In August 2021, the Journal of Archaeology & Education’s editorial board met via Zoom to consider a policy regarding Institutional Review Board or IRB approvals for research published in the journal. The IRB originated with the passage of the National Research Act in 1974 after a series of congressional hearings on human-subjects research, but can trace its origins to research that lacked informed consent, like the Tuskegee Syphilis Study, which began in the 1930s.
The JAE board agreed that since studies involving assessment and other types of educational research would normally require at least a minimal review, we needed to have an explicit statement that alerted author’s to the need for IRB approvals prior to executing their studies. Shortly after the meeting the JAE policy website was amended to include the following guidance:
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.
IRB policies at journals in medicine, psychology, and other fields that rely heavily on human-subjects research are usually brief. We felt, however, that the JAE policy needed to provide extra guidance as archaeologists expand their research to encompass educational studies on the effectiveness of teaching, assessment, work with students, and more. If you have questions about the JAE policy or how it might apply to your research, please contact the editors Jeanne Moe or Ryan Wheeler.
Over Thanksgiving break, I was catching up on some news and saw an article that caught my eye – Smithsonian African American Museum Launches Online Interactive Access. First, a headline like that will always catch my attention. Second, it stirred a memory of an email exchange that I had with a registrar from the National Museum of African American History and Culture (NMAAHC) back in July.
The Peabody Institute is proud to have a handful of items on loan to the NMAAHC to tell the story of Lucy Foster, a free Black woman who lived here in Andover from 1771-1845. Lucy’s story is part of the Slavery and Freedom exhibition. This loan has been active since 2019 and will continue until at least early 2023 (and may be extended!).
A few months ago, a registrar from the NMAAHC asked for permission to include the items on loan from the Peabody in their new digital initiative, the Searchable Museum. The Searchable Museum offers rich interactive, digital experiences based on the NMAAHC’s inaugural exhibitions, historical collections, narratives, and educational resources. The Slavery and Freedom exhibition was the first to be developed as a digital experience. I gladly granted permission to include Lucy Foster and her story.
While I was excited to see items from the Peabody as part of this incredible resource, I was also quickly drawn into the rest of the content. I especially enjoyed learning about the Point of Pines Slave Cabin. In 2013, a team from NMAAHC traveled to Edisto Island, South Carolina and began the meticulous process of dismantling and relocating a cabin that had been occupied by Black families from the 1850s until the 1980s. The cabin is a vehicle to tell the story of the people who lived there, the power of land ownership, the architecture of slavery, and modern housing discrimination.
The Searchable Museum is well organized and information is presented in clear terms – I strongly recommend that you all check it out!
Last month we were happy to announce that the Peabody officially completed its collection inventory! Special recognition goes out to our previous Inventory Specialists John Bergman-McCool and Emily Hurley, our financial supporters, as well as our volunteers, work-duty students (past and present), and Peabody collection staff who’ve participated in inventorying the collections from 2017 to present.
Reflecting back on all the drawers I personally inventoried and rehoused, there was one particular item and site that I wanted to share. This item is a large, chipped stone knife from the Swamp site in North Reading, MA.
Item 42/6529 – One large, chipped stone knife from the Swamp site in North Reading, MA.
After looking through the Peabody’s accession file cards, I found more items from the same site consisting of various stone points, perforators, gouges, and knives. The most interesting discovery from my search was the location where these items were found. The land in which the Swamp site was located was at one point in time the location of the North Reading State Sanatorium.
Accession file card detailing the objects were found by Mr. Margerison at the North Reading Tuberculosis Hospital site and sold to Dr. Moorehead by Mr. Margerison’s son.
According to a 1933-1935 survey by the Council on Medical Education and Hospitals of the American Medical Association, the term “sanatorium” is an institution operating exclusively for the treatment of tuberculosis. Originally called the Martin’s Brook Sanatorium, the North Reading State Sanatorium was one of four hospitals in Massachusetts for patients with tuberculosis, opening in 1909. The property consisted of 23 structures on 87-acres of land, including a church and school.
During this time, tuberculosis (also known as consumption) was the leading cause of death in both the United States and worldwide, most prevalent amongst teens and adults under 40. Fresh air was considered one of the best ways to treat the disease and was one reason why the North Reading location was chosen for the sanatorium.
View of an open porch – a method of protecting porches by canvas curtains in stormy weather. John A. Fox, Architect. North Reading State Sanatorium, North Reading, MA. Image from the Tuberculosis hospital and sanatorium construction, written for the National Association for the Study and Prevention of Tuberculosis by Thomas Spees Carrington, 1911.
In her 2013 presentation, “The Martin’s Brook Sanatorium: The History of Care in North Reading and the Commonwealth,” Dr. Clarisse A. Poirier of Merrimack College shares that the earliest structures on the property had no walls in order to give patients plenty of fresh air. Canvas curtains would also be set up in colder weather in order to protect patients from the elements. In addition to the open porch design, the North Reading Sanatorium buildings were “lean-to” structures with a central interior sitting room that overlooked a wing of open porches on either side.
The “lean to” design of the North Reading Sanatorium structures. Image from the Tuberculosis hospital and sanatorium construction, written for the National Association for the Study and Prevention of Tuberculosis by Thomas Spees Carrington, 1911.
By 1926, the sanatorium became a facility solely for children with tuberculosis. Adult patients were moved from North Reading to other facilities at Lakeville, Rutland, and Westfield. By 1945, North Reading received children suffering from the rheumatic fever epidemic and in 1958 the facility received children suffering from any chronic diseases.
North Reading, MA State Tuberculosis Sanatorium West Ward, circa 1910 postcard
After the sanatorium closed in 1962, the property became the John T. Berry Rehabilitation Center until 1995. Part of the land was then sold in 2006 to Lincoln Properties and the other half in 2017 to Pulte Homes. From 2005 to 2008, the Public Archaeology Laboratory (PAL) completed archaeological data recovery programs for five ancient Native American sites located on the property. These projects were completed in advance of the business/residential properties that would later take over the 87-acres of land that once held the former North Reading Sanatorium and John T. Berry Rehabilitation Center. Today the site is now the location of the Edgewood Apartments and the Martin’s Landing Condominiums off of Lowell Road.
The John T. Berry Rehabilitation Center (also known as the JT Berry State School) 1962-1995. Photo courtesy of Asylum Projects.
The archaeological investigation yielded more than 14,000 items consisting of chipped and ground stone tools, knapping debris, fire pits, storage and trash pits, and rock clusters. The evidence identified that the site was pre-contact and used by Middle and Late Archaic populations about 8,000 to 3,000 years ago.
The items in the Peabody collection from this site were discovered by a Mr. Margerison and sold to Dr. Warren K. Moorehead by Mr. Margerison’s son before 1940. Perhaps Moorehead’s decision to obtain these items from the North Reading State Sanatorium site stemmed from his own battle with tuberculosis.
Moorehead had been diagnosed with tuberculosis in 1895. A year later he became associated with Robert S. Peabody, curating artifacts from various sites for Peabody’s personal collections. He moved to the east in 1898 to recover from his illness at Peabody’s cabin in Saranac Lake, New York. This was also the location of the Adirondack Cottage Sanatorium at Saranac Lake (also known as the “Cure Cottages”) established in 1884. Perhaps Moorehead spent some time here as well during his recovery.
What many do not know, is what was believed to be the cause of Moorehead’s illness. In 1888, Moorehead was involved in an excavation accident where a wall of earth collapsed on him in the excavation unit, burying him alive. According to an article in the Phillips Academy student newspaper, the Phillipian, Moorehead was paralyzed from the waist down for several days after the accident and he later developed a case of pulmonary tuberculosis as a result.
After his accident and development of tuberculosis, Moorehead eventually (with the help of his friend Robert S. Peabody) made his way to New England. By 1901, Moorehead arrived to the newly-founded Department of Archaeology at Phillips Academy in Andover, MA (now the Robert S. Peabody Institute of Archaeology), serving as curator, 1901-1924, and Director, 1924-1938 before his death in 1939. A private struggle for life by Moorehead, but none the less an extraordinary rebirth by the time of his curatorship at the Peabody at the beginning of the twentieth century.
The Peabody has a long history with the Society for American Archaeology (SAA), dating back to the origins of the society in the mid-1930s. Carl Guthe, who had served as Alfred Kidder’s assistant on excavations at Pecos Pueblo, organized the society in 1934 and the first meeting was held at Phillips Academy a year later. Connections between the Peabody and SAA continued throughout the twentieth century and still exist today.
In 2020, the Peabody and the SAA partnered to create a new award honoring individuals and organizations dedicated to archaeology and education. The Robert S. Peabody Institute of Archaeology Award for Archaeology and Education recognizes excellence of individuals or institutions in using archaeological methods, theory, and/or data to enliven, enrich, and enhance other disciplines, and to foster the community of archaeology education practitioners. The Peabody Award will spotlight these contributions and promote teaching ideas, exercises, activities, and methods across the educational spectrum, from K-12 through higher education and including public education broadly conceived. Diving with a Purpose was the inaugural award winner in 2021.
I’ve had the honor of helping to create the Peabody Award as chair of the SAA’s teaching awards subcommittee, and to help launch the Binford Family Award for Teaching Critical Thinking in Archaeology, which is new this year. The Binford Family Award encourages curriculum development with a deliberate focus on teaching critical thinking and scientific reasoning skills in archaeology courses at any level, to reward individuals or institutions that develop excellent examples of such curricula, and to promote the sharing of ideas and materials relating to these efforts.
Both the Peabody and Binford awards include a $1,000 prize. Nominations are open to both members and non-members of SAA, as well as those based in the United States or internationally. The nomination deadline is December 1, 2021.
Details about each award and how to make a nomination can be found on the SAA website:
The way the Peabody Institute is supporting collections-based research is changing.
We are committed to involving Native American and Indigenous nations, communities, and groups in research efforts involving collections held by the Peabody (archives, photographs, and items), including decision-making about the appropriateness of research activities and analysis. As of November 2021, consultation with an authorized tribal representative is a required part of any application for access to collections. This is consistent with the United Nations Declaration on the Rights of Indigenous Peoples (September 13, 2007), specifically Article 11, which states that:
Indigenous peoples have the right to practice and revitalize their cultural traditions and customs. This includes the right to maintain, protect and develop the past, present and future manifestations of their cultures, such as archaeological and historical sites, artefacts, designs, ceremonies, technologies and visual and performing arts and literature.
This approach stems from the Peabody Institute’s commitment to practice ethical management in all aspects of the Peabody’s collection, and our response to the UN Declaration, which requires member states to:
provide redress through effective mechanisms, which may include restitution, developed in conjunction with indigenous peoples, with respect to their cultural, intellectual, religious and spiritual property taken without their free, prior and informed consent or in violation of their laws, traditions and customs.
Preference will be given to research projects that are conducted by descendant communities or at the written request of those communities. The Peabody encourages researchers to foster their own relationship with geographically and culturally affiliated descendant communities. In cases where relationships have not been, or cannot be, established, the Peabody may assist with limited guidance on consultation on a case by case basis.
Researchers must submit a completed Collections Research Request Form to the Curator of Collections for evaluation. Non-invasive techniques including, but not limited to, 3D scanning, pXRF, and x-ray, as well as invasive techniques, including, but not limited to, radiocarbon dating, compositional analysis, DNA, and isotopic analysis require the completion of the Analysis Request Form.
Prior to consultation, the Peabody Institute is able to confirm or deny the presence of the requested information and respond to general questions about the proposed research material. In some cases, a list may be provided to the researcher to assist them in conducting an effective consultation. However, no direct access or detailed information will be shared without appropriate community authorization.
The Peabody Institute recognizes that this is a shift in traditional museum research access practices. Our goal is prioritize Indigenous voices in any use of Indigenous cultural heritage and to make certain that research is conducted collaboratively with descendant communities. All questions or comments can be sent to the Curator of Collections.
The Pueblo Revolt was a pivotal moment in the history of the Southwest region of what is now the United States.
In 1680 the numerous Pueblos unified under the leadership of Po’pay and fought back against the military, religious, and political incursion of the Spanish. This event is the only successful large scale Indigenous revolt against Europeans in North America, and as such is covered in History 201 at Phillips Academy.
While there are numerous accounts of the Revolt from a Spanish perspective, many academics agree that there are no known comparable accounts of the event from the perspective of the Pueblos.
But what are “comparable” sources anyway? Because there are Indigenous accounts from that time period and contemporaneous to the known Spanish accounts – They are just in the form of oral traditions. Unfortunately, oral traditions have historically not been treated as the same as written or archaeological evidence.
I wanted to change how our students interacted with material about the Pueblo Revolt and so I created a new lesson that gave more weight to the Pueblo experience, in their own words. And thankfully, Dr. Marisela Ramos, History Department Head was more than happy to let me use her classes to experiment and refine my lesson.
Jason Garcia ceramic in the Peabody’s collection
Artist Jason Garcia (Tewa name: Okuu Pin) has created numerous and stunning pieces related to the Pueblo Revolt using traditional comic book imagery, including a ceramic pot that is in the Peabody’s collection. He has also crafted a multi piece series of art titled Tewa Tales of Suspense!which continues his efforts to provide a counterpoint to the common Spanish-dominant narrative of the Pueblo Revolt.
Using a set of pictures from the expansive series, I crafted a lesson which engages students in close reading of the visual images to understanding this particular event in history.
After working in groups and spending time exploring the details of a single picture, students report back to the whole class about what information their picture is conveying, before working collaboratively to place all the images in chronological order. As the class orders the images, we discuss how the narrative of each single picture contributes to our understanding of the larger story of the Pueblo Revolt.
Then we look at quotes taken from a letter by Governor Don Antonio de Otermin and students attempt to match the quotes to the corresponding image.
We end the class with a discussion regarding the differences in how a single event is portrayed depending on the viewpoint and medium (visual narrative vs. written account) as well as why it is important that oral traditions be given the same authority as written documents.
This lesson has been an exciting way to engage students with the history of the Pueblo Revolt through comic book style art and I look forward to finding ways to refine and expand the activity.
Well, we did it. After about four years of focused work, the Peabody Institute collections team has finally completed the inventory project.
This project has been a labor of love (and frustration, and tears, and headaches…) over the years. And I am thrilled to share that the last drawer was inventoried last week!
The project was originally designed back in 2016 to gain full physical and intellectual control over the collection. We knew that the Peabody Institute was home to thousands of items that had not yet been cataloged and were therefore inaccessible to researchers, classes, and tribal partners.
Over the course of the project, we more than doubled the catalog records in our internal database, counted just over 500,000 individual items, and rehoused items from over 2,000 wooden drawers into archival boxes.
I considered linking to all the past blog posts about this project, but honestly, that got ridiculous pretty quickly! Instead, I will direct you here to find everything tagged as part of the reboxing project to learn more about our process.
A massive thank you must go out to everyone who was a part of this incredible project. This includes all Peabody Institute staff – including those who have had to move on over the years – our volunteers, and dozens of work duty students.
Our deepest appreciation also goes our financial supporters – the Oak River Foundation, the Abbot Academy Fund, and Les ’68 and Barbara Callahan for their generosity and support of the Peabody’s goal to improve the intellectual and physical control of the Institute’s collections.
Example of the sheer size of an earthen wall and the dangers of excavating and tunneling into mounds. Washout on the wall, west side of new fort, Station 363, Fort Ancient site, Ohio. Peabody Photo Collections, Plate IX
Originally, I was going to share a blog about tuberculosis and its connection to the Peabody collections, but when this story came up in my research, it was too interesting to set aside to wait another month! For those who are intrigued by how consumption is tied to the Peabody and its collections, you’ll have to wait in anticipation for another month.
I must first give special thanks to the Peabody’s independent researcher, Adam Way, who found this story in an article from the Phillips Academy student newspaper, the Phillipian. This was hours after I asked him to keep his eyes peeled for specific details about Moorehead. What a happy coincidence this find made for my research. Thank you again Adam!
During his excavations in the summer of 1888, Warren K. Moorehead was buried by a cave-in which almost cost him his life. To best share this story, I think it would be best for you to hear some of the story from W.K. Moorehead yourself!
After all, the fall season is upon us and where many believe Moorehead’s spirit lives on within the Peabody’s walls, I couldn’t think of a more appropriate time for him to share this near-death experience in his own words. Enjoy!
“Here a serious accident befell me… as I bent down to examine a small bone uncovered in the process of undermining, a mass of earth equal to several cartloads suddenly dropped from above.”
– W.K. Moorehead, Field Diary of an Archaeological Collector (1902)
As Moorehead bent down to examine the bone, the workmen climbed out of the unit to cut down the undermined wall of the mound. As a result, the wall of earth fell upon Moorehead burying him alive.
“The rush of wind it causes I well remember. My head and shoulders were somewhat higher than my legs, possibly a foot. The feet were spread apart. There was little pain, only pressure, intense pressure. It forced the buttons of my light field costume partly inside the flesh; my watch-chain left a bright-red mark along my left side. I could feel the watch strongly pressed against two ribs (these were broken.) The skin over my forehead seemed being cut, but it was the pressure of my hat forcing the flesh between the laced straws. A knife in my pocket seemed burningly hot. Just under the small of my back lay a large clod. The pain at the point of contact was considerable at times, and my spinal column seemed slowly breaking. Then the pain stopped and I could feel nothing.”
– W. K. Moorehead, Buried Alive – One’s Sensations and Thoughts (1893)
Throughout this entire experience, Moorehead described being unable to move, unable to breathe, unable to even wink. He recounts how hot the earth was against his face as the pressure of the earth forced his last breath. The workmen said it took a minute or more to reach his head.
“I felt the earth move slightly above my head. That gave me hope. I had not thought much of rescue, but I gathered my remaining strength. A shovel passed across the top of my head, cutting the scalp; I remember feeling it as if a hot iron had struck me. Then they uncovered my head and removed the earth from my mouth and eyes.”
– W.K. Moorehead, Ibid.
After he had been removed, he was partially paralyzed for several days. An article in the Phillips Academy student newspaper, The Phillipian, stated that Moorehead was paralyzed for five to six weeks and later, at the order of a spinal expert, he was placed in a straightjacket to put the weight of his upper body on to his hips to relieve his spine.
“I neglected to state that the earth above my head was about three feet thick, that over my legs was much deeper. Many persons buried in gravel pits and in earth not nearly so deep have been taken out dead.”
– W. K. Moorehead, Buried Alive – One’s Sensations and Thoughts (1893)
The physical effects were quite severe, but it was the effects of the accident on Moorehead’s mind that remained with him throughout the rest of his life. Dreams of caving banks and recurring memories of the accident haunted Moorehead’s psyche.
“I cannot now enter a mine or cave, or stand near an overhanging bank without a feeling of horror.”
– W.K. Moorehead, Field Diary of an Archaeological Collector (1902)
The results of this accident continued to echo throughout Moorehead’s later life, affecting his mind and his health. In my next blog these echoes will be revealed.
For more information about this story, please visit the following sources.
We are pleased to announce that the Peabody has installed an interactive artwork by Jonny Yates (aka Jonny White Bull). Jonny is a member of the Standing Rock Sioux Tribe and lives in McLaughlin, South Dakota. He is a talented jewelry maker, stylist, and chef, known for his own version of burger dogs, nachos with homemade chips, and other delicacies.
The piece, titled lalá, or grandfather, in the Lakota language, is a reference to Jonny’s ancestor Sitting Bull, who is depicted here. Jonny is the consummate “maker,” who loves creating carved and painted bone jewelry, drawings, and three-dimensional pieces made from cardboard, milk jugs, and other found materials.
Jonny invites everyone to spin his kinetic artwork and reflect on your own ancestors. You can find lalá in the Hornblower Gallery on the first floor of the Peabody.
CONTEMPORARY ART AT THE PEABODY
Jonny Yate’s piece joins a small but growing collection of contemporary Native art at the Peabody. When possible, the Peabody has purchased and commissioned artwork from Native artists with the support of donors and members of the Peabody Advisory Community. Artists with work in the collection include Dominique Toya, Maxine Toya, Bessie Yepa, Jeremy Frey, and Jason Garcia. These artists highlight some of the unique relationships that have developed between the Peabody and Native artists over the years. As an example, the Andover community has been fortunate to have several visits by Pueblo potters Dominique, Maxine, and Mia Toya over the years. During these visits, the Toyas share traditional pottery methods with students in Thayer Zaeder’s ceramics classes. They are very talented artists and quite passionate educators. You can read more about their most recent visit here.
Contemporary art in the Peabody Collection. From upper left: Jason Garcia, Jeremy Frey, Maxine Toya, Dominique Toya, and Bessie Yepa.
THE INSTALL
Hanging Jonny’s kinetic artwork presented a unique challenge; how could we make the piece available for a hands-on experience for students and visitors while keeping it safely installed. Research institutions, such as the Peabody, do not normally put collections on display, so we carefully considered our options. We chose to use cleats to secure the piece to the wall and a makeshift security clip to keep the piece from sliding out of the cleat. In place of a detailed narrative of the installation process, here are a series of photos of how we chose to approach the process. We hope you come by sometime and experience it for yourself.
lalá arrived hanging in a travel case
Access to the back was necessary for adding hanging hardware. The piece was safely removed before cutting a hole in the travel case, it was then re-hung.
Cleats were installed on the back top and bottom.
A receiving cleat was anchored to the drywall to secure the artwork.
Security clip (screw and washer) ensures that the artwork won’t slip off the receiving cleat while being spun.
The return to in-person classes means that this fall’s Human Origins includes many of the hands-on project-based assignments that have become a hallmark of the course.
Makerspace guru Claudia Wessner introduces Human Origins students to 3D printing.
Students in Human Origins—an interdisciplinary science elective—visited with Claudia Wessner, Oliver Wendell Holmes Library Makerspace guru—who introduced the class to our hominin 3D printing project, including different 3D printing technologies, some of the ways that archaeologists use 3D printing and scanning, and Virtual Reality (VR) technology. Ms. Wessner also showed students how to use the Makerspace 3D printers for their projects.
An assortment of 3D hominin prints.
Each project team will select a fossil hominin to 3D print in the Makerspace. Hominins are humans and their close extinct ancestors, including fossils dating back about 6 to 7 million years ago. Students will present their scaled prints, along with basic info on the fossil, during class in a few weeks. This project was inspired by the inclusion of 3D scans of Homo naledi in Morphosource, a database of 3D scans of fossils and biological specimens hosted by Duke University. Since the Homo naledi scans were made available in 2015, many additional fossil scans have been added, including other hominins.
CT scan of a Neanderthal from Duke University’s Morphosource databank.
During our September 2021 visit to the Makerspace, Ms. Wessner introduced us to Nefertari: Journey to Eternity-A Tombscale VR Experience. VR technology uses a headset interface so users can experience a virtual world, in this case an Egyptian tomb that has been scanned and recreated. We also discussed The Dawn of Art, Google’s VR version of Chauvet Cave in France, featuring some of the world’s oldest cave paintings.
Human Origins students got to explore Nefertari’s tomb in VR or Virtual Reality.
The Peabody 