BOOK REVIEW – “COMINGS AND GOINGS: 13,000 YEARS OF MIGRATIONS IN AND AROUND ROCK ART RANCH, NORTHEASTERN ARIZONA, PARTS 1 AND 2”:

It has been quite some time since RockArtBlog did a book review, but I have one for you this week. I was recently contacted by Bill Burkett, the Series Editor for the Arizona Archaeologist Series of volumes for the Arizona Archaeological Society. Their newest publication, “Comings and Goings: 13,000 Years of Migrations In and Around Rock Art Ranch, Northeastern Arizona” is a two volume set consisting of over 540 pages which covers all aspects of the archeology of the place in question, including the rock art that the ranch was named for. It is the report of archaeological surveys and work done at Rock Art Ranch, 20 miles southeast of Winslow, Arizona between 2010 and 2016, and it was well worth waiting for.

Front cover of volume 1, “Comings and Goings: 13,000 Years of Migrations In and Around Rock Art Ranch, Northeastern Arizona”, Arizona Archaeologist Series of volumes for the Arizona Archaeological Society.

“The volume is organized into five sections: background (Chapters 1 and 2), petroglyphs (Chapters 3 and 4), survey (Chapter 5), excavations (Chapters 6 and 7), and regional patterns (Chapters 8 to 10). Chapter 2 by Karen Adams, Susan Smith, and E.C. Adams summarizes the geology and the natural environment of the ranch. Darlene L. Brinkerhoff describes the petroglyphs in Chevelon Canyon in comparison to regional styles in Chapter 3, while Mairead K. Doery focuses on a significant central panel to imagine how it was used to manipulate social power in hunting and gathering groups in Chapter 4. Chapter 5 takes on the task of summarizing the data from survey to consider the striking patterns of changing land use through time expressed through sites and objects. Chapter 6 summarizes the excavations at Multi-Kiva Site. Chapter 7 summarizes excavations at Brandy’s Pueblo on the ranch. These summaries include those of architecture and material culture. The volume wraps up with three regional studies focused on the meaning and interrelationships among clusters of pueblos (Chapter 8), projectile points—focused on the preceramic era (Chapter 9), and ceramics (Chapter 10). All three highlight the one constant for the region—population movement. Chapter 11 provides some concluding thoughts and offers recommendations for future research.” (Adams 2023:18)

While this beautiful set does not focus primarily on rock art it has over 40 pages on the rock art of that area, predominately in chapters 3 and 4. I have so-called rock art books in my library that are smaller than that, and these volumes provide all of the in-depth data that goes with the rock art to help fit it into place, from the plant and animal resources, to cultural remains of the cultures that created it.

Figure 3.2c, Owl, Chevelon Canyon, photograph by Darlene

Brinkerhoff ; enhanced on the photograph by

Richard C. Lange.

Figure 3.9. Basketmaker Majestic Style, Chevelon Canyon, Repatinated glyphs (photographs by Chris Rhoads).

Fig. 3.12, Chevelon Canyon, Cinderella Panel, human/bearprint transformation,  (photograph by Rupestrian CyberServices).

In Chapter 3, “Chevelon Canyon and ‘The Steps’ Petroglyph Site at Rock Art Ranch,” subtitled “It’s All About Water – Life’s Blood Source” (pp. 39-67) Brinkerhoff wrote an in-depth analysis of that site.

“As non-Pueblo observers, we continue to call these etchings “petroglyphs,” “sites,” and other likely inappropriate names, and can only make inferences about their meanings. However, descendant communities offer the best interpretation of these enigmatic images. By themselves or in combination these symbols may indicate territory, clans, maps, food storage, water location, vision quests, hunting, seasons, ceremonies, altars, shrines, prayers, warfare, astronomy, proper balance in the universe, and probably metaphorical meanings. Serpents in Hopi are believed to bring about renewal and fertility in nature, including rain (Parsons 1939). Water serpent symbolism is widespread and are of religious significance in Aztec and Mayan cultures (Figure 3.17). Many other water icons such as waves, lightning zigzags, clouds, water birds, rake patterns, frogs and water serpents, which can be evident or metaphysical appear to be highly represented at The Steps. What appear to be water lines leading vertically down to the water source in various locations are frequently deep and heavily worn. These types of petroglyphs allude to rain and water and may have been invoked upon by later groups who passed this way. The physical location of the stone images on the landscape in the canyon were no doubt crucial to the people who made them. No doubt their placement, size, and associations were meaningful (see following chapter by Doery). The choice to place them in the canyon with a permanent stream and associated plants and animals is most significant as a referent.” (Brinkerhoff 2023:65) To a certain extent the proximity of rock art to water in arid regions is a function of the proximity of the people in those regions. We must be careful not to overthink that relationship.

Figure 4.2. Hidden access “steps” to the Herd panel at the Chevelon Steps; the panel is low on the cliff face to the left,

And in Chapter 4, “Accessing the Audience: An Interpretation of Panel Seven at The Steps” (pp. 69-82) by Doery offers a detailed discussion of concealed vs. public petroglyphs.

Figure 4.1. Petroglyphs from The Herd at the Chevelon Steps, some with repecking and grinding indicated by solid fill (figures not to scale).

Figure 4.4b. Concealed petroglyphs of The Herd, left of center, on horizontal surface.

“It is notable that the concealed petroglyph assemblage of The Herd displays significantly greater amounts of spiritual iconography than is found in the panel’s more visible areas. Geometric figures like those described above and sexed/gendered anthropomorphic figures are more common among the group of concealed assemblages—those that publicity analysis indicates required more power to view. It has long been established that landscapes containing watersheds, from which they first emerged, hold religious significance for the Hopi (Eggan 1994; Fewkes 1906). Given that a higher degree of geometric water signs and other forms of spiritual iconography are found in the concealed assemblage of this central panel, it is possible that The Herd plays a spiritual role in the lives of not only its canyon-wide audience, but its elite creators and modifiers.” (Doery 2023:81) Doery concluded that the petroglyphs designated “The Herd” and others in concealed locations were placed in those sites for spiritual purposes. Doery described the location of ‘The Herd’ panel as being placed in a difficult location. “Though all those with the ability to enter the canyon may have been able to view The Herd, accessing the panel was a much more restricted task. Given its extraordinarily high placement on the canyon walls, I faced initial difficulty in determining how The Herd’s creators (both those who made the petroglyphs, and those who repecked them) would have reached the panel.” (Doery 2023:72-3) It sounds to me as if ‘The Herd’ panel is not so much concealed as it would be apparently inaccessible.

In Chapter 11, “Summary and Conclusions,” (pp. 490-506) E. Charles Adams wrote a summation of the results of the ‘Petroglyph Project’ portion of the overall study.

“With support and permission from Brantley Baird additional research was conducted at The Steps Petroglyph site in 2018 a part of master’s thesis research by Mairead Poulin (Doery); (Poulin 2019). Results are summarized in Chapter 4. Her analysis supports the argument that access to the canyon and certain panels was restricted by leaders and/or religious specialists. This supports Brinkerhoff’s (Chapter 3) overview of the glyph styles and 11: Summary and Conclusions 505 distributions among nearly 3500 documented glyphs. Certainly, the breadth of elements, styles, contexts, and associations have only just begun to be explored. And beyond The Steps are many other petroglyph sites in the middle LCR in addition to intriguing relationships with sites in the Glen Canyon region of the Utah/Arizona border (McNeil and Shaul 2018).” (Adams 2013:504-5)

I love these volumes that analyze a culture in-depth, including the rock art. It allows us to forge a much deeper understanding of the culture and individuals that produced the rock art, and puts it in a detailed context. A high quality archaeological study that includes a look at the rock art. Congratulations to all persons involved in this magnificent effort.

This volume is available for purchase on Amazon. You can view it at https://www.amazon.com/Comings-Goings-Migrations-Northeastern-Arizona/dp/B0CCZWS1CH/ref=pd_vtp_h_pd_vtp_h_sccl_2/137-4279999-8817434?pd_rd_w=3eqaw&content-id=amzn1.sym.e16c7d1a-0497-4008-b7be-636e59b1dfaf&pf_rd_p=e16c7d1a-0497-4008-b7be-636e59b1dfaf&pf_rd_r=1T6DMPZWM7S8PXB3TPE2&pd_rd_wg=N7Tw7&pd_rd_r=532dc541-498b-4cc1-96fa-5dc339fe4481&pd_rd_i=B0CCZWS1CH&psc=1 

NOTE: I have not included citations to secondary sources in my Reference listing below. For the actual sources I suggest you access the volumes being herein reviewed.

REFERENCE:

Adams, E. Charles and Richard C. Lange (Editors), 2023, Comings and Goings: 13,000 Years of Migrations In and Around Rock Art Ranch, Northeastern Arizona, Parts 1 and 2 (Color edition), Arizona Archaeological Society, Number 45, 541 pages.