감 crítëlLATENLATENLATENLATENSignLATENLATENLATEN The End You're listening to The Hour of the Time. I'm William Cooper. Sorry about the little mixed up, folks. The radio station began playing a rerun. And we weren't able to get through because apparently one of my little daughters had been playing with the telephone. And so we were unable to make the phone connection. But we're on the air now. And we will continue where we left off on Friday with Miles Gilbert's lecture on archaeology, ancient Indian cultures, their pictographs and petroglyphs. And then he's going to go into a talk on the old buffalo hunters of the Old West. I hope you enjoy it as much as I did at our annual conference on May the 28th, which is the date that Miles gave his infamous talk. I'm going to go into a talk. One of them is identified again as a member of the corn plant because it looks like an ear of corn. Or others identify it as a butterfly symbol because of the antennae on the head. So what they've done is identified the mature butterfly head with the immature or a caterpillar body. Raven's site is fortified here. Raven's site is a place where you can come and excavate. It's an extremely rich site. I guarantee that you will find a lot of potters and bones that you're here to come dig. And here's a floor of a pablo with a stone on firebox. And a replantor stone just behind that is a ventilator. Fresh air would come in and hit that and go around either side and I'd blow on the fire. There's another one. Well, it did rise of architecture at Raven's site. And this one is like phase three of Pueblo Medito. So they structured, since they didn't have rebar in those days, the structure was made of willow and pine and then coated with mud. And here is the Ubatki National Monument up north of Flagstaff. This one, again, this is a Pueblo III era site. This was abandoned when the volcanic eruption occurred in AD 1065-66. And then because the volcanic ash created a kind of mulch that preserves ground moisture, ground water, people were able to come back and say how the farming was much better than it had been before they left. And it looks like a round of slides for that particular reel was to give Bill a chance to get a machine reloaded and give Bill a chance to go out and take a break. And when you come back, we will have some more to say. Thank you. Thank you. Thank you. Thank you. That was the end of the tape, folks. We put another one in and we'll bring it up. I'm a momentary. It's from the snowfalling mountains. And it's a lot of minerals because it's still there. It's a lot of minerals. It's just a little bit of water. And I think the lower area is... Is the screen visible to you folks? Not too much light on? Not too much light on? Not too much light on? Not too much light on? Not too much light on? Not too much light on? Looking good. We're looking at the edge of the Coyote Hills Shield volcano. The Coyote Hills Hills erupted between three and five million years ago and covered an area of about 35 square miles with a rather thick layer of basalt. And the ancestors of the Hopi and Zuni found a place near Springville where there are five-step terraces that slope down from the edge of the Coyote Hills Shield volcano close by the Little Colorado River. So, Casabal Pais which means House of the Badm Ranch is located right here on this series of five-step terraces. And here again you can see the cliff. Volcanic cover all the way over 35 square miles in. And we have the uppermost with five terraces. So there's one terrace, two, three, four, and a fifth out of sight. I want to orient you from overhead to the architecture at Casabal Pais. Here on the left is a square Kiva in keeping with its ancestral Zuni origin. Casabal Pais itself is a series of about 60 contiguous ground floor roads. An astronomical observatory with both equinox and solstice functions. This is 88 feet internally and 92 feet internally. And then in this area is a series of catecholms underground rooms that were utilized for internment of the deceased. Here is a map showing in addition to the Kiva and the Pueblo and the Ascamal Dribbatory a number of walls and some other structures. Some of which are enigmatic. That means winter walls are used for. This is what Othamal Pais may have looked like when people were living there. Probably as much as three stories. A remarkable thing was that these folks were able to move very large boulders and they created not only walls but also a wall plate. Up here there's a nice flat wall plate going down, down, down and across the boulder field. This site was visited by Frank Anderson Cushing in 1883 and he led his horse across that walkway. Cushing was an archaeologist working for the Smithsonian Institution and he lived with the Zuni from about 1878 to 1884. He became a Zuni to the extent that it was possible for an outsider to become an insider at Zuni. It no longer is. But he became a Zuni to the extent that he was inducted into the Zuni bow priesthood which meant that he had to take an enemy scout. He wrote to a relative that fortunately for him the Apache wars had started up again so he could shoot someone and really take an enemy scout without breaking the law. They were after all at war. Well, here's the great Kiva. Kiva again is a kind of a church and it had a roof. The guys who built this had to go about six miles across the valley over to the forest and cut trees and carried them back. They didn't have any pieces of burden at that time and that time was specifically construction was accomplished between 181240 and 1284. So in that 44 year period everything that was here was built. So in Hatterbrook had a flat roof. From this side you could step right up on the roof and go over and go down the ladder to get inside. Which is what you would do if you were reenacting the emergence of the ancestors otherwise you'd use the east facing doorway to go inside. Now, the Kiva is kind of a microcosm of Pueblo and Belief about their wars in the underworld. Over in this corner was a hole in the floor where there was a hole called the Sipa Pueblo that represents the entrance to the first underground world. The floor of the Kiva represents the second underground world. If you're a Zuni the ladder that came out through the roof represents the third. But if you're a Hopi it's this internal bench that represents the third underground world. Now being a square corner ancestral Zuni Kiva this does have a bench across the back end. But notice that this bench is narrow compared to the bench on the side. We're going on the other side here and the bench across the front. These side and front benches are wider or aftermarket additions if you will. Indicating the presence of the ancestors of the Hopi. So this is definitely an ancestral Zuni's side. We know that because of the pottery. We know that because of the Zuni took a Kushi there. And we also know that there was a Hopi element because of the Kiva bench and some other backers. By the way this room on the front is also a big bang. When Cushing was here it made a map made a sketch of the Kiva. He does not show in that room nor does that room show up on Ned Danson's 1948 map. By the way Ned Danson, an archeologist father of Cheers, Ted Danson, worked here in 1948. Became director of the museum in Northern Arizona. So why is that room there? Well I suspect that it's an aftermarket addition by Shepherds post 1948. They probably came to their sheep in the Kiva and built that for their own protection from the wind. Boy did the wind howl up there. You've seen this slide before here again for Pueblo Benito. I just want to show you the circular Kiva of the ancestor of the Hopi. But the internal bench is an architectural feature of the Hopi Kiva. Also the T-shaped doorway. This is the T-shaped doorway at Pueblo Benito in Chaco Canyon. And at Casa Maltayis there is the T-shaped doorway. By the way we have three great dates of A.E. 1260 on those two Douglas fir posts. So they've been there 738 years. So the floor will be here and this little T-shaped doorway and then the roof line will be right there. That's where the Vigas or roof poles were. And then a wall above that. So this structure was at least two stories, possibly three. This is what the site looked like when I went to work on December 18th, 1995. We have Pueblo Williams. We have the Apno Conservatory. We have the White Mountains in the background. We have the Valley of the Little Colorado with a foreground. This area was probably farmed. Corn, beans and squash of course. And you know that the corn and beans and squash were all put together so that the broad squash leaves would shade the area. They wouldn't lose moisture to evaporate them so quickly. The corn stalk would serve as a pole for the bean bark to wrap around. And neither corn nor beans by themselves are completely all you need in a diet. There's a synergistic effect in eating the two together. This is Fajada Butte over at Pueblo Benito in Chaco Canyon. And it is the site of the first discovered Harku astronomical function here in the southwest. And behind these big boulders there is a petroglyph right there. And if you can't see it there is a dagger of light going through the middle of the petroglyph. And lo and behold the petroglyph is a spiral. And again the spirals are associated with emergence. They're associated with migration. And they're also associated with completion and carrying on. The idea here is that the seasons will continue. There was ritual magic done here. And this dagger marks summer solstice. So this chapter of light is here on June the 21st. At winter solstice the dagger appears at the edge. It's actually split. There's one here and one over there at winter solstice. Now this is here a Hopi Norosunni structure. This of course is a Mayan structure down at Chichén Itzsau. Before I became an archaeologist my mother went to Chichén Itzsau. She was so excited to come back and tell her son that she had been to chicken hitching. At any rate this is also a summer solstice phenomenon. And as the sun sets it casts light and shadow down. It gives you the effect of a ripling snake. And here's the head of the snake down here. So that's a phenomenon that occurs on summer solstice. Meanwhile back it comes to the Maulphais here a rough sketch of what happens. And winter solstice the sun sets. The sun sets at a notch at Polnol. And that's 15 miles from when it's located. So the winter solstice setting sun casts a shaft of light from there through the south gate. And then through the east gate and lands on a bear of Petrach. According to the Sunni evidently the first sun priest or a shaman at Casa Balpais was a member of the bear clan. And when it's over to sunrise the light comes across this southeast gate and hits the inside of the west wall. Where there is an altar of stone built on the inside of the wall. By equinox the sun is further north of the sky. It's moved from here to over there. So at sunrise it comes through that gate and that goes out through this south gate. And we videotaped that this last year. By the way these four gates are not over two feet wide. But this one is four feet wide by virtue of these two walls being deliberately on set. So that's actually four feet across there. And this wall stays in shadow all the time through the course of the year. In the middle of the south wall is a massive foundation stone. And that lines up with this gate and gives us a true north line. And almost directly perpendicular then is the west gate and the east gate. They're all almost exactly perpendicular from the true north and the south line. Well here's the actual observatory. And another interesting thing that happens at equinox sunrise which is near the time of the summer harvest or the first harvest. As the sun rises it casts a shadow from the southeast gate through the west gate. And what we have here is half of it in shadow and half of it in light. And this recreates the path of blessing. The path of blessing would be along this margin. The path of blessing on the floor of the Hopi altar. Okay let's look at the winter solstice phenomenon. The sun sets in that notch on the whole road and casts light through the four foot wide south gate. Through this east gate. By the way the space between this boulder and one over here is only about 14 inches. So it's very tricky the way the light comes through here and lands on the bear paw petroglyph. It was so overcast that winter solstice I wasn't sure that the light and shadow was going to show up. So I put a piece of tape there. I wasn't even sure that my camera was going to catch the bear paw. So I put a piece of tape there. You can see this is not very dramatically different between light and shadow. But here we have this chapter of light that hits the bear paw petroglyph at sunset on winter solstice. As I mentioned it was overcast. It was also very cold. Here's my colleague and Terry Lee. It's a bundle up for winter solstice sunset. Now here's our buddy the spiral again. And this one is located where a shadow was cast on it at spring cross-quarter day. Now as the name implies there are four cross-quarter days. A cross-quarter day is a day exactly midway between solstice and Eperon. Or Eperon and solstice. The Hopiocors believe that they are emerged from the underground. And the spiral represents their emergence up through the sea plumpuni. Notice that this is one of those that is a clockwise spiral rather than a counterclockwise spiral. And also there's a footprint associated with it again in the key of emergence and then migration away from the sea plumpuni or place of origin. As the sun sets on spring cross-quarter day which was here in May 6th. Excuse me. It's May 6th this year. We get this diagonal shadow across here. 24 hours later the shadow is a whole range over to the right. So it's a very sensitive spring cross-quarter day marker. And that's important because this is when the people would have begun to plant corn beans and swats. They would have prepared to come around prior to that time. But they would plant them again. That's spring cross-quarter day. And it's also important because they told them they had a month and a half to get ready for summer solstice. The belief is that the casino spirits are in the villages from about winter to about summer solstice. There's a whole lot more ritual activity, more dances and things going on this time of year than it is between winter and summer solstice than there is from summer to winter solstice. So we've got to look and have to get ready for saying goodbye to the casino spirits. For the Hopi they return to their home in San Francisco, Tee, Silver on Blackstown. And for the Zuni they return to their home in the Mud Lake northwest of St. John's, Arizona. Well I regret that this slide is not better but it's important. Here is a spiral. It's a big spiral and it's connected to a small spiral that's there in the shadow. And this pair of spirals is bisected by the shadow at noon on summer solstice. According to Informus, this pair of spirals indicates that people left here in Cozumal Pais and then went to a new location, probably Ravenside which is only a few miles north. Now, both Hopi and Zuni have parrot plants, macaws, which were traded from Cozumal Pais and Mexico. And according to the Hopi and Zuni boat, this represents a kind of a stylized parrot. He's flying to our right, obviously a Republican parrot. Anyway, you're still asleep out there, aren't you? Or you don't care. According to the Zuni, he is spinning water, spinning rainwater down onto this period, which I thought was a big horn sheep. But, uh, Hopi and Zuni both say that they do not and their ancestors did not represent animals in full face. Animals are representative profiles. Like the parrot is a profile. Aside to you, this is not a big horn sheep, nor is it a devil's claw. It is actually a corn plant symbol, very stylized corn plant symbol. So the parrot is spitting water on the corn. And below that is a fuma-like figure. And it has a mouse on its head. These are stylized representations of the butterfly hair schools of young women. Prior to marriage, the Hopi women wore their hair in a bun, big bun, some of the size of their head. Very industrious young woman, every time. Also, late in the days, when I was showing the slides of the Pueblo, I mentioned that the women owned normal property. Fair enough. They built the Pueblos. Or at least they did the masonry. At least they did the mud border and the plaster. I assumed that the men carried the heavy rocks and brought the roof holes for the women did the masonry. I have three independent photographic documents verifying them from the last century. William Henry Jackson at Olde Reiby in the late 1870s. And Clark Bromath held the Hopi Masons in 1895. And then an unidentified photographer at the Luna Federal showed the women good in the masonry. Now what about these Jews? We've put on the board that we have both anthropomorphs and zoomorphs. And you can read those either way or both ways. First of all, these are identified as lizard, clam, or they're identified as the ancestral beings before they got to the above ground fourth world. They were not fully human, but they still had tail like falling logs. In other words, they show metamorphosis from one level of existence to another level. A really important zoomorph is the sandrapeed. And he's important because he represents the spirit messenger from the below ground world to the above ground world and back. So, the cosmopolitan is built of basalt, but a mile away is a limestone quarry. And a lot of limestone was quarried there and brought over. Limestone is important because it has a flat cleaning plane and can be made into a number of useful things like these stone tops. Think about applying your pancakes on a griddle, except for what a piggy bread stove top is. And also, you can make good matatis out of a number of other things. Here we have a view at Raymond's site close by. And sandstone is used there to make meelin bins, M-E-A-L, meelin bins. Where the M-A-T-A-N-E and the M-A-N-O. The M-A-N-E is a big stone that corn is ground on. The M-A-N-O is a handheld stone that you would use back and forth to ground up your corn kernel. And then the sandstone blocks serve as a box to contain the corn meal as it's generated. And why have three of them? Well, you start out with your corn kernels and put those on a very rough, coarse stone and grind that into rough meal and pass it over to the next stone where you get a finer grind and pass it over to the last stone where you end up with corn meal that you can make your tacos, tortillas and stuff out of. Also, this is where a lot of education was done. Three women, three generations typically would be working here. And their grandmother would pass on information to mom and your granddaughter. Like so, this is a silver lining firebox. We encountered a circular structure at Casa Malpais, Elk where circular structure gave access to underground rooms such as were used for ritual. This circular structure had some real whackin' big boulders in it. And I enlisted the age of these guys from the Adaline House chapter. Theirs are archaeological society. This was a mechanic. And he brought over this collapsible A-frame and a pulley outfit so we were able to get these big rocks out of there. And we did indeed find them access to underground rooms. I'm going to ask if I have ever had a sense of presence of anybody at the site. And I said, well, yeah, one time I did get a bunch of Indiana Jones. But it is a glimpse. Okay. Before we put on the next slide, Trey, let me see if anybody has a question or comment about anything pertinent to Hopi or Sunni or other guests. Is there anything unusual about that room or that storage or what was the room? The circular room underneath? Yes. There are other underground structures. There's about three acres of underground passage in Casa Malpais. And one of those contains a really wonderful brown yellow pictograph of a Native American. Others contain burials. But all the burials that I don't know about are systematically burgled beginning about 1960. But the real answer to your question is when Cusi was at Casa Malpais, he drew a sketch map showing three underground fissures. Two of which I have encountered in excavation. I have found underground rooms but below the living area of Pueblo. And I suspected that this circular structure was going to give access to the north end of the westernmost underground fissure. We've accessed the south end of that underground fissure and found that there was an altar there. It's definitely an underground altar. And access out of it to the north was blocked by a constructed masonry wall. Well, I did not hold the wall, but I generally love bad press with Hopi and Sunni. So rather than do that, I just thought I wanted to see if we could get in from the north end. And what I need, do I have a ball up here? I need a slender person. Preferably a short slender person. Yes, ma'am. You want to do that? Alright, Willow, get a hard hat. Okay, well I want to change the wheels here. A variety of physical situations and you want to pay attention to the physical situation because the first rule of petroglyph understanding is to correctly identify it. If you misidentify a petroglyph, I absolutely guarantee you're going to misinterpret the petroglyph. So context is part of understanding what it is and why it is where it is. So here's a little Colorado and why would people be interested in that? Well, not obviously they live without water. So we're going to find petroglyphs that indicate how to get to water. So we're going to find petroglyphs that indicate how to get to water. And notice this human figure here way down canyon and here's a massive flat sand of stock rock we're going to look at in a few minutes because it has a panel of pictographs which again are painted figures. Most of what we have to show you this afternoon are petroglyphs which are in scratch perfect through the desert barnish on rocks. There was a lot of ceremony that took place in this area and this is immediately upstream on Little Colorado from the Raven side and immediately downstream from Casa Wall Heights. I mentioned that Casa was occupied or at least was actually built from 1240 to 1284 and people left there about 1400 and I showed you a pair of petroglyph spirals which have been interpreted by the whole being as migration from Casa somewhere. Well, we know that there was a lot of interchange between the Casa Wall Heights and Raven site. And one of the things that both groups of people may have done was to share this pathway of stone. Actually, it's a kind of a rite of passage place and there are two of these. There's one that runs north-south and I found another one that runs south-south. So, the point of all this is this general area was used for a great deal of ritual activity. Here is a shrine or an altar if you wish. This area right here, the nice land area, overrun by that big boulder. And when we first found this there were, what's the word I'm looking for, sacrificial offerings that had been left there in the form of little stones that were formed in this area. pieces of turquoise crystal, that kind of thing. So, here we have an altar with a lot of petroglyphs on it and we're going to have some close-ups of these as we go along. Another physical situation in which you find petroglyphs is the tops sometimes, the rocks. If you walk along down there you've never seen these so if you're out on a petroglyph hunt you want to look at the tops of things as well as the sides of things. And this slide leads to the panel you've seen before. Remember you were letting the Venus or Santa Clan figure and the Casino mask, the snake footprints and so forth. Now, we're back to Big Clan Rock. That's Jim Cumpel who runs Raven's site and he is looking at a panel of pictographs. And it's not too soon to bring your attention. Jim is the author of this book called Stone Magic of the Ancients and the subtitle is Petroglyphs, Shamanic Shrine Sites and Ancient Ritual. And it's not too soon to the market. It covers all the kinds of petroglyphs that are in this part of the world. And I brought a whole box of these so you can buy them if you want to. They're also available from almost any National Parks and Environment Association supported by National Parks and Environment. For a buck and a quarter you can have rock and iron symbols in the southwest or easy fuel guide in the southwest and petroglyphs. And these are worth quite a lot more than a dollar in the quarter they cost. I regret that I don't have a bunch of those. I've got a whole box full of Jim Cumpel's growth though. So meanwhile, having put in a plug for Cumpel we can get back to the slideshow here. Now again these are pictographs which are painted images and they are of the style that we associate with the archaic period. And it's remarkable that they are well preserved being painted images out here in the open. They are very definitely geometries and they are of the archaic that would be prior to the birth of Christ anywhere from 5000 years ago to about AD 400 somewhere along in there. That would be archaic period. We refer to these as fire track symbols. And the archaic people used a number of styles but they were very heavily into these geometries. And I regret to inform you this is one of the many petroglyphs that I would not pretend to interpret. Now this was easy. And this brings me to the point of how do we know how old is it? How old is it? Well, the first thing we look at the patina on the body and we see if the petroglyph has begun to re-patinate. Is there mineral, is there chemical change taking place in the petroglyph? And yes you can see that this one is older than this one. This one is very fresh. Now let's look at the styles. This is definitely, well I'm going to use this generic term, Anasazi style. This is ancestral Hopi or Zuni. And this is very definitely an Athabascan speaking probably either Apache or Navajo. So the Apache or Navajo has come and superimposed their spirit figure over that one. In fact they grabbed hold of the ancient one with the modern one. And so this guy will now have all the power, all the ritual of power and importance of the antique petroglyph. By the way these guys, Apache and Navajo didn't get out here in the southwest until about A.D. 1500. You'll notice throughout the afternoon that I've put A.D. before the date. In newspapers or other literature you will often see dates like Columbus County area 1492 A.D. Well, just because it's imprinted doesn't mean it's right. The professional way to put a date is Caesar. Julius Caesar was killed March 15, 34 B.C. And this is A.D. 1998. So B.C. dates go before B.C. Onodomini dates come after Onodomini. Okay? Just so you know the right way to do it. Alright. Another way that we can determine how old the petroglyph is is to not only look at the rather repatination of the thing, but let's look at a likeness growth over it. In the Colorado front range the rhizo parka attains a growth of about 3 inches at 100 years. Here in the southwest it's much slower. In the Colorado front range even though it sends the rain shower over the Rockies it gets a lot more moisture than we typically get out here in the southwest. So here's a spiral petroglyph that would have to date somewhere between probably A.D. 950 and 1400 somewhere along in there. And another spiral. Again these can represent emergence from the low ground to the above ground or it can be a planned boundary marker or it can be a migration glim. And this specific one we've seen previously here we have a spring marker. Those of you who look at topographic maps recognize that we have a very similar symbol now. For springs on topographic maps we have a circle with a little wiggly line coming out of it. And so this indicates a location of the spring. This also marks the location of the spring and here we have our emergence or migration glim, traveling glim and the waiting line for water or you can interpret it as a snake which is also associated with water. And if you miss definitely a spring location marker. We're going to talk about the couple of coloring in a few minutes but I want you to get a good look at what's going on here. Here is a human-like figure because he has a bow and arrow. And yet he is covered with, he has a, he has a, a coyote or wolf mask on and he has the skin of another one. Draped over his back. This is a wonderful means of getting up close to herd animals like buffalo or antelope. They know, they know, buffalo animals know that a coyote or wolf cannot run down and help the animal. And so if you're a Native American hunting those you can smoke along covered with the skin of that animal and get with him bow and arrow raising. Okay, coat color. Now, as I mentioned earlier this guy is associated with the catina, the humpback insect he has an antennae or another interpretation for him is as a timber where he is carrying trade goods like ferrets or seashells or whatever. And he is also a fertility symbol with his erect penis and the idea is that he can carry seeds to, uh, to plant. Usually coat the fellow is found facing to the right, uh, as he is on this panel. By the way there are a number of other interesting animals and figures here. Uh, this one with long tail is identified as a mountain lion. And, uh, this would be a, a Shemaic figure itself. Very large hands, uh, uh, well he's out of his mind I guess, uh, is one interpretation. And this, this is not, uh, just an Anglo interpretation but a Native American interpretation. His thoughts are, are all over the place. Well here's Jim Coppell looking at one of the few Coppellis that is a left facing Coppelli. And, uh, here he is again. Uh, the flute, very faint, his arms and flute and his erect penis. Uh, sometimes knobby knees are interpreted as signs of disease, dis-ease, and also the humpback has been interpreted by medical people. Uh, as he's doing Pots disease, a kind of boating degeneration as a result of tuberculosis. And tuberculosis is definitely a new world disease as is syphilis. By the way syphilis is not found in Europe but no after Columbus and the guys, uh, got back home. It is caused by spirochete, treponema paladin. And, uh, it was very prevalent in the American Southeast. We find, uh, prehistoric Indian skeletons with, uh, all of the spines of tertiary syphilis. That is, they have hudges and teeth, lines of loress that grow up in the teeth and in the long bones. The syphilic lesions on the forehead and, uh, the sacred shin, that is the, uh, the sword-shaped, uh, lower leg, the trivium. So those are both, uh, new world diseases that were taken back in Europe. So, uh, another interpretation out of this is that, uh, we have Pots disease or tuberculosis going on with this guy. Now, hello. Sometimes country glyphs are found singly by themselves and sometimes in panels. You've seen this guy before. This is our little quasi-corn clam symbol down here all by itself. And you have to wonder why, uh, it was put there. Well, he was associated with, uh, a dragonfly character and, again, not far from a spring. But, it's entirely possible that a corn clam person came by here and simply put this to indicate the passage of the corn clam. I know for a fact that when, uh, Hopi and Zuni make their migrations to Zuni Salt Lake or over to the Colorado River, down the, the canyon of the little Colorado, to the original C-pop, putting the place that were origin and then on beyond that to the result lines in the valley of the Grand Canyon. And, as those people pass by a rock like this, they have their clan symbol on it. They will either add a new one or a freshin, an old one. Simply marking, uh, their, their passage, their building in front of it. And these guys, again, you remember either Two-Horn Society or Antelope Clan and the Horn Clan or a, a, a, a, shamanic, uh, figure depending on who they're at, Hopi or Zuni. And we're back at this panel. And I wanted to point out, if I can find her, I'm gonna have to look for it on our channel. What about the dollar sign? The dollar sign? Yeah, right. His, uh, shirt's there. He's gonna have to look for it. Up in here? I've come down. This is actually an anthropomorph. There's his head and his two arms. And his tail's coming down. Yeah. Yeah. Sometimes this is identified as the, uh, the Turkey Clan. And a great surprise to me was the interpretation by Farrell Sakakuku, recently Hopi Tron and Chairman. Farrell was a member of the snake clan. And he says that his clan considers their totem animal, their snakes, to have had legs and feet. So it was really more of a dinosaur or a lizard-like animal, a biped lizard, than a, a, a, a, a, a snake as we think of. So he would identify this with snake clan rather than turkey clan. So, when, uh, an anthropomorph is found with his arms up, it is said to be in a praying or blessing stance. And this one appears to have a tail like, uh, a Mesoamerican wing. Okay. Here again we have, uh, this can represent a trail or it can represent a snake. But often times we will find a, a, a, a trail like this associated with footprints. In which case it would indicate, uh, direction. And here we have the, the emergence, the trail of the centipede. This is clearly a trail and this part is clearly a centipede. So he's coming from the low ground to the above ground and is carrying a message. And here's another very stylized centipede. I think this one here is mine. It's one, two, three, four, five, six, seven, eight. Well, I've got eight levels there. The, the typical emergence story has to do with coming to this fourth world, a fourth level of existence. But there are others that, uh, have more involved. More than this fourth. And here's another stylized centipede again, a spirit messenger. And this figure would have to do with, uh, bringing rain. It is a human-like figure standing over a rain cloud. Not to be confused with a, a true thunderbird, which is also associated with bringing rain. And we have quadrupeds. So I mentioned on the board that some of the animals are represented or different, a game animal. You will see here that they have, uh, split feet. So this is, it's a hooked animal. Possibly an animal. Uh, animals are usually identifiable by virtue of the, the geometric, uh, designs on them. Or you can take a business as having a dark front part of the body and a white back part of the body, a white mouth. So, uh, we, uh, we, uh, when we, when we do these photographs, we'd like to know which way through the north is. And then we get an idea of the scale of the petroglyph. Uh, we try to see if there's a, uh, consistency in, in direction of travel of the animals or direction of one side of the rocks the petroglyph is put on. So that's why we have the compass on there. And we're back to this guy. Much better view now of, uh, this figure with, with the bow and arrow. Here's the bow. Here's the arrow. And here's the hunter with his, with his, uh, coyote or wolf, uh, cap on and the animal skin hung over his back. And there's a mountain lion always identified by having very, very long tails. And a mountain lion footprint. I was, uh, privileged to see a mountain lion footprint fresh in the sand when I was over by this side. I was a big thrill to have this antique mountain lion footprint and a fragment from the bottom. Okay, this is a symbol I was looking for. I mentioned earlier that, uh, it may look like a kernel of corn, but, uh, there are those. And this from O.P. and Zuni that this represents female, uh, to a tail. And the footprint. And this one is interesting from the point of view that this is a natural concavity in the rock. And then it was adapted by putting toes on it to make a really big footprint. And here's another view of the six-toed dude. For example, a pond actually. And I think the most remarkable footprint of all is this one, which began by a footprint and then has been adapted after market to make a human being probably a shaman figure. There's good evidence that the shamans were able to accomplish their task by virtue of ingestion of hallucinants. And here in the southwest, the two that are most readily available are the Pagory Cactus, uh, local for Williams iron, and the, uh, um, uh, Dantura and Amoxia sacred Dantura, or some of the favorite warning warriors. But these, uh, shamans then, when they would take on these hallucinogenic drugs, would be able to, to travel out of body. So they say, so they're represented then as, as human beings, and, and in a traveling stance, or spirit migration with their arms up kind of, kind of floating. And, uh, here's another one. Very big heads. Sometimes these are represented as tails or male genitalia either way. And often then we find, uh, camels with a number of figures. Uh, these birds may represent, uh, game animals. Certainly we would think of these as game animals. So the figure with really big hands and big feet is thought of as a creator being. Here's one, uh, there's the lovely foot in an upside down position. Notice our thunder bird is right side up. And yet this creator being, or spirit being, is upside down. Uh, this thing is interestingly identified very closely as the, larval form of a, what we call an antlion. That would be a tiger beetle, uh, a family of tiger entity. A tiger beetle, uh, larval antlion. It's also thought of as a scorpion. So here's a scorpion's tail and it's pincers up front. Uh, this you can think of as a sun or a tobacco flower. Uh, you know, a spiral. And really remarkable panel over here. We'll try to get a closer look at. The first are scorpion or tiger beetle, an antlion. That would look at this guy. Here's him, everybody's shameless. He's got, uh, a buffalo headrest on. He's got big, pinned of, uh, uh, feathers perhaps coming off his headdress. And he's associated with another sort of antlion looking thing that has very big hands and feet, uh, and these are identified in them as, as creator gods. They're able to accomplish. They're able to do things. And here then a sun or a tobacco flower. And likewise, here's a, an emergence list which shows the direction of travel. When the people came up from the underworld, they were told to, to go all four directions from the sea plopooning. And so oftentimes we will find those directions of travel associated with the spiral. And here again, we can think of this as a tobacco flower. Now, a couple is showing us, or one of the very few geometries that we can identify, uh, as being a, a pattern, a symbol that we find on pottery and on, uh, weeds. And, uh, here again, this is the, the Paki plan, the cloud house or water plan symbol. It's very, very old. And here we have a, a complex being with the geometric pattern. His arms are up. Maybe he's, uh, a travel or, uh, a spiritual travel stance. Very definitely not just a normal human being. I mentioned to somebody that the, the Paki or prayer stick is manufactured by men. If a woman wants to offer a prayer stick, she will pay a man to make one. And, uh, orders that were about so big, they might be made of Berberus fremontide, the plant that we call the wire berry. The Zuni are divided into 14 plants and one of those is the Yellowwood plant. And if you take a barberry and shave the mark off underneath the mark, the cambium, what we call the cambium layer is bright yellow. So they call themselves the barberry. And the berries produce a kind of a Welsh grape juice color juice. And, uh, these Yellowwood plant guys will smear themselves all over with that juice. So the Yellowwood guys become fertile. Okay, but to get back to the, we thought the word, the prayer stick. The prayer stick, then, will be carved and it will have time to it. First an eagle feather and then a duck feather and then whatever other feathers are appropriate. So this particular prayer that's going to be offered, it's kind of like brewing a candle I spoke. So you take this prayer stick to the shrine, to the altar and you offer it then with your prayer. The idea is then if you, if you give the Spirit this offering, then you're more likely to have success with your prayer. So this pattern represents a pahoe, a prayer stick with feather attached. And here is a guy with a pahoe in hand. And he's also got a headdress, a couple of mackerel, and four horns. He might be a two horn society person with a prayer stick. This panel is down along the little conrano, just west of Eager. This is easily accessible. And this finger is identical to one that I found underground at Cozumal High East was associated with the bright yellow pictograph. and bright red underground. And he is, again, a two-horned deity person. And above him is Masao. This represents the hoping God of death. That's it for today, folks. We'll pick up where we left off today tomorrow. Hope you'll join us. We'll be right back. We'll be right back. We'll be right back. Again, we apologize for the late intro to the hour of the time. One of my two small daughters had evidently been playing with one of the telephone extensions in the house. And we went a little nuts trying to figure out why we couldn't make the phone work to link up to the satellite and WRMI worldwide shortwave radio. Again, please accept our apologies. You're listening to 101.1 FM Eager, classic radio, like you always wished it could be. 101.1 FM Eager is your non-profit community service radio station.�� our the Thank you.