Ryan Wheeler

May 6, 2024May 6, 2024

The Exploits of the JAE: Open Access Publishing Meets Archaeology and Education

Contributed by Ryan Wheeler

Poster sessions are a great way to share information and connect with people at the annual meeting of the Society for American Archaeology. Exhibitors have two hours to share their research and projects, connecting at length with attendees that stop by to chat–a bit less pressure than the regular sessions and symposia! At the recent 89th annual meeting of the SAA, the Journal of Archaeology & Education was represented at the Thursday afternoon posters after hours session. For those that couldn’t make it, here are some highlights of our poster:

JAE poster from the recent SAA annual meeting.

Abstract

Education has become an important component of archaeology in all realms, from traditional teaching arenas in universities and K-12 schools to research to government and contract work. In 2017 the Robert S. Peabody Institute of Archaeology and the University of Maine, Orono collaborated to found the Journal of Archaeology & Education, a peer-reviewed, open-access journal dedicated to disseminating research and sharing practices in archaeological education. The journal’s founders recognize the significant role that archaeology can play in education at all levels and intend for JAE to provide a home for the growing community of practitioners and scholars interested in sharing their first-hand experiences and research. Since 2017, JAE has published 41 articles and 2 special issues with a total of 12,412 downloads. JAE’s editorial board contend with issues around growing awareness and increasing submissions, as well as how to handle the ethics of human subjects research in environments where Institutional Research Boards are not always available and researchers are not consistently aware of the need to have their research vetted.

About the Journal

The Journal of Archaeology and Education is a peer-reviewed, open-access journal dedicated to disseminating research and sharing practices in archaeological education at all levels. We welcome submissions dealing with education in its widest sense, both in and out of the classroom—from early childhood through the graduate level—including public outreach from museums and other institutions, as well as professional development for the anthropologist and archaeologist.

The journal’s founders recognize the significant role that archaeology can play in education at all levels and intend for the Journal of Archaeology and Education to provide a home for the growing community of practitioners and scholars interested in sharing their first-hand experiences and research. Costs related to publication are shared by the University of Maine, providing for access to the bepress publishing platform, and the Robert S. Peabody Institute of Archaeology, funding copyediting and layout. Authors are not assessed any fees.

The journal was founded at the Robert S. Peabody Institute of Archaeology, where archaeology is used to support high school curricula at Phillips Academy, and is hosted at the University of Maine’s Digital Commons website. Contact the editors by emailing Kathryn Kamp (KAMP@Grinnell.EDU) or Ryan Wheeler (rwheeler@andover.edu).

JAE editor Kathryn Kamp talks to attendees at the poster session.

Open Access Publishing

Open access publishing has significantly increased since 2010, when only around 30% of all articles published were freely available, to about 50% of articles published in 2019 (Heidbach et al. 2022). The overall trend has been toward open access publishing, as governments in both Europe and North America have pushed for open access publishing of studies that they have funded. The Directory of Open Access Journals (DOAJ) currently indexes 180 open access archaeology journals. Different levels of open access publishing include Gold, where all a journal’s articles are open access and indexed by the DOAJ. Often this requires that the author pay an article processing fee. Green level involves reader payment on a publisher’s website, but articles may become more freely available on open access archives after an embargo period. Hybrid level allows authors to choose from the Gold or Green open access models. Bronze level open access sees publication in a subscription-based journal (see Greussing et al. 2020; Marwick 2020). Other models–sometimes referred to as Diamond or Platinum–omit fees for authors and readers, like the JAE approach. Almost all of the open access models include some fees by either the author or reader, and this has become a significant discussion in open access publishing and academic publishing in general. Initially these fees were expected to be rather low, but now author fees are regularly thousands of dollars. This is an obstacle to those publishing studies that are adjacent to their primary research (often the case with archaeology education studies), or those working in areas with limited funding. Marwick (2020) uses the hashtag #openirony to describe articles published on open access in archaeological publishing that are, in fact, unavailable to many readers due to paywalls.

IRB Policy

In 2021, the JAE adopted a requirement for Institutional Review Board (IRB) approval, or equivalent, for articles involving human subjects. The Editors and Editorial Board found that many archaeologists were unfamiliar with IRB review, but as they conducted and published assessment research, such review involving students and program participants was necessary. The policy states:

All human subjects research results published by the Journal of Archaeology and Education (JAE) must be approved by an Institutional Review Board (IRB) or an equivalent entity in the author’s country. The purpose of IRB review is to assure, both in advance and by periodic review, that appropriate steps are taken to protect the rights and welfare of people participating as subjects in your research. If you do not have an IRB affiliated with your organization, you must find a suitable IRB at a qualified university or other institution. Most universities have IRBs that will accept applications from outside their institution. Authors, especially those without an academic affiliation, could use an independent IRB, which is subject to the same federal regulations as universities. There may be fees associated with university and independent IRB reviews. The IRB protocol number assigned by your IRB must be included in the article. Manuscripts without IRB approval will not be considered for publication in JAE.

Geographic depiction of downloads from the JAE dashboard.

Human Origins, winter edition

Contributed by Ryan Wheeler

Bigfoot, ancient aliens, Homo naledi, Australopithecines, stone tools, painted pebbles, scientific racism, repatriation. How are these topics connected? Students in the senior science elective Human Origins find out. A lot of it has to do with the history of anthropology–the scientists that studied fossil humans also studied race. The two fields continue to influence one another, not always in the most positive ways. The course is divided into modules that explore science and pseudoscience, human biological evolution and the development of technology and imagery, and the concept of race and scientific racism.

Human Origins students explore some of the Peabody Institute’s fossil human crania casts and models.

Some of my favorite assignments are team projects that involve producing a trailer for a new tv series on pseudoscience, a new comic pages project that focused on specific fossil humans, and Human Origins in the News, where student teams lead class. We just finished midterm, and I was wowed by the new comic pages assignment. I’ve wanted to develop a comics assignment and I’m really pleased with the results–student teams researched particular fossils and then developed a few comic pages in response to a series of prompts. Students are now making their own chipped stone tools and starting to plan their podcasts for the end of the term.

Human Origins students lead class during our “short period” on most Mondays with Human Origins in the News.

A couple of big changes this term include teaching during winter term–usually we’ve offered Human Origins in the fall–and we’ve been meeting the class in the Gelb science building, as Phase 1 of the Peabody Institute renovation wraps up. I’m really grateful to my colleagues in the science division for sharing the Gelb classroom with me. It will be nice to return to the Peabody Institute in the near future. We’ll at least be close-by next week when we explore the atlatl and throw spears on the Chandler-Wormley Vista!

A sample from the comic pages created by Human Origins students this term.

January 12, 2024

Dominique Toya

Contributed by Ryan J. Wheeler

I’ve sat down several times to write this. It’s hard, for a couple of reasons. Dominique will always remain a remarkable person, funny, talented, generous of spirit, and with a laugh that made everyone around her soar. I think I’ve delayed writing because I feared I wouldn’t find the right words. Also, I was afraid that with the words would come a finality.

Dominique demonstrates the addition of mica to a student’s piece, May 2016.

Last month saw the passing of a truly remarkable individual. We remain shocked and saddened by the loss of Dominique Toya (1971-2023), who we have been fortunate to know since 2013. Dominique was a fifth generation potter, born to the Corn Clan at the Pueblo of Jemez. Dominique’s particular style of pottery saw the fusion of traditional methods and materials with innovative shapes and surface treatments. Collaboration with her family and other artists produced stunning and innovative results.

Dominique shares points out the polished details on her mom’s town crier figure to Phillips Academy ceramics instructor Thayer Zaeder, May 2014.

Dominique and her mom Maxine and sister Mia, often with other friends and family, traveled to Andover every year since 2014 to share Pueblo pottery making with Phillips Academy students, faculty, and friends. These weeklong workshops allowed students to make their own ceramic pieces with clay from New Mexico, finished, decorated, guided, and encouraged by the Toya Family. One year I conducted interviews with students following the finale of the class—an open-air firing. Considering all that Phillips Academy has to offer, I was a bit surprised when many of the students said their time with Dominique and her family was their best Andover experience. I shouldn’t have been surprised. Dominique was far more than a gifted artist; she was an ambassador of Indigenous art, and above all, a generous teacher.

Dominique tends the open air pottery firing at the end of May 2022’s weeklong workshop as students look on.

I cherish the Toya Family’s time on campus, Dominique’s laughter and sense of humor, but also watching her help students design and complete pieces, often helping them figure out how to solve problems or challenges (often ones that they had created!). Dominique played a big role in many communities–she was involved in the Southwestern Association for Indian Arts, from exhibiting and frequently winning awards at the annual Santa Fe Indian Market, judging and mentoring, to service on the SWAIA board. Dominique also was a drag performer and frequently traveled to participate in the International Court System, including the Imperial Sovereign Court of New Mexico, where she was crowned Empress 10. The International Court System is a venerable and well-known LGBTQ organization, raising funds for social issues, education, and other charitable causes. Dominique and her mom often donated their pieces for those fundraising efforts. During the Jemez and Pecos feast days, Dominique and her family prepared traditional foods, like Jemez enchiladas and oven bread, welcoming friends and visitors into their home to celebrate.

Dominique shares some tips on finishing a piece with an Academy student, May 2023.

I’m grateful that Dominique chose to be part of the Peabody Institute and Phillips Academy communities as well. Dominique, you taught us all a lot about art, Indigenous art, clay, the magic of mica, the business (and politics) of Native American art, but most of all, the art of being yourself. I’ll end with some of the student reflections from the Toya Family workshop in 2017: “Working with the Pueblo potters is really fun—we learned a lot and they have an amazing sense of humor.” “To be able to incorporate these techniques into my pieces gave me a new level of respect for pottery.” “This is one of the best things I’ve done all term, actually all year.” “These artists are so cool and they really care about their art and about your art.” Dominique, thank you for sharing and Godspeed.

The Peabody Institute is fortunate to have several of Dominique’s pieces, including these two swirl vessels that were featured in the spring 2023 show “Women in Abstraction” at the Addison Galley of American Art.

If you’d like to learn a little more about Dominique, this is a great article from New Mexico Magazine: https://www.newmexicomagazine.org/blog/post/dominique-toya/

December 15, 2023

2023 Repatriation Conference

Contributed by Ryan Wheeler

The Association on American Indian Affairs, helmed by Shannon O’Loughlin, hosted the 9^th annual repatriation conference at the grand resort of the Citizen Potawatomi Nation in Shawnee, Oklahoma. The Peabody Institute was one of fifteen organizations that helped sponsor the three-day conference. Much of the focus was on compliance with the Native American Graves Protection & Repatriation Act (NAGPRA), federal legislation passed in 1990 that made it possible for Tribal Nations to reclaim their ancestors, funerary belongings, as well as several other types of cultural items from museums and federal agencies. About 300 people attended in person, with another 300 online.

This year’s theme–Building a New Fire–focused participants on how museums, agencies, and Tribal Nations could prepare for the new repatriation regulations promulgated by the Department of the Interior, the implications of the passage of the Safeguard Tribal Objects of Patrimony (STOP) Act and international repatriation, as well as numerous case studies and panel discussions. Highlights include conversations with some of the journalists that have been covering NAGPRA compliance this year from ProPublica and other news outlets, a keynote talk by Angeline Boulley, author of Warrior Girl Unearthed and Firekeeper’s Daughter, as well as training on NAGPRA compliance by Melanie O’Brien, manager of the National Park Service’s repatriation program.

Angeline Boulley shares Warrior Girl Unearthed, her young adult novel that explores one young woman’s experience with repatriation.

I was happy to participate in the session “Well That is What it Says, But…: A Policy Focused Discussion of NAGPRA and its Application in Medical Examiner and Coroner Offices,” organized by Megan Kleeschulte, Doctoral Candidate at the University of Tennessee, Knoxville, and featuring Dr. Ellen Lofaro, Director of Repatriation at the University of Tennessee, Knoxville and William Johnson, Saginaw Chippewa, Curator and Operations Manager for the Ziibiwing Center of Anishinabe Culture & Lifeways. Megan’s work focuses on medical examiner and coroner compliance with NAGPRA, which varies as much as the local and state structures that govern these forensically focused offices.

Participants in the session “Hlaa Hiyukwhl Gwildim-Goodam Dim Dip Luu-diyaltkwhl Hli Haykwhl Ganiye’etgum – Preparing to Bring Our Ancestors Home: Rematriation of the Wilps Ni’isjoohl Memorial Pole from Scotland to Nisga’a Lands.”

The conference was also a great opportunity to connect with old friends and make new connections. Since the Covid pandemic, a lot of consultation has happened over the phone or on Zoom, so being in the same place with friends and colleagues was a blessing. Shannon hinted that future conferences might be focused regionally, with even greater emphasis on connecting Tribal Nations with the institutions and agencies that are holding their ancestors and belongings. Whatever the future holds, I’m looking forward to participating. It’s special to be able to gather with others all working on repatriation and build on that shared experience.

September 15, 2023

La Brea Tar Pits

Contributed by Ryan Wheeler

One of the best things about travel is visiting museums, especially those that are new to me! In August, I traveled to California for some great events for Andover alumni, students, and new families. As a newbie to Los Angeles, I was wowed by the Mediterranean Revival architecture and, top on my list of museums to visit, La Brea Tar Pits and Museum. The tar pits are actually asphalt that have been bubbling up from subterranean oil fields for about 240,000 years. Animals attracted to water accumulating on top of the tar pits were frequently trapped in the sticky goo, becoming part of the fossil record. The victims of the tar rarely remained intact, so there are lots of bones, but few complete animal skeletons. Exhibits in the museum, built around a recreated Pleistocene forest, has lots of examples of the animals recovered from the tar pits, including bison and mammoths—hallmarks of the Rancholabrean fauna—as well as dire wolves, saber tooth cats, birds, and even insects. You can watch scientists cleaning fossils inside the museum after visiting the tar pits, including at least one active excavation. The gift shop has lots of fun stuff, including resin casts of saber tooth cat teeth, stuffed animals, and books on the tar pits.

July 31, 2023July 31, 2023

New Acquisition: Three Generations

Contributed by Ryan Wheeler

The Peabody has several amazing pieces of pottery made by members of the Toya Family of Jemez Pueblo. On their first visit to the Peabody in 2013, Maxine and Dominique Toya noticed a small vessel on our open shelving. What caught their attention was a delicately painted corn stalk, representing their clan. They wondered aloud who might have used these design, and we were all delighted to find that Maxine’s mom and Dominique’s grandmother, Marie G. Romero, had made the piece. Marshall Cloyd ’58 generously helped us acquire several of Dominique’s creations, including a small seed jar with distinctive carved ribs and mica slip. Since then we have added a number of wonderful pieces to the Peabody collection, including one of Maxine’s owl figures and a collaboration featuring Dominque’s beautifully crafted vessel bearing Maxine’s hand painted deer and corn stalk designs.

In May, we acquired a special piece called Three Generations. Dominique said, “this was the last wedding vase my grandmother, the late Marie G. Romero, created before she passed away. My mom and I have kept it sitting at our studio until we finally decided to finish her. I’m going to sand her and apply mica on the top and bottom and mom will paint a design in the middle where the band is and paint the ears of corn. This piece will be called Three Generations and will be the only piece that is signed by me, my mom, and I’ll sign my grandmother’s name since she created her.” The Toyas fired Three Generations on April 3 and brought her to us during their workshop with students in May. This is a large piece, at least 11 inches tall, and the overall shape, finishing, and delicate painting is truly impressive. Dominique commented that, “my mom outdid herself again with the amazing painting!!!” and we couldn’t agree more!

June 5, 2023

New Mexico, May 2023

Contributed by Ryan Wheeler

The Peabody Institute has a history with New Mexico stretching back to 1915 and the beginning of Alfred Kidder’s nearly fifteen yearlong excavation at Pecos Pueblo outside of Santa Fe. In May, I had an opportunity to visit New Mexico, with stops at the Pueblo of Jemez and Pecos National Historical Park. The connections between Jemez and Pecos are even older, with a merger of the two communities in 1838, as the population at Pecos dwindled, and Jemez remained as the only place where Indigenous language Towa is spoken.

The “red rocks” of Canon del Diego seen from the Walatowa Visitor Center, Jemez Pueblo.

My first stop was the Pueblo of Jemez, where I had an opportunity to visit with tribal archaeologist Chris Toya, and tour the Jemez visitor center, which exhibits around 100 of the objects that Kidder removed from Pecos. Jemez, also called Walatowa, meaning “this is the place,” is situated in some amazing scenery of the Canon don Diego. The canyon is well known as “red rocks,” a reference to the vibrant red and orange hue of the sedimentary rock walls, capped by a volcanic tuff. When I was there, it had just rained, making the canyon wall even brighter. Jemez is typically closed to outsiders, but the Walatowa Visitor Center is open to all and has some great exhibits on Jemez history and culture. I spent the night at the Laughing Lizard in nearby Jemez Springs, where I had stayed with my family last summer.

The recently updated visitor center at Pecos National Historical Park. Note the exhibit featuring Alfred Kidder in the lower right. Kidder, working out of the Robert S. Peabody Institute of Archaeology (then the Department of Archaeology, Phillips Academy) excavated Pecos Pueblo between 1915 and 1929.

I got up early the next morning and drove to Pecos National Historical Park. The visitor center there has just received a significant update and includes more of the objects removed from Pecos by Kidder. Audio narration of the exhibits was in English and Towa, so great! The ruins of a Spanish church dominate the top of the plateau here and wandering the trails takes you past the remains of Pecos Pueblo. Ongoing preservation work at the church included capping the walls with contemporary adobe to protect the ancient features. I also had an opportunity to see the storage facilities where Pecos objects are housed and talk with Rhonda Brewer, park museum curator, and Jeremy Moss, cultural resource coordinator.

National Park Service masons were actively preserving the architectural ruins of the massive Catholic church and convento that still dominates the Pecos Pueblo ruins.

This interpretive panel gives a sense of at least two of the four Catholic churches that were constructed at Pecos Pueblo. The mason pointed out that the pre-1680 Pueblo Revolt church was built with black bricks, while the post-revolt church used red bricks.

My final stop was in Albuquerque, and from there I ventured out to Chaco Canyon National Historical Park. I’ve been wanting to visit Chaco for some time, but it’s pretty much an all day excursion. I signed up for a tour by Kialo Winters of Navajo Tours USA. I was a little nervous about the drive to Chaco. After turning off US 550, the 20 miles or so to the Chaco visitor center go from paved to dirt to pretty bumpy. Apparently its bad when its wet. I have a terrible sense of direction, so was mostly worried about getting lost, but the road is well marked and was fine when I drove it.

CR7950, right around where it crosses the Gallo Wash, not too far from the Chaco Canyon visitor center.

Kialo shared that really to see everything at Chaco you would need about three days, but his tour hit the high notes, including the expansive ruins of Chetro Ketl and Pueblo Bonito. I highly recommend the Navajo Tours USA tour—Kialo is incredibly knowledgeable and up to date on Chacoan archaeology and history, and he drew heavily on Navajo and Zia Pueblo Indigenous knowledge. It was impressive to walk through the ruins of what were once four-story high buildings at Pueblo Bonito and find the places where the different styles of masonry connected and extended the buildings. Occupation here dates from 850 to 1,250 CE. The Peabody also holds a number of objects from Pueblo Bonito related to Warren Moorehead’s 1897 visit to the site. As Teofilo, the author of Gambler’s House blog notes, Moorehead ransacked rooms 53 and 56, near other rooms that had produced fabulous finds, like cylinder jars and macaw burials. In fact, Moorehead removed several complete and fragmentary cylinder jars from the site.

Kialo Winters of Navajo Tours USA points out some of the details of the masonry at Chaco Canyon. The chinking with the small stones signals that this is from an earlier period.

Masonry with heavy timber vigas at Pueblo Bonito. The vigas supported the floor of the next story up. Note different style of masonry, without all the small stones.

Overall, it was a productive few days in New Mexico. It was great to visit Chaco Canyon, one of the most impressive cultural sites in the United States, as well as visit with folx at Jemez and Pecos. As many of you know, the Peabody Institute sponsored the long-running Pecos Pathways student travel program, and there has been a lot of interest in creating a new version of that trip. I’m not sure if or when that might happen, but we will work on further contacts, assess interest on campus, and see what happens. Certainly all of the above would be important stops!

April 10, 2023

Pueblo Revolt at ASECS

Contributed by Ryan Wheeler

At this year’s American Society for Eighteenth Century Studies (ASECS) conference, I had the opportunity to participate in the roundtable Teaching the Global Eighteenth Century. Phillips Academy instructor in history and social sciences Natalya Baldyga and I presented Assimilation, Acculturation, Catachresis, and Syncretism: Employing Archaeology to Foreground Indigenous Resistance in the Spanish Southwest, sharing our experiences teaching the Pueblo Revolt of 1680 to History 200 classes at the Academy.

Contemporary Indigenous artist Jason Garcia’s take on the Pueblo Revolt combines traditional materials and methods with graphic designs depicting Po’Pay, the architect of the revolt, as a comic book superhero. These two pieces are in the collection of the Robert S. Peabody Institute of Archaeology–you can see the vessel on the right in the inaugural exhibition of the Smithsonian’s National Museum of the American Latino.

If you are not familiar with the Pueblo Revolt, it is a pivotal moment in the history of the Southwest and the modern descendants of those who fought Spanish colonization at the end of the seventeenth century. Our abstract has a little more information on the Revolt and our approach:

Using the case study of the Pueblo Revolt of 1680, our presentation illustrates how archaeological artifacts can be employed to unsettle and decenter colonial narratives by refocusing the North American story of the early eighteenth century on Indigenous peoples of the Spanish Southwest. Too often, Anglophone histories associate the long eighteenth century in the Americas with English colonialism in general, and with the American Revolution in particular. We ask students to consider instead the “first American Revolution,” in which the Pueblo Peoples, led by the Tewa religious leader Po’pay, confronted missionaries and soldiers in the Spanish borderlands of what is now New Mexico. In our classes, students explore both artifacts from the Pueblo Revolt and contemporary Puebloan artistic responses to the historical event, foregrounding Indigenous resistance and survival over tales of erasure and domination. This approach both reorientates students’ understanding of colonial North American history towards wider global narratives of European expansion, and, perhaps more importantly, introduces students to multiple ways that Indigenous peoples adapted to, resisted, and overcame the efforts to erase their cultural identities and physical existence.

Drs. Wheeler and Baldyga also celebrated their anniversary during the conference.

The Peabody Institute has long offered various versions of a Pueblo Revolt lesson, but the current iteration has greatly benefitted from Dr. Baldyga’s experience and training. Together we’ve developed the lesson, typically delivered in the world history survey course for tenth grade, providing students with anthropological concepts, like assimilation and catachresis, that they can use in other settings, as well as foregrounding contemporary Indigenous perspectives and objects directly related to the Revolt. Conversations with other participants in the workshop were productive, especially in their pedagogical approach to topics like the production of sugar.

February 17, 2023March 1, 2023

One Million Years B.C.

Contributed by Ryan Wheeler

On February 15, 2023 we learned about the death of Raquel Welch. You might think, what does Raquel Welch have to do with archaeology? Well, a lot and a little. After her performance in the 1966 sci-fi film Fantastic Voyage Welch signed a contract with 20th Century Fox and was then “loaned” to Hammer films for One Million Years B.C., a low-budget cave-person movie. In One Million Welch played Loana, probably best remembered for her fur-trimmed bikini, battles against Ray Harryhausen’s Dynamation dinosaurs, and settling conflicts between the Rock and Shell tribes.

Raquel Welch as the out-sized heroine of One Million Years B.C. (1966).

I’ve always been a big fan of Ray Harryhausen’s stop-motion creature effects, including greats like The Valley of Gwangi (1969), 20 Million Miles to Earth (1957), The 7^th Voyage of Sinbad (1958), Mysterious Island (1961), Jason and the Argonauts (1963), and many more. And yes, most archaeologists like dinosaurs, but cringe at the idea that archaeology has anything to do with them or that ancient humans ever even saw one—modern humans first appear around 300,000 years ago, about 65 million years after dinosaurs became extinct. A million years ago is solidly in the middle of the Pleistocene, a geological epoch that began around 2.5 million years ago. During the Pleistocene, we had lots of animals that you would recognize today—plenty of reptiles and birds and mammals—as well as megafauna like mastodons and mammoths, giant sloths, glyptodons, and more. We did have people, including Homo erectus.

So One Million Years B.C. gets a lot wrong. First, the idea of 1 million B.C. bugs me. B.C. means “before Christ,” though more people are moving to a version like BCE, which means “before the common or current era,” in other words the year 1 that our modern calendar has fixed as a starting point. So 1 million years B.C. is literally 1,000,000 years ago plus another 2,000 or so years. What’s 2,000 when we are talking millions?! I checked, and, perhaps not surprisingly, there were no scientific consultants on the film. Ray Harryhausen famously quipped that they weren’t making movies for scientists and doubted said scientists would go to see such films anyway (so wrong!). In her memoir, Raquel: Beyond the Cleavage, Welch talks about her own attempt to provide some notes to the film’s director Don Chaffey, but he wasn’t interested. What I didn’t know until recently, however, is that One Million Years B.C. is a remake of the 1940 film One Million B.C., which starred Victor Mature, Carole Landis, and Lon Chaney Jr. No Harryhausen effects there, however, there was a pig dressed in a Triceratops suit, lots of out-sized lizards, and even some animals more appropriate to the time like a woolly mammoth and an armadillo dressed as its megafauna ancestor Glyptodon.

This got me wondering what the earliest cave-people movie was, and led me to D.W. Griffith’s Man’s Genesis: A Psychological Comedy Founded on Darwin’s Theory of the Genesis of Man (1912). You can see some of the film on Youtube: https://www.youtube.com/watch?v=zQ3gaYbb38I. Griffith was involved in the production of the 1940 One Million, and all the films have some similar themes, namely conflict and sex. They don’t stop with the Raquel Welch version.

Peter Elliott is the go-to actor for non-human primates, including the titular role in 1988’s *Missing Link*.

One Million Years B.C. did pretty well at the box office, but it’s really just one film in a long line of cave-people movies. Both Charlie Chaplin and Buster Keaton made their versions, likely riffing on Man’s Genesis (Keaton invents golf in 1923’s Three Ages). A few years ago I challenged my Human Origins students to look at stereotypes about Neanderthals and they found the 1962 movie Eegah, which is sort of a mashup of 60’s beach party movies and the cave-people genre. The $15,000 budget may give you a sense of the film. Don Chaffey, the director of One Million Years B.C. revisited the genre in 1971 with Creatures the World Forgot (sans Raquel Welch, but with a very similar plot and movie poster!), and the 1980s has numerous entries with Ringo Starr’s comedy Caveman (1981), a defrosted Neanderthal in Iceman (1984), Rae Dawn Chong in Quest for Fire (1981), Daryl Hannah in The Clan of the Cave Bear (1986), based on the Jean M. Auel books, and even Peter Elliott (with narration by Michael Gambon) as the last Australopithecus in Missing Link (1988).

Ringo Starr and friends in 1981’s comedy *Caveman*.

Ringo Starr aside, Quest for Fire and The Clan of the Cave Bear are two of the best-known cave-people movies since Welch’s One Million. What’s interesting is that Quest was a box office success and garnered some critical acclaim, while Clan was a flop. Both lack dinosaurs, so that’s good. And, both explore a lot of the same themes that come up in these movies over and over—conflict between different species of humans, sex and love, and the role of technology in becoming human. Many of the critics noted that Quest had a lot of humor, either intended or not, and that’s perhaps part of the charm as film critic Roger Ebert noted. Archaeologists and anthropologists at the time were not so kind. Philip Leiberman, writing in the American Anthropologist, delivers a strident critique of the “primitive” languages developed by author Anthony Burgess for Quest, noting that, “Burgess just doesn’t seem to know anything about phonological studies, developmental studies of the acquisition of speech by children, psychoacoustic studies of speech perception,” etc. Owen Lovejoy, writing in Archaeology magazine, describes Quest as a disaster on several fronts, noting specifically that “critical human qualities such as kinship, economics, infant care, symbolism and religion, language, technology, and so on, are simply glossed over as though they appeared magically with the Upper Palaeolithic,” though he does appreciate the lack of dinosaurs. One important point that Lovejoy makes is that the film tries to be a serious attempt to depict the distant human past and that, perhaps, our inability as anthropologists to synthesize this for the public is what is lacking. Quest didn’t benefit from scientific advisors, beyond Burgess’s work to make the primitive languages and Desmond Morris’s work on animal behavior and vocalizations.

Rae Dawn Chong as Ika in *Quest for Fire*.

The cinema isn’t done with the cave-people genre yet. In 2008, 10,000 BC (again with the BC!) joined the ranks as a visually stunning epic that suffers from many past sins, including some serious anachronisms. I haven’t watched 10,000 BC, but it involves cave-people, Pleistocene fauna, as well as people riding horses and traveling in ships. The movie did pretty well at the box office. Reflecting on this genre of cave-people movies makes me realize that there is a lot of interest in the distant past, but, as Owen Lovejoy noted in his review of Quest for Fire, us anthropologists and archaeologist haven’t been so good at providing a compelling narrative. In fact, a lot of the interspecies conflict in these films can really be attributed to pervasive ideas in studies of human evolution that have emphasized different species based on very slight differences in skeletal anatomy. The more we learn, we find that Neanderthals and modern humans are very similar and shared genetics when they existed in the same place. Maybe Quest for Fire got that right? Godspeed Raquel.

Compare posters for Don Chaffey’s 1971 Creatures the World Forgot with the Raquel Welch classic One Million Years B.C., also directed by Chaffey for Hammer.

December 17, 2022December 18, 2022

Tsankawi

Following up on my September 7, 2022 post about our family visit to Arizona and New Mexico, specifically about hikes at Petroglyph National Monument in Albuquerque, I wanted to share another highlight: Bandolier National Monument. We learned a lot by visiting the National Park Service interpretive center and hiking through the amazing Ancestral Puebloan sites in Frijoles Canyon, including more petroglyphs, and cavates—expanded hollows in the volcanic rock that formed parts of living rooms and storage structures.

We got up early to drive from Jemez Springs to Santa Fe, allowing for a good visit to Bandolier. As we drove through Valles Caldera—another National Park Service site with tremendous cultural significance to Walatowa, the Pueblo of Jemez—we made a note that we needed to come back to explore on foot. Impressive deposits of obsidian and volcanic tuff lined parts of the highway in this area, a testament to the volcanic activity that produced the caldera some 1.25 million years ago. Part of our reason for the earlier departure was that the parking area at Frijoles Canyon fills up early, so we wanted to make sure we got in. It was worth it, as the recent rains had many desert plants in bloom amidst the Ancestral Pueblo ruins, culturally connected to many of the modern day Pueblo communities in both New Mexico and Arizona.

The deeply inscribed trail at Tsankawi, carved and worn into the soft volcanic rock of the mesa.

The rangers at the NPS interpretive center also recommended that we visit Tsankawi, another unit of the national monument and another Ancestral Pueblo, that we would pass on our way into Santa Fe—though it’s not particularly well marked or easy to find. We are grateful for this recommendation, as the hike through this largely unreconstructed Ancestral Pueblo had some amazing features. In Tewa the name for Tsankawi means “village between two canyons at the clump of sharp, round cacti.”

Ceramic sherds and an obsidian fragment on the surface of the Ancestral Pueblo Tsankawi. The only other visitors to the Pueblo reminded us not to take anything–we bonded over this moment.

Tsankawi is situated on another volcanic mesa and requires climbing some ladders to access much of the Ancestral Pueblo. Once on the mesa, visitors find the ruins of an ancient Pueblo village, more of the cavates like those in Frijoles Canyon, petroglyphs, as well as a deeply inscribed trail that leads along the top and sides of the mesa. This feature was what really captured my attention, because it was clearly an ancient feature of the place. Following the trail, it became clear that you were literally following in the footsteps of the Ancestral Pueblo people who once lived here and whose modern descendants live nearby in places like the Pueblo of San Ildefonso.

Perhaps not surprisingly, it was sherds of jet-black pottery from Tsankawi that archaeologist Edgar Lee Hewitt asked Maria and Julian Martinez to replicate for museum exhibits early in the twentieth century. Their experiments to replicate the pottery and then their own innovations launched Maria’s career as the famous potter of San Ildefonso Pueblo and the black-on-black pottery with shiny, abstract designs still sought after today. Early in Maria’s career, Peabody Institute staff member Carl Guthe worked with her to write Pueblo Pottery Making: A Study at the Village of San Ildefonso, published in 1924 by Yale University Press. This was part of Alfred Kidder’s broader Pecos Pueblo project—based out of the Peabody Institute from 1915 to 1929—and an acknowledgment of the connections between modern Pueblo communities and their ancestors. Guthe’s research also brought several of Maria and Julian’s pieces into the museum, including a marvelous platter and a rare demonstration set with examples of each stage in the manufacture of the black-on-black pottery. Several of these pieces are on loan to the Addison Gallery of American Art for an upcoming exhibit Women and Abstraction: 1741-Now.

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