RitualandRockArtinBasketmakerCeremonies:ButlerWashRevisited
WilliamD.HyderandDorothyBohntinsky
Thirty-oneyearsago,WilliamStrangeintroducedpoetryintorockartstudiesat
theAmericanRockArtResearchAssociationconferenceinSantaBarbara,California.
Strangecontendedthatinterpretationrequiredalayered,textured,and
complementaryblendofvoicesalignedtotellacoherentstory.InspiredbyStrange’s
abilitytoseeanewwithoutblindersimposedbycurrentcanon,WilliamD.Hyder
(2002)exploredselectedBasketmakersitesinUtah’sGrandGulchthroughthelens
ofRappaport’s(1999)theoryofritualandhumanity.
AccordingtoHustonSmith,renownauthorityonworldreligions,Rappaport’s
“breakthroughbookontheacademicstudyofreligion”arguesthat“religion[and
ritual]hasbeencentraltoevolutionsincethehumanspeciesappearedandwill
continuetobecentraltoanyculturaladvancewemayachievefromthistime
forward”(Smith2001:157).Interpretativeapproachestorockarthaveevolvedover
thepast200years,sometimesinsynchwithandoftenincontrasttoevolutionary
advancesinanthropologicalandarchaeologicaltheory.Popularthemes—hunting
magic,artforart’ssake,animism,semioticanalysis,landscapetheory,
archaeoastronomy,andshamanismtonameafew—oscillatebetweenscientific
rigorandthecreativityofpostmodernhumanism.
DorothyBohntinskyexpressesmanyofherperceptionsandinterpretive
explorationsofrockartthroughthecreativecadenceofpoetry.“Herpoeticofferings
torockartblendtogetherherworkasaspeechlanguagepathologist,doctoral
trainingandordinationininterfaithdivinity,herroleasawifeandparent,andher
experiencesasahealeraroundloss”(HyderandBohntinsky2016:4).
Mostoftenweseeasiteinpieces;
rarelyasawholebecauseweknowsolittle
abouttheartistsandtheirinspirations.
Andwewouldaddthatweoftenknowsolittle
aboutourownselvesandwhatigniteshunches.
In2002,Hyderproposedthat“[t]akingamoregeneralapproachbasedonthe
natureandfunctionofritualallowsonetoexplorehowrockartassumesitsrole
withinceremony,howitacquiresandcommunicatessymbolicinformation,andwhy
itevolveswithsocialchange.Thefocusonritualalsoemphasizestheimportanceof
thearchaeologicalcontextwhenethnographicinformationislacking.Rockarttakes
itsmeaningfromtheritualsorothersocialcontextsassociatedwithitscreation;
meaningisnotinherentinthesymbolsthemselves”(2002:44).
Schødt(1986)contendsthatitisimpossibletoexploremeaningwith
meaningfulness(speakingspecificallytoreligiousmeaning)intheabsenceof
1
appropriateculturalethnographyorculturalanalogs.Lewis-Williams(2001),onthe
otherhand,concludesthatfocusedpolysemyandmultivocalitycanmoveus
forwardinourquestformeaning.Sohowcanweavoidthepessimismofthe
impossibilityofknowingandembracethepromiseoffindingrelevantvoicesto
exploremeaning?
Whatmighthappenifanarchaeologistwithexpertiseinrockartandaspeech
languagepathologistwithexpertiseinimprovingcognitionandcommunicationand
adoctorateofministryandordinationinmulti-denominationaldivinitycombined
theirexperiencestoexploremeaning?Whilewritingandproducingabookabout
beingengagedwithrockartthroughessay,poetry,andphotography(Hyderand
Bohntinsky2016),wediscoveredthatsuchlayeringofexpertiseoffersaformof
evidence-basedpracticethattakesintoaccount1)bestevidencefromresearch2)
expertise3)resourcesand4)theneedsandperceptionsofthesubject.
Ourapproachenhancesobservationandexpandsinsightinordertogenerate
themostoptimalquestionsandaggregateevidenceregardlessofthefieldof
practice.WethenengagedinwhatIndologistscallrationalinquiry,andJohannes
Bronkhorstdefinesasincludinga"systemofrationaldebate,linkedtoasystematic
attempttomakesenseoftheworldandourplaceit.Thisprimarilyinvolvesfreeand
uninhibiteddiscussionofallissues,evenintheareasthatmightencroachupon
othersourcesofauthority,suchastradition,revelation,orinsight"(Wallace
2007:83).
Wecametounderstandthismethodofinvestigationasaformofalignment.This
inspiredustoexplorethepossibilitythatsuchanalignmentcouldbuildonour
combinedexperiencesofbeingengagedwithrockart.Weexploredselectedsitesin
afocusedattempttoalignscientificobservationsandclinicalknowledgewiththe
poeticvoiceofmulti-denominationaldivinity.Mightthisbeoneformof
multivocality?
ButlerWash
Weselected2sitestotestourprocess:theBigKachinaPanelandtheProcession
PanellocatedalongButlerWashnearBluff,Utah.Botharewellknowntorockart
enthusiasts.TheformerisconsideredapremierexampleoftheSanJuan
BasketmakerIIstyledatingtoapproximately500B.C.toA.D.500,whilethelatteris
generallyconsideredtobeBasketmakerIII/PuebloIaroundA.D.700orlater
(Robins1997).TheBigKachinaPanelisrecognizedasanexampleofshamanistic
themesinBasketmakerrockart(Schaafsma1980,1994),ethnicsignalingat
residentialfarminglocations(Robins1997),orceremonialiconography(Hyder
2002).TheProcessionPanelisanoutstandingexampleofprocessionfigures
recognizedascommontotheChinleRepresentationalStyleoftheBMIII/PIperiod
(RobinsandHays-Gilpin2000).
2
Schaafsma(1980:114)citestheBigKachinaandassociatedpetroglyphpanels
locatedalongthebanksoftheSanJuanRiverateithersideofthemouthofButler
Washas“spectaculardisplays”oftheSanJuanAnthropomorphic(SJA)style.The
dramaticappearance,sharpcontrastcreatedbythedesertpatina,andriverlocation
addtothesite’smystique.Yet,asFramer(1992)notes,about80percentormoreof
theSJArockartsitesarepainted.FewotherexamplesofSJApetroglyphpanelsare
knownbesidesthosefoundalongthisstretchoftheSanJuanRiver.Visitorstoday
arestruckbythepowerofthefiguresastheygazeupwardfromtheirvantage
pointsatthebaseofthecliff.Yet,thatisnothowtheyweremeanttobeseen.
Ihadonceimaginedlisteningforanswers
whilesittingcross-leggedfarbeneaththesefigures.
Thenyouexplainedhowthelandscapechanged,
oncealluvialfieldsthatplacedthemateyelevel.
So,dreamingaboutflyingIroseabove
inordertocometotheseimagesface-to-face.
Indigenousritualisoftenactiveparticipation
whilemodernritualinvolvesapassiveaudience
forchoirs,sermons,sacredtext,andprayer.
WhatwouldhappenifIalignedmymind
toinvitethevisualperceptionofaction?
ThatishowIcametoseeitdifferently.
Thebigonesinfrontwiththesmallonesbehind
broughtforthanewdimensionofperception.
Suddenly,Inolongersawtheminstaticpose
eachdecoratedimageseparateanddistinct.
Aligneduponanimaginarywavyplane
theysuddenlymovedintoanewformation.
Theretheyare,activefiguresmovingforward
inaprocessioncomingoutofthefaceofrock.
Itriedtoreturntoseeingthispanel
asifIwastheaudienceobservingancientart
frozenintime.
ButnowIcouldonlyseetheeternalmovement
ofthesepeopleproceedingforward.
Ishowedanotherwhothenexperiencedthesame.
AndnowIwonderifIwilleverseeinertiaagain.
Orwillrockartnowbringtomindritualinaction?
Visitorstypicallyapproachthepanelstodayfromtheriverorbyfour-wheel
drivealongthenarrownorthernbankoftheSanJuan.Approachingonfoot,the
riverstilllimitsone’sabilitytoviewthepanel.Theriver,however,haschangedits
courseoverthepast2,000years,creatinganderodingalluvialfansasitflows
3
throughitswidechannelbeforereachingthemeanderingconfinesoftheMonument
Upwarp(AtonandMcPherson2000).Farupstream,theNavajoDamlimitsand
controlstheriverbehaviorthatweexperiencetoday.Attheendofthe1800s,we
wouldhavestoodonabroadalluvialfloodplainclosertoeyelevelwiththeButler
Washpanels.
Robins(1997)proposesthealluvialflansupportedextensivesubirrigatedfields
thatanchoredBasketmakersubsistencestrategiesintheregion.ANavajofarmer,
JimJoe,isreportedtohavebeengrowing10to12tonsofcornatthemouthof
ButlerWashin1904(AtonandMcPherson2000:85).WedoubttheBasketmaker
wereeverthatproductive,butrecenthistorydemonstratesthepotentialofthesite
asasignificantplaceforBasketmakeragriculturalefforts.Whetherothersite
attributestypicallyfoundassociatedwithSJArocksuchashabitationevidence,
storagecysts,andburialswerepresentcannotbeknownbecausethefloodingthat
createdaggradinganddegradingeventswouldhavewashedawaymostofthe
archaeologicalevidence.
TheProcessionPanelsiteisdifferent.Itbecamepopularwiththeintroductionof
hikingguidesandthegeneralgrowthinthereputationofCedarMesaandButler
Washasarockartdestination.Thepanel,firstdescribedinprintbyManning(1992),
appearstodaymuchasitdidatthetimeofitscreationapproximately1,300years
ago.LocatednearthecrestofCombRidge,about10milesabovethemouthofButler
Wash,theariddrawinwhichitisfoundofferslittletoattractattentionorhabitation.
SmallcliffdwellingsandotherPueblositesarehiddeninotherfoldsanderoded
channelsinthesandstonespinethatseparatesCedarMesafromtheNorthernSan
Juanlandstotheeast.HandandtoeholdsextendingdownthewesternfaceofComb
RidgeindicatethattheProcessionravinewasonepointofcrossing.Seemingly
randomplacementsofpetroglyphsnearbyinassociationwithwhatmighthavebeen
rectangular,low-walleddefinedspacesalonganopenclifffaceleadingtothesiteare
suggestiveofprayerseatsorherradurassometimesfoundinassociationwithritual
roads(McPherson2009:52).Shrineshiddenonandamongdistinctiveoutcrops
alongtheCombsuggestthatsomesitesmightwellberitualdestinationsmuchas
today’shikersmaketheirownpilgrimagestothesesites.
Doesthelandholdtheentirestorywithineachgrain?
Ifwearemadeofthedustoftheearth,
isthecommondenominatorwhatweingest?
Doeswatercombinedwithsoilandseed
nurtureourspiritalongwithourbody
throughnutrientsandunspokenmemories?
Iamgladthat,
eventhoughjustforamoment,
IwasbarefootattheProcessionPanel.
4
TheKachinaPanels
Thestarkcontrastofthelightlypatinatedexposedsandstonesubstratewiththe
blue-blackdesertvarnishcommandsourattention.Thereare,however,other
equallydramaticpanelsthatlackorhavelostthedarkervarnishrindandtherefore
attractlessattention.Insomeinstances,distinguishingonepanelfromanotherisan
arbitraryexerciseofthepresentdayrecorder.Inotherinstances,naturalfeatures
creategapsthatwouldseemtoindicateactuallociofdifferentartisticefforts.Was
thereonepointoffocusinthepastordodifferentpanelsrepresentshiftinglociof
ceremonialinterestoractivitiesovertime?
Figure 1: Panel 1 at the Lower Butler Wash rock art panel.
Panel1atthepopularraftlandingalongtheSanJuanRiveratButlerWash
measuresapproximately12meterslongby2metershigh.Imagerystretchesfrom
theArchaictoPuebloperiods,butthevisuallydominateelementsareprimarily
Basketmaker,thelargestalmosttwometershigh.WesingledouttheBasketmaker
imageryinourdrawingincluding18anthropomorphsofvaryingsizeswith
interspersedceremonialobjects.Althoughshownasasingleimage,various
elementsmaypredateorpostdateourfocusonthedistinctiveanthropomorphs.Six
figuresaredefinitelymaleasindicatedbythepresenceofgenitalia.Allbuttwo
figureshavesomeformofheaddressandallarefacingtheviewer.
Figure 2: Panel 2 at the Lower Butler Wash rock art panel.
Panel2includes31anthropomorphs,afewobviouslymale,butthedeteriorated
surfaceanddenseroccurrenceofoverlappingimagesmakeitmoredifficultto
cleanlyseparatetherelevantBasketmakerimages.Thepanelmeasures
approximately9meterlongby1.5metershigh.Athoroughrecordingofthearea
wouldincludemorepanelsofvaryingsizes,butthesetwopanelsaresufficientto
illustratetheSJAstylepetroglyphsfoundaroundthemouthofButlerWash.
5
Robbins(1997)identifiedthemouthofButlerWashasthesiteofregional
ceremoniesbasedontheassociationoflargeSJApanelswithproductiveagricultural
sitesaswellasthedifferentialdistributionofdistinctiveheaddressesonthelarge
anthropomorphicfigures.Afterfurtherconsideration,herefinedhisinterpretative
schemebyinvokingHayden’s(1998)frameworkofcompetitivefeasting,
aggrandizingheadmen,andprestigetechnologies.Towit,dynamicindividualsused
excessagriculturalproductiontoenhancetheirwealthandpowerovertheirown
andnearbycommunities.
WhilesomeBasketmakerburialsexhibitdifferencesingravegoodsthatindicate
adegreeofwealthorelitestatus(GumermanandDean1989:113),wearguethat
thereislittleevidenceofsufficientquantitiesoftradeitemsthatwouldbe
recognizeddefinitivelyasprestigegoods.Indeed,GumermanandDean(1989:112)
findlittleevidencefor“higherlevelsofceremonialorganizationthatdevelopedlater
on.”
Prestigegoodsallowagriculturalsurplusthatwouldotherwiserequire
defensiblestoragetobetransformedintomoremobileformsofwealth.Robinsasks
iftherockartpanelsmightclassifyasprestigeitems,butHayden(1998:16)mostly
viewsrockartassomethingusedinritualcontextsmeanttobindmembersof
alliancescoveringlargeareas.“[T]heyarelowinfrequencyand/orcostand
certainlydidnotinvolvemajoramountsofgroupsurplusesandwerenotpredicated
onsurplus-basedcompetition.”
Robins(2002:392)revisedhisproposalthatdistinctiveheadgearisan
emblematicindicatorofsocialboundariesandinsteadproposesthattheyare
relatedtoritualwarfareandscalping(sensuFarmer1997).Evidenceofscalping,
full-headscalps,andapparenttrophyheadsinrockartsupporttheproposition.
Hyder(2002),however,proposesanalternativeinterpretation:themountedhuman
scalpsandsimilarlymountedbirdskinsareindicatorsofasocietyorcult(cf.
HowardandJanetski1992:131).Theevidencecansupporteitherinterpretation.
Wetherill’sCave7,locatedinWhiskersDrawnotfarnorthofButlerWash(Hurst
andTurner1993),isoftencitedasevidenceforBasketmakerwarfareandscalping.
HurstandTurner(1993:171)concludethattheburialsweretheresultofa
massacre:“Thefirststratigraphically-identifiedBasketmakershadbeenmassively
beaten,mutilated,scalped,andprobablytortured.”Robinsrightfullydrawsonthe
localevidencetobuildhisproposedcompetitiveheadmanmodelandtheprevalence
ofviolentexpressionsofpowerinBasketmakersociety.Theimportanceofthe
rediscoveredCave7moveditfromobscuritytoprominenceinachangingviewof
Basketmakersocialrelationsandthepredominanceofviolentconflict.
Are-assessmentofCave7burialsbasedonstableisotopeanalysisand
acceleratorradiocarbondatingdemonstratestheburialswerenottheresultofa
massacre.Instead,theywereinterredoveraperiodof500years(Coltrain,etal.
6
2012).“Parsimonydictatesthatratherthanasingle,anomalousmassacre,violent
deathsamongCave7burialsaremorereasonablyattributedtoepisodicactsof
violencebetweenalliedmales…(ibid.2229).”Ratherthanchangingour
assumptionsaboutthenatureofBasketmakersocialorganization,Cave7appearsto
beconsistentwithGumermanandDean’s(1989)propositionthatsocialrelations
weremarkedbyepisodesofcooperationandconflictinresponsetolocalized
environmentalextremes.
Evidenceforproposedcompetitivefeastingsites,asnotedaboveforthemouth
ofButlerWash,wouldhavelongsincedisappearedowingtotherepeatedepisodes
oferosionandaggradationatthemostlikelyproductiveagriculturallocations.
EvidencefromCave7isweakerthanhasbeenassumed,butitdoessupport
“competitivesocialdifferentiationlikelyheightenedduringperiodsofresource
shortfallleadingtointra-groupconflict,raiding,andperhapsritualizedactsof
violence(Coltrain,etal.2012:2220).”WhilenotrejectingRobins’proposed“bigman”
competitionmodeloutofhand,wecanresolvethelackofevidenceandambiguous
databyturningtothemoregeneralmodelofritualactivityasproposedbyHyder
(2002).
DevelopingBasketmakerfamily-basedsocialgroupsreliedonadaptingamaize
agriculturesubsistencestrategyastheymovedintomarginalenvironmentsinthe
SanJuanregionoftheSouthwest.Whileweknowlittleoftheiractualroots,wecan
assumetheyconfrontedtheproblemsofenvironmentalstress,resourceconflicts,
andepisodicintra-groupviolencewithritualsdesignedtoreducetheimpactsof
conflictandtoenhanceethnicsimilaritiesthatboundthemasanemergingcultural
identity."AccordingtoHarveyWhitehouse,theesteemedOxfordanthropologist,
ritualsarethe‘gluethatholdsocialgroupstogether.’Evenmicrocosmsappearto
exhibitritualbehaviorsasawaytotransmitinformationandknowledge....Rituals
createaprimitiveformofunityconsciousness,whereallofthebrainsinagroup
begintofireinsimilarways.Theyallowustolosethedistinctionbetweenselfand
otherandfeelanintenseonenessorconnectionstoeverything”(Newbergand
Waldman2016:227).
Ignitedbysensationswithintheabsenceofjudgment,
Ithinkofthatstateofbeingwhereconcernsdisappear
intosomedelicateflameofintimatecontentment.
CanIreturntherebytakinginartfromthisperspectiveofintimacy?
So,Itrieditwhilegazinguponmyownpaintings
hanginguponmyownwalls;
one'sowncreationsoftenthemostdifficultnottojudge.
Suddenly,Inolongersawindividualdetails
butenteredintooneandthenanothermuchdifferently.
ThisishowIbegantounderstandritualmoredeeply;
whensomethingisengagedintheabsenceofthevocabulary
ofjudgmentandcriticism.
7
Suddenly,theordinarythathassurroundedmefordecades
becameextraordinaryassomethingnewclickedin.
Itisbeyondmerelyengagingsomeelement,
beitorganicorinorganic,
butasifsomethinginmebecamealignedwithit.
Thatiswhenanewthoughtcametome:alliance.
RobinsidentifiesimportantelementsintheButlerWashpanels.Thedistinctive
anthropomorphsandtheirheadgearlikelyrepresenthistoricallysignificant
individualsrepresentingalliedfamilygroups.Weacceptthattheytravelled
relativelygreatdistancesforthetimetogatherataplaceofextraordinaryresource
productivityforceremonialactivities.Whatroledoestherockartplay?In
documentingrituals,rockartservestodistinguishordinaryspacefrom
extraordinaryspace(Rappaport1999:210).
TheevolutionofRobins’thinkingdemonstratesthedifficultywithrockart
interpretation.Seeminglypowerfulanthropologicalmodelsoftensuccumbto
problemswithfuzzyevidence.Canweevaluatethevalidityofoneinterpretation
overanotherwhenrelyingonweakandambiguousdata?Amoregeneralized
model—inourcaseonebasedonritual—intheabsenceofspecificethnographicor
otherreliablephysicalevidencehelpsusunderstandthemultitudeofwaysrockart
mightfunctionwithinasocietyregardlessofwhichinterpretativestoryoneprefers.
StartingwithRobins’suppositionthatthemouthofButlerWashwasa
productiveagriculturalareasupportingperiodicfeastsbringingtogetherwidely
spreadgroups,howmightwere-conceptualizetherockart?Ifritualdistinguishes
ordinaryspacefromextraordinaryspace,thenwecanviewthepanelswiththe
large,distinctiveanthropomorphsasrecordsofritualsperformedduringfeasts.
Ritualplaysaroleinsocietytoreduceconflictandsupportinter-andintra-group
cohesion.Whenviewedanew,thepanelsrepresentritualparticipantsmarching
towardstheviewer,closeractorslarger,moredistantactorssmaller.Inour
conception,thepanelsatfirstdocumentactionandintimecommemorateaction
beforeevolvingintoanactive,mythicbackdropforfutureceremonies.
Seeingthefiguresinactionandmovingforwardmaybesimilartovisual
interpretationbasedonfigure/groundsegregationexplainedbyBruceBridgeman
(2003).Hediscussesartistic"tricks"wheredoubleinterpretationsexistand“[t]he
perceptionisbistable,witheachalternativesuppressingtheother;onlyone
solutionisallowedatatime."Nottogointohowthishappens,itmaybeimportant
tonotethatwhenitdoeshappen"theimagepropertiesreactwithinternalcuesof
visualanalysistoyieldtheperception."Inorderforthiskindofvisualinterpretation
tooccur,thevisualimages"mustallworksimultaneouslyinparallel"(Bridgeman
2003:258-261).While,wecanneverknowifthisbistableperceptionoftheBig
Kachinapanelwascreatedpurposely,figure/groundsegregationdoesexist.
8
Thelinesweresomuchdeeper
whenpeckedoutamillenniumago.
Thelanguageandritualpracticesoftheartist
socleartotheaudiencethen
havefewabsolutesnow.
Yet,theremustbesomethingveryuniversal
becauseIlongtotouchthisevenmore
nowthatyouhaveraisedsuchquestions.
Thistakesmetoanotherquestion.
Doesthisarttransportmetoaplace
ofartisticthoughtwherereasonbows
tocreativeimaginationthroughthesenses?
AmIsuddenlywithinavirtualreality
wheremysterysilencesvocabulary,
makinginsightandanalysisneedless?
Whatdoesitmeantoexplorerockartthisway?
AmIencouragingmymindtobecomecreative?
TheProcessionPanel
TheProcessionPanelissituatedonapatinatedverticalsurfacenearthetopend
ofanimpressivesheercliffthatdefinesthenorthernflankofthedrawleadingtothe
panel.Thepanel’slocationaffordsaviewtoboththeeasternandwesternexpanses
demarcatedbyCombRidge.TheactualpathcrossingtheCombsitswellbelowthe
panelinthedrawandissymbolicallydefinedbyhandandtoeholdsleadingupthe
westernfaceoftheCombandalineofhandandtoeholdsrunningalonga
horizontalstretchofslickrocknearthemouthofthedrawleadingtothesitefrom
theeast.OthersymbolicpathshavebeenrecordedelsewhereinButlerWash
(McPherson2009:51).Thesenon-rockartfeaturesemphasizetheapparent
importanceofprocessionimageryandceremonialpathsor(later)roads.
TheProcessionPanelextendsapproximately7metersateye-levelacrossthe
northernwalloftheravine.Standingatthepanel,onelooksdownintothefloorof
thedrawwheretravelerswouldhaveactuallywalked.Thepanelwouldnothave
beenvisibleunlessthevisitorsmadetheefforttoclimbuptoseethepanel.
Approximately200figuresapproachalargecirclefromtheeast,west,andsouth.
Otheranthropomorphsandzoomorphsapproachfromthelowersoutheastern
quadrant.Howthelaterfiguresrelatetotheprocessionthemeandwhethertheyare
contemporaneousisworthyoffurtherdiscussion.Groundpitsatdistinctivepoints
onthesefigurescanbefoundonselectedpanelsthroughouttheregionandlikely
indicatealaterceremonialre-useoftherockart.
9
Figure 3: Procession Panel.
EnvironmentalchangesinthecenturiesthatfellbetweentheBigKachinaand
ProcessionPanelforcedtheBasketmakerstofurtherrefinetheirrelianceon
agriculture.Theproductivealluvialfanserodedandfarmersmovedawayfromthe
riverastheyselectedseedcornbetteradaptedtodryframingandincreasedtheir
relianceonhunting,bolsteredbythemoreefficientbowandarrowtechnology.
Beansandpotteryintroducedanothersourceofproteinintotheirdiet.Families
gatheredintorudimentaryhamletsthatrequiredthemtodevelopnewleadership
hierarchiesaslocalpopulationdensitiesincreased.Inadditiontotechnological
advances,somelargerhamletsorlocalcommunitiesbuiltlargecommunal
structuressuchasdancecirclesandproto-greatkivas.
Currentthoughtsupposesthecreationofnewritualschangingthefocusfrom
geo-centrismtosocio-centrism(Wilshulsen,Ortman,andPhillips2012:209).
Rappaport(1999:32)wouldarguethatnewritualsaregroundedinexistingritualor
theywilllikelyfail.Wilshulsen,etal.buildonRobinsandHays-Gilpin(2000)to
suggestthechangesinrockart“impliesashiftintheaspectsofsociallifedeemed
mostsalient,fromanearlyfocusonshamanismandritesofpassagetoalaterfocus
ongroupritual.”
WetakeadifferentapproachandproposethatthelocationofBasketmakerII
feastingceremoniesmovedtomoreproductivedry-farminglocalitiesasalluvial
fanseroded.Bythetimeclimatechangesagainfavoredtheformationofalluvialfans,
thelocationsofritualshadchanged,buttheunderlyingbasisforcommunityritual
feastingandceremonieshadnot.Withrenewedagriculturalproductivityhelping
fuelpopulationgrowthinspiredbyaggregatingpopulations,oldritualsevolvednew
characteristics.Perhapsephemeraldancecircleshadalwaysexistedandwerenow
definedwithslab-linedwallsthatarevisibleinthearchaeologicalrecord.Dance
10
circlesmayhaveeventuallybeenreplacedwithsubterraneankivasmodeledafter
pithouses.Danceandceremonymovedunderground.
SisterMaryJoséHobday,aSenecaelderandworldlecturerconsideredbymany
tohavebeenanexpertonNativeTribalNationsritual,contendstherearethree
greattraditionswithvariationsamongtribes.Thesearethevisionquest,sweating,
anddancing.“Thehighestformofritualisthedance.”In2004,Bohntinskyspent
fivedaysunderhertutelageandlearnedthatwhenwearethinkingNativeAmerican
ritual,wemustthinkcircular.AccordingtoHobday,itismoreembracingand
harmonizing(Bohntinsky2016:101-102.).
Thedirections(north,east,south,west,up,down,andwithin)areintegrated
intothecircle.Inthisway“allhaveanequalviewandequalpowerwiththe
intentionofrecreatingamindfulconsciousness.”Thedanceisawayofhonoring
accomplishmentsanddoingsomethingextraforthestrengthandthepower.The
bodyisconsideredtobean“amazingmusicalinstrumentthatmovesinmelody,
harmony,andrhythm.”Thedanceisconsideredtobethe“highestwaythatbody,
mind,spirit,psyche,andallartistictalentsmovetogetherinwaysthatcanhealand
rebuildtheindividualandcommunity…Eventheanimalswereinvitedintothe
dancebymakingtheanimal’ssound”(Bohntinsky2016:102).
TheProcessionPanelcommemoratesonesuchceremonialgatheringthatmust
havebecomearegulareventowingtoitslocationatadistinctivesitepermanently
markedbyapathgroundintobedrock,somethingrepeatedatotherlocationsinthe
region.Whilethefiguresarenolongerheraldicnormarchingtowardstheviewer,
theprocessionlinesarearitualformofdanceandtheanimalsaremovinginunison
aswell.
ThelocationofthepanelonthesummitoftheCombisunusualasevidenceof
BMIIIsitestothewestoftheridgeissparsewhilevibrant,largecommunitiesare
foundtotheeast.Nevertheless,evidenceformultipleclansorlineagesbeing
presentinthepanelcanbefoundintherockartofthewesternregion.Possiblythe
archaeologicalsignaturesoftheBMIII/PItransitionwerelesswelldefinedtothe
westorpopulationsweremuchsmaller.Oneanalysisofthepanelsuggeststhe
ceremonialparticipantscomingfromtheeastrepresentmuchlargerhouseholds
thanthosefromthewest(Throgmorton2016).Theparticipationofgroupsfromthe
westinthegreaterregionalceremonialcyclesremainedacriticalcomponentto
geographicalandsocialwellbeing.
WebelieveRobinswascorrectinhisinitialinterpretationoflineageidentities
beingrepresentedindistinctiveattributesofanthropomorphicfigures.Distinctive
attributesincludeonearmupandonearmdown,astylisticattributefoundtothe
eastinHovenweepandtothewestinGrandGulch(Hyder2004:96-97).Examplesof
thedistinctivepostureextendintothePuebloperiod.Bird-headedfiguresare
ubiquitousthroughouttheregion,andfigurescarryingstaffsaremorerestrictedin
theirappearance.
11
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,andplaysanimportantrolein
theceremonialactivities,theProcessionPanelmarksandcommemoratesone
significantwaypointonthepathtotheceremoniallocationorCenterPlace.VanDyke(2008:63-70)proposestheBasketmakerpast“figuredprominentlyinthe
constructionofChacoanideologyandworldview.”Furtherexplorationofthisideais
thetopicforanotherpaper,butweargueherethattherootsoftheprocessional
ceremoniescanbefoundintheemergenceofBasketmakerIIritual.
Conclusion
In2006,Bohntinsky’sdissertationexplainedherdevelopmentandvalidationof
amulti-denominationalprocessofproblemsolvingthatenhancescreativethinking
byintegratingcognitionwithemotionalawareness(layeringreasonwith
inspiration).“Eachperson’scurrentsituationisalwayschangingbecauseallliving
beingsareonewithnature.Lifeisnature,andnatureischange.Changehappenson
alllevelsfromthemicroscopicquarksandphotonstomacroscopicplanetsand
galaxies.However,mankindisresistanttochange.Thisresistancecanresultina
deepsorrowthatcanleadtoanaggressiveholdingontopastperceptionsregarding
howlifeoughttobe.Thisholdingoniscounterproductivetonatureandcanresult
indestruction;destructionofself-esteem,relationships,thelandandwater,and
evenEarthherself”(Bohntinsky2016:83).Individualandcommunityritual
providesastabilizingspace,innerandouter,thatcanpromotesuccessfuladaptation
12
tochangebyhelpingtomanagetheaccompanyingstressinthemostoptimally
creativeways.
Bohntinskyconcludesthatwhenpeoplelearntouseallthatlifebringsandview
changeasanopportunitytogrowinunderstandingandcompassion,humanitycan
learntocommunicateinwaysthatarebenevolenttoall.ThisalignswithHobday’s
teachingsthat“thespaceofritualisthatplacewherethewaytoproceedisnever
offereddirectlyinverbalteachings.Thewayofritualprovidesuswithopportunities
toembodytheessenceofeverythingaspartofourspiritandsoul.”Bohntinsky
writes,“Itismyexperiencethatritualistheembodimentoflifeandtheexpression
ofwhatIam,andthisritualizedembodimentconnectsmetotheEarth”(Bohntinsky
2016:122).
Thisisnotastaticprocessthatdemandsstrictadherencetotradition,butas
Parson’snotedinPuebloIndianReligion:“Andsoritescombineandrecombine,the
riteitselffixedorconventionalbutthecombinationlessrigid;indeedtheelasticity
ofPuebloritualiseversomarvelous”(Parsons1996:478).Suchcouldbeconsidered
alayeringapproachthatintegratespresentconditionswithancientpractices.
"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
13
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“anewwithoutblindersimposed
bycurrentcanon.”Thisishowwehavecometoconsidercertainpiecesofrockart,
liketheProcessionPanelandBigKachinaPanel,asdocumentingritualpractices
thatbroughtpeopletogetherforbenevolentpurposesandhadalastingimpacton
thedevelopmentofPueblosocieties.Together,usingthisprocessofmultivocality,
wewillcontinuetoexplorethemesofritualinotherrockartimages.
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Acknowledgements:
WewanttothankthedepartedSisterMaryJoséHobdayforherteachings.Shewas
theinstructorofNativeTribalRitualfortheDoctorateofMinistryprogramatthe
WisdomSchoolofGraduateStudiesatUbiquityUniversity,SanFrancisco.
BohntinskyattendedthiscourseSeptember20–24,2004inWashingtonD.C.,which
includedtheclass’sparticipationintheceremoniesandgrandNativeNations
ProcessionduringtheopeningoftheSmithsonian’sNationalMuseumofthe
AmericanIndian.
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