william d. hyder and dorothy bohntinsky · william d. hyder and dorothy bohntinsky thirty-one years...

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RitualandRockArtinBasketmakerCeremonies:ButlerWashRevisitedWilliamD.HyderandDorothyBohntinsky

Thirty-oneyearsago,WilliamStrangeintroducedpoetryintorockartstudiesat

theAmericanRockArtResearchAssociationconferenceinSantaBarbara,California.Strangecontendedthatinterpretationrequiredalayered,textured,andcomplementaryblendofvoicesalignedtotellacoherentstory.InspiredbyStrange’sabilitytoseeanewwithoutblindersimposedbycurrentcanon,WilliamD.Hyder(2002)exploredselectedBasketmakersitesinUtah’sGrandGulchthroughthelensofRappaport’s(1999)theoryofritualandhumanity.

AccordingtoHustonSmith,renownauthorityonworldreligions,Rappaport’s

“breakthroughbookontheacademicstudyofreligion”arguesthat“religion[andritual]hasbeencentraltoevolutionsincethehumanspeciesappearedandwillcontinuetobecentraltoanyculturaladvancewemayachievefromthistimeforward”(Smith2001:157).Interpretativeapproachestorockarthaveevolvedoverthepast200years,sometimesinsynchwithandoftenincontrasttoevolutionaryadvancesinanthropologicalandarchaeologicaltheory.Popularthemes—huntingmagic,artforart’ssake,animism,semioticanalysis,landscapetheory,archaeoastronomy,andshamanismtonameafew—oscillatebetweenscientificrigorandthecreativityofpostmodernhumanism.

DorothyBohntinskyexpressesmanyofherperceptionsandinterpretive

explorationsofrockartthroughthecreativecadenceofpoetry.“Herpoeticofferingstorockartblendtogetherherworkasaspeechlanguagepathologist,doctoraltrainingandordinationininterfaithdivinity,herroleasawifeandparent,andherexperiencesasahealeraroundloss”(HyderandBohntinsky2016:4).

Mostoftenweseeasiteinpieces;rarelyasawholebecauseweknowsolittleabouttheartistsandtheirinspirations.Andwewouldaddthatweoftenknowsolittleaboutourownselvesandwhatigniteshunches.

In2002,Hyderproposedthat“[t]akingamoregeneralapproachbasedonthe

natureandfunctionofritualallowsonetoexplorehowrockartassumesitsrolewithinceremony,howitacquiresandcommunicatessymbolicinformation,andwhyitevolveswithsocialchange.Thefocusonritualalsoemphasizestheimportanceofthearchaeologicalcontextwhenethnographicinformationislacking.Rockarttakesitsmeaningfromtheritualsorothersocialcontextsassociatedwithitscreation;meaningisnotinherentinthesymbolsthemselves”(2002:44).

Schødt(1986)contendsthatitisimpossibletoexploremeaningwith

meaningfulness(speakingspecificallytoreligiousmeaning)intheabsenceof

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appropriateculturalethnographyorculturalanalogs.Lewis-Williams(2001),ontheotherhand,concludesthatfocusedpolysemyandmultivocalitycanmoveusforwardinourquestformeaning.Sohowcanweavoidthepessimismoftheimpossibilityofknowingandembracethepromiseoffindingrelevantvoicestoexploremeaning?

Whatmighthappenifanarchaeologistwithexpertiseinrockartandaspeech

languagepathologistwithexpertiseinimprovingcognitionandcommunicationandadoctorateofministryandordinationinmulti-denominationaldivinitycombinedtheirexperiencestoexploremeaning?Whilewritingandproducingabookaboutbeingengagedwithrockartthroughessay,poetry,andphotography(HyderandBohntinsky2016),wediscoveredthatsuchlayeringofexpertiseoffersaformofevidence-basedpracticethattakesintoaccount1)bestevidencefromresearch2)expertise3)resourcesand4)theneedsandperceptionsofthesubject.

Ourapproachenhancesobservationandexpandsinsightinordertogenerate

themostoptimalquestionsandaggregateevidenceregardlessofthefieldofpractice.WethenengagedinwhatIndologistscallrationalinquiry,andJohannesBronkhorstdefinesasincludinga"systemofrationaldebate,linkedtoasystematicattempttomakesenseoftheworldandourplaceit.Thisprimarilyinvolvesfreeanduninhibiteddiscussionofallissues,evenintheareasthatmightencroachuponothersourcesofauthority,suchastradition,revelation,orinsight"(Wallace2007:83).

Wecametounderstandthismethodofinvestigationasaformofalignment.This

inspiredustoexplorethepossibilitythatsuchanalignmentcouldbuildonourcombinedexperiencesofbeingengagedwithrockart.Weexploredselectedsitesinafocusedattempttoalignscientificobservationsandclinicalknowledgewiththepoeticvoiceofmulti-denominationaldivinity.Mightthisbeoneformofmultivocality?

ButlerWash

Weselected2sitestotestourprocess:theBigKachinaPanelandtheProcessionPanellocatedalongButlerWashnearBluff,Utah.Botharewellknowntorockartenthusiasts.TheformerisconsideredapremierexampleoftheSanJuanBasketmakerIIstyledatingtoapproximately500B.C.toA.D.500,whilethelatterisgenerallyconsideredtobeBasketmakerIII/PuebloIaroundA.D.700orlater(Robins1997).TheBigKachinaPanelisrecognizedasanexampleofshamanisticthemesinBasketmakerrockart(Schaafsma1980,1994),ethnicsignalingatresidentialfarminglocations(Robins1997),orceremonialiconography(Hyder2002).TheProcessionPanelisanoutstandingexampleofprocessionfiguresrecognizedascommontotheChinleRepresentationalStyleoftheBMIII/PIperiod(RobinsandHays-Gilpin2000).

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Schaafsma(1980:114)citestheBigKachinaandassociatedpetroglyphpanelslocatedalongthebanksoftheSanJuanRiverateithersideofthemouthofButlerWashas“spectaculardisplays”oftheSanJuanAnthropomorphic(SJA)style.Thedramaticappearance,sharpcontrastcreatedbythedesertpatina,andriverlocationaddtothesite’smystique.Yet,asFramer(1992)notes,about80percentormoreoftheSJArockartsitesarepainted.FewotherexamplesofSJApetroglyphpanelsareknownbesidesthosefoundalongthisstretchoftheSanJuanRiver.Visitorstodayarestruckbythepowerofthefiguresastheygazeupwardfromtheirvantagepointsatthebaseofthecliff.Yet,thatisnothowtheyweremeanttobeseen.

Ihadonceimaginedlisteningforanswerswhilesittingcross-leggedfarbeneaththesefigures.Thenyouexplainedhowthelandscapechanged,oncealluvialfieldsthatplacedthemateyelevel.So,dreamingaboutflyingIroseaboveinordertocometotheseimagesface-to-face. Indigenousritualisoftenactiveparticipationwhilemodernritualinvolvesapassiveaudienceforchoirs,sermons,sacredtext,andprayer.WhatwouldhappenifIalignedmymindtoinvitethevisualperceptionofaction?ThatishowIcametoseeitdifferently.Thebigonesinfrontwiththesmallonesbehindbroughtforthanewdimensionofperception.Suddenly,Inolongersawtheminstaticposeeachdecoratedimageseparateanddistinct.Aligneduponanimaginarywavyplanetheysuddenlymovedintoanewformation.Theretheyare,activefiguresmovingforwardinaprocessioncomingoutofthefaceofrock.ItriedtoreturntoseeingthispanelasifIwastheaudienceobservingancientartfrozenintime.ButnowIcouldonlyseetheeternalmovementofthesepeopleproceedingforward.Ishowedanotherwhothenexperiencedthesame.AndnowIwonderifIwilleverseeinertiaagain.Orwillrockartnowbringtomindritualinaction?

Visitorstypicallyapproachthepanelstodayfromtheriverorbyfour-wheel

drivealongthenarrownorthernbankoftheSanJuan.Approachingonfoot,theriverstilllimitsone’sabilitytoviewthepanel.Theriver,however,haschangeditscourseoverthepast2,000years,creatinganderodingalluvialfansasitflows

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throughitswidechannelbeforereachingthemeanderingconfinesoftheMonumentUpwarp(AtonandMcPherson2000).Farupstream,theNavajoDamlimitsandcontrolstheriverbehaviorthatweexperiencetoday.Attheendofthe1800s,wewouldhavestoodonabroadalluvialfloodplainclosertoeyelevelwiththeButlerWashpanels.

Robins(1997)proposesthealluvialflansupportedextensivesubirrigatedfields

thatanchoredBasketmakersubsistencestrategiesintheregion.ANavajofarmer,JimJoe,isreportedtohavebeengrowing10to12tonsofcornatthemouthofButlerWashin1904(AtonandMcPherson2000:85).WedoubttheBasketmakerwereeverthatproductive,butrecenthistorydemonstratesthepotentialofthesiteasasignificantplaceforBasketmakeragriculturalefforts.WhetherothersiteattributestypicallyfoundassociatedwithSJArocksuchashabitationevidence,storagecysts,andburialswerepresentcannotbeknownbecausethefloodingthatcreatedaggradinganddegradingeventswouldhavewashedawaymostofthearchaeologicalevidence.

TheProcessionPanelsiteisdifferent.Itbecamepopularwiththeintroductionof

hikingguidesandthegeneralgrowthinthereputationofCedarMesaandButlerWashasarockartdestination.Thepanel,firstdescribedinprintbyManning(1992),appearstodaymuchasitdidatthetimeofitscreationapproximately1,300yearsago.LocatednearthecrestofCombRidge,about10milesabovethemouthofButlerWash,theariddrawinwhichitisfoundofferslittletoattractattentionorhabitation.

SmallcliffdwellingsandotherPueblositesarehiddeninotherfoldsanderoded

channelsinthesandstonespinethatseparatesCedarMesafromtheNorthernSanJuanlandstotheeast.HandandtoeholdsextendingdownthewesternfaceofCombRidgeindicatethattheProcessionravinewasonepointofcrossing.Seeminglyrandomplacementsofpetroglyphsnearbyinassociationwithwhatmighthavebeenrectangular,low-walleddefinedspacesalonganopenclifffaceleadingtothesitearesuggestiveofprayerseatsorherradurassometimesfoundinassociationwithritualroads(McPherson2009:52).ShrineshiddenonandamongdistinctiveoutcropsalongtheCombsuggestthatsomesitesmightwellberitualdestinationsmuchastoday’shikersmaketheirownpilgrimagestothesesites.

Doesthelandholdtheentirestorywithineachgrain?Ifwearemadeofthedustoftheearth,isthecommondenominatorwhatweingest?Doeswatercombinedwithsoilandseednurtureourspiritalongwithourbodythroughnutrientsandunspokenmemories?Iamgladthat,eventhoughjustforamoment,IwasbarefootattheProcessionPanel.

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TheKachinaPanelsThestarkcontrastofthelightlypatinatedexposedsandstonesubstratewiththe

blue-blackdesertvarnishcommandsourattention.Thereare,however,otherequallydramaticpanelsthatlackorhavelostthedarkervarnishrindandthereforeattractlessattention.Insomeinstances,distinguishingonepanelfromanotherisanarbitraryexerciseofthepresentdayrecorder.Inotherinstances,naturalfeaturescreategapsthatwouldseemtoindicateactuallociofdifferentartisticefforts.Wasthereonepointoffocusinthepastordodifferentpanelsrepresentshiftinglociofceremonialinterestoractivitiesovertime?

Figure 1: Panel 1 at the Lower Butler Wash rock art panel.

Panel1atthepopularraftlandingalongtheSanJuanRiveratButlerWash

measuresapproximately12meterslongby2metershigh.ImagerystretchesfromtheArchaictoPuebloperiods,butthevisuallydominateelementsareprimarilyBasketmaker,thelargestalmosttwometershigh.WesingledouttheBasketmakerimageryinourdrawingincluding18anthropomorphsofvaryingsizeswithinterspersedceremonialobjects.Althoughshownasasingleimage,variouselementsmaypredateorpostdateourfocusonthedistinctiveanthropomorphs.Sixfiguresaredefinitelymaleasindicatedbythepresenceofgenitalia.Allbuttwofigureshavesomeformofheaddressandallarefacingtheviewer.

Figure 2: Panel 2 at the Lower Butler Wash rock art panel.

Panel2includes31anthropomorphs,afewobviouslymale,butthedeterioratedsurfaceanddenseroccurrenceofoverlappingimagesmakeitmoredifficulttocleanlyseparatetherelevantBasketmakerimages.Thepanelmeasuresapproximately9meterlongby1.5metershigh.Athoroughrecordingoftheareawouldincludemorepanelsofvaryingsizes,butthesetwopanelsaresufficienttoillustratetheSJAstylepetroglyphsfoundaroundthemouthofButlerWash.

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Robbins(1997)identifiedthemouthofButlerWashasthesiteofregional

ceremoniesbasedontheassociationoflargeSJApanelswithproductiveagriculturalsitesaswellasthedifferentialdistributionofdistinctiveheaddressesonthelargeanthropomorphicfigures.Afterfurtherconsideration,herefinedhisinterpretativeschemebyinvokingHayden’s(1998)frameworkofcompetitivefeasting,aggrandizingheadmen,andprestigetechnologies.Towit,dynamicindividualsusedexcessagriculturalproductiontoenhancetheirwealthandpowerovertheirownandnearbycommunities.

WhilesomeBasketmakerburialsexhibitdifferencesingravegoodsthatindicate

adegreeofwealthorelitestatus(GumermanandDean1989:113),wearguethatthereislittleevidenceofsufficientquantitiesoftradeitemsthatwouldberecognizeddefinitivelyasprestigegoods.Indeed,GumermanandDean(1989:112)findlittleevidencefor“higherlevelsofceremonialorganizationthatdevelopedlateron.”

Prestigegoodsallowagriculturalsurplusthatwouldotherwiserequiredefensiblestoragetobetransformedintomoremobileformsofwealth.Robinsasksiftherockartpanelsmightclassifyasprestigeitems,butHayden(1998:16)mostlyviewsrockartassomethingusedinritualcontextsmeanttobindmembersofalliancescoveringlargeareas.“[T]heyarelowinfrequencyand/orcostandcertainlydidnotinvolvemajoramountsofgroupsurplusesandwerenotpredicatedonsurplus-basedcompetition.”

Robins(2002:392)revisedhisproposalthatdistinctiveheadgearisanemblematicindicatorofsocialboundariesandinsteadproposesthattheyarerelatedtoritualwarfareandscalping(sensuFarmer1997).Evidenceofscalping,full-headscalps,andapparenttrophyheadsinrockartsupporttheproposition.Hyder(2002),however,proposesanalternativeinterpretation:themountedhumanscalpsandsimilarlymountedbirdskinsareindicatorsofasocietyorcult(cf.HowardandJanetski1992:131).Theevidencecansupporteitherinterpretation.

Wetherill’sCave7,locatedinWhiskersDrawnotfarnorthofButlerWash(Hurst

andTurner1993),isoftencitedasevidenceforBasketmakerwarfareandscalping.HurstandTurner(1993:171)concludethattheburialsweretheresultofamassacre:“Thefirststratigraphically-identifiedBasketmakershadbeenmassivelybeaten,mutilated,scalped,andprobablytortured.”RobinsrightfullydrawsonthelocalevidencetobuildhisproposedcompetitiveheadmanmodelandtheprevalenceofviolentexpressionsofpowerinBasketmakersociety.TheimportanceoftherediscoveredCave7moveditfromobscuritytoprominenceinachangingviewofBasketmakersocialrelationsandthepredominanceofviolentconflict.

Are-assessmentofCave7burialsbasedonstableisotopeanalysisand

acceleratorradiocarbondatingdemonstratestheburialswerenottheresultofamassacre.Instead,theywereinterredoveraperiodof500years(Coltrain,etal.

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2012).“Parsimonydictatesthatratherthanasingle,anomalousmassacre,violentdeathsamongCave7burialsaremorereasonablyattributedtoepisodicactsofviolencebetweenalliedmales…(ibid.2229).”RatherthanchangingourassumptionsaboutthenatureofBasketmakersocialorganization,Cave7appearstobeconsistentwithGumermanandDean’s(1989)propositionthatsocialrelationsweremarkedbyepisodesofcooperationandconflictinresponsetolocalizedenvironmentalextremes.

Evidenceforproposedcompetitivefeastingsites,asnotedaboveforthemouthofButlerWash,wouldhavelongsincedisappearedowingtotherepeatedepisodesoferosionandaggradationatthemostlikelyproductiveagriculturallocations.EvidencefromCave7isweakerthanhasbeenassumed,butitdoessupport“competitivesocialdifferentiationlikelyheightenedduringperiodsofresourceshortfallleadingtointra-groupconflict,raiding,andperhapsritualizedactsofviolence(Coltrain,etal.2012:2220).”WhilenotrejectingRobins’proposed“bigman”competitionmodeloutofhand,wecanresolvethelackofevidenceandambiguousdatabyturningtothemoregeneralmodelofritualactivityasproposedbyHyder(2002).

DevelopingBasketmakerfamily-basedsocialgroupsreliedonadaptingamaize

agriculturesubsistencestrategyastheymovedintomarginalenvironmentsintheSanJuanregionoftheSouthwest.Whileweknowlittleoftheiractualroots,wecanassumetheyconfrontedtheproblemsofenvironmentalstress,resourceconflicts,andepisodicintra-groupviolencewithritualsdesignedtoreducetheimpactsofconflictandtoenhanceethnicsimilaritiesthatboundthemasanemergingculturalidentity."AccordingtoHarveyWhitehouse,theesteemedOxfordanthropologist,ritualsarethe‘gluethatholdsocialgroupstogether.’Evenmicrocosmsappeartoexhibitritualbehaviorsasawaytotransmitinformationandknowledge....Ritualscreateaprimitiveformofunityconsciousness,whereallofthebrainsinagroupbegintofireinsimilarways.Theyallowustolosethedistinctionbetweenselfandotherandfeelanintenseonenessorconnectionstoeverything”(NewbergandWaldman2016:227).

Ignitedbysensationswithintheabsenceofjudgment,Ithinkofthatstateofbeingwhereconcernsdisappearintosomedelicateflameofintimatecontentment.CanIreturntherebytakinginartfromthisperspectiveofintimacy?So,Itrieditwhilegazinguponmyownpaintingshanginguponmyownwalls;one'sowncreationsoftenthemostdifficultnottojudge.Suddenly,Inolongersawindividualdetailsbutenteredintooneandthenanothermuchdifferently.ThisishowIbegantounderstandritualmoredeeply;whensomethingisengagedintheabsenceofthevocabularyofjudgmentandcriticism.

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Suddenly,theordinarythathassurroundedmefordecadesbecameextraordinaryassomethingnewclickedin.Itisbeyondmerelyengagingsomeelement,beitorganicorinorganic,butasifsomethinginmebecamealignedwithit.Thatiswhenanewthoughtcametome:alliance.

RobinsidentifiesimportantelementsintheButlerWashpanels.Thedistinctive

anthropomorphsandtheirheadgearlikelyrepresenthistoricallysignificantindividualsrepresentingalliedfamilygroups.Weacceptthattheytravelledrelativelygreatdistancesforthetimetogatherataplaceofextraordinaryresourceproductivityforceremonialactivities.Whatroledoestherockartplay?Indocumentingrituals,rockartservestodistinguishordinaryspacefromextraordinaryspace(Rappaport1999:210).

TheevolutionofRobins’thinkingdemonstratesthedifficultywithrockart

interpretation.Seeminglypowerfulanthropologicalmodelsoftensuccumbtoproblemswithfuzzyevidence.Canweevaluatethevalidityofoneinterpretationoveranotherwhenrelyingonweakandambiguousdata?Amoregeneralizedmodel—inourcaseonebasedonritual—intheabsenceofspecificethnographicorotherreliablephysicalevidencehelpsusunderstandthemultitudeofwaysrockartmightfunctionwithinasocietyregardlessofwhichinterpretativestoryoneprefers.

StartingwithRobins’suppositionthatthemouthofButlerWashwasaproductiveagriculturalareasupportingperiodicfeastsbringingtogetherwidelyspreadgroups,howmightwere-conceptualizetherockart?Ifritualdistinguishesordinaryspacefromextraordinaryspace,thenwecanviewthepanelswiththelarge,distinctiveanthropomorphsasrecordsofritualsperformedduringfeasts.Ritualplaysaroleinsocietytoreduceconflictandsupportinter-andintra-groupcohesion.Whenviewedanew,thepanelsrepresentritualparticipantsmarchingtowardstheviewer,closeractorslarger,moredistantactorssmaller.Inourconception,thepanelsatfirstdocumentactionandintimecommemorateactionbeforeevolvingintoanactive,mythicbackdropforfutureceremonies.

Seeingthefiguresinactionandmovingforwardmaybesimilartovisual

interpretationbasedonfigure/groundsegregationexplainedbyBruceBridgeman(2003).Hediscussesartistic"tricks"wheredoubleinterpretationsexistand“[t]heperceptionisbistable,witheachalternativesuppressingtheother;onlyonesolutionisallowedatatime."Nottogointohowthishappens,itmaybeimportanttonotethatwhenitdoeshappen"theimagepropertiesreactwithinternalcuesofvisualanalysistoyieldtheperception."Inorderforthiskindofvisualinterpretationtooccur,thevisualimages"mustallworksimultaneouslyinparallel"(Bridgeman2003:258-261).While,wecanneverknowifthisbistableperceptionoftheBigKachinapanelwascreatedpurposely,figure/groundsegregationdoesexist.

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Thelinesweresomuchdeeperwhenpeckedoutamillenniumago.Thelanguageandritualpracticesoftheartistsocleartotheaudiencethenhavefewabsolutesnow.Yet,theremustbesomethingveryuniversalbecauseIlongtotouchthisevenmorenowthatyouhaveraisedsuchquestions.Thistakesmetoanotherquestion.Doesthisarttransportmetoaplaceofartisticthoughtwherereasonbowstocreativeimaginationthroughthesenses?AmIsuddenlywithinavirtualrealitywheremysterysilencesvocabulary,makinginsightandanalysisneedless?Whatdoesitmeantoexplorerockartthisway?AmIencouragingmymindtobecomecreative?

TheProcessionPanel

TheProcessionPanelissituatedonapatinatedverticalsurfacenearthetopend

ofanimpressivesheercliffthatdefinesthenorthernflankofthedrawleadingtothepanel.Thepanel’slocationaffordsaviewtoboththeeasternandwesternexpansesdemarcatedbyCombRidge.TheactualpathcrossingtheCombsitswellbelowthepanelinthedrawandissymbolicallydefinedbyhandandtoeholdsleadingupthewesternfaceoftheCombandalineofhandandtoeholdsrunningalongahorizontalstretchofslickrocknearthemouthofthedrawleadingtothesitefromtheeast.OthersymbolicpathshavebeenrecordedelsewhereinButlerWash(McPherson2009:51).Thesenon-rockartfeaturesemphasizetheapparentimportanceofprocessionimageryandceremonialpathsor(later)roads.

TheProcessionPanelextendsapproximately7metersateye-levelacrossthe

northernwalloftheravine.Standingatthepanel,onelooksdownintothefloorofthedrawwheretravelerswouldhaveactuallywalked.Thepanelwouldnothavebeenvisibleunlessthevisitorsmadetheefforttoclimbuptoseethepanel.Approximately200figuresapproachalargecirclefromtheeast,west,andsouth.Otheranthropomorphsandzoomorphsapproachfromthelowersoutheasternquadrant.Howthelaterfiguresrelatetotheprocessionthemeandwhethertheyarecontemporaneousisworthyoffurtherdiscussion.Groundpitsatdistinctivepointsonthesefigurescanbefoundonselectedpanelsthroughouttheregionandlikelyindicatealaterceremonialre-useoftherockart.

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Figure 3: Procession Panel.

EnvironmentalchangesinthecenturiesthatfellbetweentheBigKachinaandProcessionPanelforcedtheBasketmakerstofurtherrefinetheirrelianceonagriculture.Theproductivealluvialfanserodedandfarmersmovedawayfromtheriverastheyselectedseedcornbetteradaptedtodryframingandincreasedtheirrelianceonhunting,bolsteredbythemoreefficientbowandarrowtechnology.Beansandpotteryintroducedanothersourceofproteinintotheirdiet.Familiesgatheredintorudimentaryhamletsthatrequiredthemtodevelopnewleadershiphierarchiesaslocalpopulationdensitiesincreased.Inadditiontotechnologicaladvances,somelargerhamletsorlocalcommunitiesbuiltlargecommunalstructuressuchasdancecirclesandproto-greatkivas.

Currentthoughtsupposesthecreationofnewritualschangingthefocusfrom

geo-centrismtosocio-centrism(Wilshulsen,Ortman,andPhillips2012:209).Rappaport(1999:32)wouldarguethatnewritualsaregroundedinexistingritualortheywilllikelyfail.Wilshulsen,etal.buildonRobinsandHays-Gilpin(2000)tosuggestthechangesinrockart“impliesashiftintheaspectsofsociallifedeemedmostsalient,fromanearlyfocusonshamanismandritesofpassagetoalaterfocusongroupritual.”

WetakeadifferentapproachandproposethatthelocationofBasketmakerII

feastingceremoniesmovedtomoreproductivedry-farminglocalitiesasalluvialfanseroded.Bythetimeclimatechangesagainfavoredtheformationofalluvialfans,thelocationsofritualshadchanged,buttheunderlyingbasisforcommunityritualfeastingandceremonieshadnot.Withrenewedagriculturalproductivityhelpingfuelpopulationgrowthinspiredbyaggregatingpopulations,oldritualsevolvednewcharacteristics.Perhapsephemeraldancecircleshadalwaysexistedandwerenowdefinedwithslab-linedwallsthatarevisibleinthearchaeologicalrecord.Dance

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circlesmayhaveeventuallybeenreplacedwithsubterraneankivasmodeledafterpithouses.Danceandceremonymovedunderground.

SisterMaryJoséHobday,aSenecaelderandworldlecturerconsideredbymany

tohavebeenanexpertonNativeTribalNationsritual,contendstherearethreegreattraditionswithvariationsamongtribes.Thesearethevisionquest,sweating,anddancing.“Thehighestformofritualisthedance.”In2004,BohntinskyspentfivedaysunderhertutelageandlearnedthatwhenwearethinkingNativeAmericanritual,wemustthinkcircular.AccordingtoHobday,itismoreembracingandharmonizing(Bohntinsky2016:101-102.).

Thedirections(north,east,south,west,up,down,andwithin)areintegrated

intothecircle.Inthisway“allhaveanequalviewandequalpowerwiththeintentionofrecreatingamindfulconsciousness.”Thedanceisawayofhonoringaccomplishmentsanddoingsomethingextraforthestrengthandthepower.Thebodyisconsideredtobean“amazingmusicalinstrumentthatmovesinmelody,harmony,andrhythm.”Thedanceisconsideredtobethe“highestwaythatbody,mind,spirit,psyche,andallartistictalentsmovetogetherinwaysthatcanhealandrebuildtheindividualandcommunity…Eventheanimalswereinvitedintothedancebymakingtheanimal’ssound”(Bohntinsky2016:102).

TheProcessionPanelcommemoratesonesuchceremonialgatheringthatmusthavebecomearegulareventowingtoitslocationatadistinctivesitepermanentlymarkedbyapathgroundintobedrock,somethingrepeatedatotherlocationsintheregion.Whilethefiguresarenolongerheraldicnormarchingtowardstheviewer,theprocessionlinesarearitualformofdanceandtheanimalsaremovinginunisonaswell.

ThelocationofthepanelonthesummitoftheCombisunusualasevidenceof

BMIIIsitestothewestoftheridgeissparsewhilevibrant,largecommunitiesarefoundtotheeast.Nevertheless,evidenceformultipleclansorlineagesbeingpresentinthepanelcanbefoundintherockartofthewesternregion.PossiblythearchaeologicalsignaturesoftheBMIII/PItransitionwerelesswelldefinedtothewestorpopulationsweremuchsmaller.Oneanalysisofthepanelsuggeststheceremonialparticipantscomingfromtheeastrepresentmuchlargerhouseholdsthanthosefromthewest(Throgmorton2016).Theparticipationofgroupsfromthewestinthegreaterregionalceremonialcyclesremainedacriticalcomponenttogeographicalandsocialwellbeing.

WebelieveRobinswascorrectinhisinitialinterpretationoflineageidentities

beingrepresentedindistinctiveattributesofanthropomorphicfigures.Distinctiveattributesincludeonearmupandonearmdown,astylisticattributefoundtotheeastinHovenweepandtothewestinGrandGulch(Hyder2004:96-97).ExamplesofthedistinctivepostureextendintothePuebloperiod.Bird-headedfiguresareubiquitousthroughouttheregion,andfigurescarryingstaffsaremorerestrictedintheirappearance.

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Figure 4: Examples of the one arm/one arm down figures on the west and east sides of the Procession Panel and representative examples from Grand Gulch (west) and Hovenweep (east).

TheProcessionPanelreflectsthechangingnatureofthecommunalceremonies.

WheretheBigKachinaPanelmarks,commemorates,andplaysanimportantroleintheceremonialactivities,theProcessionPanelmarksandcommemoratesonesignificantwaypointonthepathtotheceremoniallocationorCenterPlace.Van-Dyke(2008:63-70)proposestheBasketmakerpast“figuredprominentlyintheconstructionofChacoanideologyandworldview.”Furtherexplorationofthisideaisthetopicforanotherpaper,butweargueherethattherootsoftheprocessionalceremoniescanbefoundintheemergenceofBasketmakerIIritual.Conclusion

In2006,Bohntinsky’sdissertationexplainedherdevelopmentandvalidationofamulti-denominationalprocessofproblemsolvingthatenhancescreativethinkingbyintegratingcognitionwithemotionalawareness(layeringreasonwithinspiration).“Eachperson’scurrentsituationisalwayschangingbecausealllivingbeingsareonewithnature.Lifeisnature,andnatureischange.Changehappensonalllevelsfromthemicroscopicquarksandphotonstomacroscopicplanetsandgalaxies.However,mankindisresistanttochange.Thisresistancecanresultinadeepsorrowthatcanleadtoanaggressiveholdingontopastperceptionsregardinghowlifeoughttobe.Thisholdingoniscounterproductivetonatureandcanresultindestruction;destructionofself-esteem,relationships,thelandandwater,andevenEarthherself”(Bohntinsky2016:83).Individualandcommunityritualprovidesastabilizingspace,innerandouter,thatcanpromotesuccessfuladaptation

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tochangebyhelpingtomanagetheaccompanyingstressinthemostoptimallycreativeways.

Bohntinskyconcludesthatwhenpeoplelearntouseallthatlifebringsandview

changeasanopportunitytogrowinunderstandingandcompassion,humanitycanlearntocommunicateinwaysthatarebenevolenttoall.ThisalignswithHobday’steachingsthat“thespaceofritualisthatplacewherethewaytoproceedisneveroffereddirectlyinverbalteachings.Thewayofritualprovidesuswithopportunitiestoembodytheessenceofeverythingaspartofourspiritandsoul.”Bohntinskywrites,“ItismyexperiencethatritualistheembodimentoflifeandtheexpressionofwhatIam,andthisritualizedembodimentconnectsmetotheEarth”(Bohntinsky2016:122).

Thisisnotastaticprocessthatdemandsstrictadherencetotradition,butas

Parson’snotedinPuebloIndianReligion:“Andsoritescombineandrecombine,theriteitselffixedorconventionalbutthecombinationlessrigid;indeedtheelasticityofPuebloritualiseversomarvelous”(Parsons1996:478).Suchcouldbeconsideredalayeringapproachthatintegratespresentconditionswithancientpractices.

"Life is a journey, not a destination." Imagine my surprise in discovering that a quote attributed to modern sages is credited to Ralph Waldo Emerson. Yet not getting caught up in authorship, I want to stay with some emerging question. The design of The Big Kachina and Procession Panel, so different in how lines portray humans, can still suggest something consistent when viewed as action. What might these designs be communicating that is so important to have carved the message into stone? Do such images offer layers of possibility when ritual can be sifted for broader interpretations that might set one upon a new journey towards historical truth and authentic tradition? When the sieve becomes the concept of movement ritual can be perceived as voluntary repetitive action within this never-ending journey. And if such behaviors coincide often enough with some Force of nature revealing Its pleasant side, the mind might just journey into the imagination where actions become sacred and symbolized through word and image. Then when group participation heightens natural prosperity, continuing repetitive actions along with conscious intent

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evolves neural pathways for engaging this force. Is this how new levels of intention might evolve through intellection in order to align the mind and body with this Force? When continued success is experienced through complexity, the mind's quest turns to simplifying approaches and methods. It makes sense that the creation of a simpler process of ritual that still successfully merges conscious intention with action frees individuals to use their time for movement differently. Maybe this is the transformation of very involved rituals into meditation where gazing upon the images of the acts of ritual combined with silent words of intent becomes sufficient. The sacred remains in everyday life even though greater time can be spent on comforts; maybe, even for building grander dwellings and kivas like at Chaco Canyon. Yet, the beginnings of such a progression of a people's evolution in merging their movements with this mysterious Force remain upon these stone faces for any to ponder and then consider remnants existing in actions within modern societies on the perpetual journey of life. Yet, such an exploration can only begin by entertaining a new idea – that images such as these might portray rituals of a people engaged in unified complex movements. The intent is not to come to a conclusion or destination; it is to continue on the journey of discovery.

Inthispaper,wehaveattemptedtoexploreanddemonstratehowlayeringour

knowledgeandunderstandingcanhelpustosee“anewwithoutblindersimposedbycurrentcanon.”Thisishowwehavecometoconsidercertainpiecesofrockart,liketheProcessionPanelandBigKachinaPanel,asdocumentingritualpracticesthatbroughtpeopletogetherforbenevolentpurposesandhadalastingimpactonthedevelopmentofPueblosocieties.Together,usingthisprocessofmultivocality,wewillcontinuetoexplorethemesofritualinotherrockartimages.ReferencesCited:Aton,JamesM.andRobertS.McPherson2000RiverFlowingfromtheSunrise:AnEnvironmentalHistoryoftheLowerSanJuan,UtahStateUniversityPress,Logan,UT.

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Acknowledgements:WewanttothankthedepartedSisterMaryJoséHobdayforherteachings.ShewastheinstructorofNativeTribalRitualfortheDoctorateofMinistryprogramattheWisdomSchoolofGraduateStudiesatUbiquityUniversity,SanFrancisco.BohntinskyattendedthiscourseSeptember20–24,2004inWashingtonD.C.,whichincludedtheclass’sparticipationintheceremoniesandgrandNativeNationsProcessionduringtheopeningoftheSmithsonian’sNationalMuseumoftheAmericanIndian.