Travis Mural at the Robert S. Peabody Museum of Archaeology. Photography by Gil Talbot.
Map key and artifacts in the Travis mural. The large pottery vessel was found by Jesse Brewer at the Cape Cod Canal in 1942 and was exhibited at the Peabody Museum; it is now in the archaeological collection of Plimoth Plantation. Photography by Gil Talbot.
Artifacts illustrated in the Travis mural include baskets from California, a Katchina, and Iroquois and Algonquin musical instruments. Photography by Gil Talbot.
Hopewell and Mississippian artifacts and sites are likely a nod to the research of Warren K. Moorehead. Photography by Gil Talbot.
Illustrations of Aztec and Tlingit artifacts were drawn from major museum collections and publications. Photography by Gil Talbot.
Stuart Travis modeled the Tuxtla statuette in low relief, highlighting this Olmec figurine’s glyphs and bird-like costume. Photography by Gil Talbot.
Maya and Costa Rican artifacts likely reflect the research interests of Museum Director Douglas Byers and and Curator Fred Johnson. Photography by Gil Talbot.
Travis dated the mural 1938, but continued with additions through 1942. The mural was restored in 1997 by Christy Cunningham-Adams through the generous support of the Abbott Academy Association.