34 no. 4 - American Rock Art Research Association

8La Pintura 2007–2008is known to have had a very popular history in the prehistoric period according to today’s western archaeologists, anthropologists, andastronomers. The area has a mass of rock art in the canyon. My presentation will give me the opportunity to share some photographs ofthe rock art found in Chaco Canyon and to also provide my perspective of the art based on my traditional values and knowledge.David M. Brugge (Retired)Warfare in Navajo Rock Art (Contributed Paper)Perhaps some insights can come of studies of war and peace, so we must not ignore this aspect of humanity's history. Navajo rock art depictsscenes with warriors, soldiers, and battles long ago when war was common on a smaller scale. Indications of dress, weapons, and even tacticsappear in these panels, in some cases connecting to Navajo oral tradition, in others showing events also present in recorded history and someknown only from the images. Contrasts in the treatment of war by Navajo artists with those by Plains Indians, New Mexican Hispanics,and Anglo Americans reveal cultural differences that are of interest.David Casey (San Juan County Archaeological Research Center and Library—Salmon Ruins Museum)The Hadlock Collection: Pioneering Work in Rock Art Preservation in Northwest New Mexico (Contributed Paper)Harry and Sally Hadlock dedicated more than two decades to the recording of rock art throughout the vast Middle San Juan Drainage, anarea of more than two-thousand square miles. From 1959 to 1978, they recorded, described, and registered more than two-hundred rockart sites: ninety-four Ancestral Puebloan and one hundred-four Navajo (Diné). The Hadlock Collection is composed of twenty-two notebookscontaining over two thousand photographs, site registration forms, and special identification notes. A vertical file and more than fifty rareor out-of-print publications address the origins and purpose of more than five-hundred rock art panels. The purpose of this paper is to providea brief overview of the collection with particular emphasis on the highly productive Gobernador Phase of Diné history (A.D.1700 –1775).Links between the origins and purpose of Diné ceremonialism, sand painting, and rock art will be highlighted and will complement scheduledtours to the Dinétah for viewing of rock art panels.Don Christensen (Archaeoimagery)Go With the Flow: Rock Art of the Cinder Cone Lava Beds, Eastern Mojave Desert, California (Contributed Paper)The Eastern Mojave Desert contains abundant rock art dispersed throughout the region with some significant concentrations. One of theseis the Cinder Cone Lava Beds, a small subregion with over 6,000 recorded engravings and paintings. Throughout the Desert West proximityto water and travel corridors seem to be major associations with rock art sites. The lava beds present restricted access and limited food andwater. The area does occupy a location central to several major regional resources. However, the amount of rock art present suggests thatmajor ritual/ceremonial importance was attached to some locales within the lava beds as a construct of the cultural landscape. This studyexamines the context and distribution of rock art sites in the region and attempts to ascertain the rationale for site location and function.Jessica Joyce Christie (School of Art and Design, Jenkins Fine Arts Center, East Carolina University)Rock Art—An Artistic Medium Favored by the Egyptian God Aten (Poster)I discuss how Pharaoh Akhenaten (Eighteenth Dynasty, ca. 1345 B.C.) used rock art to construct political space in his capital city Amarna.Akhenaten began his reign as Amenophis IV in the New Kingdom capital of Thebes, but soon he revolutionized the Egyptian political andreligious system by raising the sun disc Aten to the status of sole supreme deity, naming himself Aten's only messenger and servant. He foundeda new capital at Amarna and defined its urban area by means of 14 huge rock stelae carved into the surrounding cliffs. Placement, iconography,and text of these stelae visualize the state ideology of Akhenaten centered on Aten.James M. Copeland (Bureau of Land Management, Farmington, New Mexico)'Álííl: Ceremonial Clothing and Adornment in Dinétah Rock Art, A.D. 1500–1754, Northwest New Mexico (Contributed Paper)Over 90 years of observation concerning the ceremonial rock art and archaeological specimens of Dinétah and over 100 years of ethnographicdocumentation of Diné ceremonies and associated paraphernalia shows a strong continuity between ceremonial rock art images from the16th–18th centuries and ongoing traditional ceremonies first documented in print in the late 1800s. Some of the strongest and most robustevidence is found in pictographs where ornamentation, clothing, and other paraphernalia details are most evident. Although continuity isevident, change was also at work as the Diné began formalizing certain ceremonial depictions.G. B. Cornucopia (Chaco Culture National Historical Park)The Rock Stars of Chaco: Archaeoastronomical Interpretations of Rock Art In Chaco (Contributed Paper)As a long-term interpreter in Chaco, especially interested in astronomy and archaeoastronomy, the author sees sandtraps inherent in certainarchaeoastronomical interpretations of rock art. The traps only get more treacherous when the public's perceptions become part of the story.The challenges and possible antidotes are discussed.Martín Cuitzeo Domínguez Núñez (Archaeologist)“Las Manitas” Rock Art Site in Cañada de Cisneros, Tepotzotlán, México: An Analysis Using Semiotic Tools/El conjunto rupestre “LasManitas” en la Cañada de Cisneros, Tepotzotlán, México: Un análisis con herramientas semióticas (Contributed Paper and Poster)We are going to analyze the rock art site “Las Manitas” located in Cañada de Cisneros, Tepotzotlán, Estado de México, México. The goalit is going to try to understand, tentatively, the topics of the representation using some semiotic tools. Semiotic tools are to us the concepts

Conference ProgramMay 20089of sign, relation, reference, and corpus, but also we are going to use other concepts. The first step it is going to be the identification of the mainelements in the pictorial representation, then we are going to set up the relations between the elements. Finally we are going to make a generalcorpus to interpret the rock art site.Se realizará el análisis del panel con manifestaciones gráfico rupestres. “Las manitas” ubicado en Cañada de Cisneros, Tepotzotlán, Estadode México, México. El objetivo será acercarnos, tentativamente, al contenido del conjunto rupestre empleando herramientas semióticas. Porherramientas semióticas entendemos los conceptos de signo, relación, referente y corpus entre otros. El primer paso será identificar los elementosque componen al panel, para después establecer relaciones y patrones entre dichos elementos. Posteriormente, con base en los resultados.Elyssa Figari (Belgian Archaeological Mission to Qurta)Qurta: Lascaux along the Nile? (Contributed Paper)An international team of archaeologists recently completed two seasons of fieldwork at Qurta, a newly discovered petroglyph site in southernEgypt, believed to contain the oldest rock art in Egypt. This presentation will discuss the findings of this ground-breaking excavation andthe archaeological evidence supporting the hypothesis that the petroglyphs are 15,000 years old. The Qurta site contains three concentrationsof petrolgyphs running several kilometers along vast sandstone cliffs overlooking the Nile River. Over 100 pecked and incised images arepresent, consisting primarily of bulls and a variety of hippopotami, birds, fish, and gazelles.Caitlin J. Guthrie (Arizona State University)Menstruation in South Mountain Rock Art (Report)Menstruation is a biological certainty for most women, and myths, practices, and art relating to it are prevalent throughout the world. Theperception that menstruation symbolizes purity vs. pollution is pervasive in Euro-American worldviews. In some cases, this etic perspectivehas been unwarrantedly attributed to non-western cultures. This paper focuses on a Hohokam petroglyph of a menstruating woman in theSouth Mountains of Phoenix, Arizona. By examining this image in its local context as well as ethnographic accounts, including mythologicaldescriptions of menstruation, from potential Hohokam descendent communities, this paper sheds light on how the Hohokam may haveperceived menstruation.Jon Harman (DStretch.com)Using DStretch to Reveal Patterns of Figure Placement at Two Great Mural Sites, Sierra de San Juan, Baja California (Contributed Paper)At two Great Mural sites in the Sierra de San Juan I use the image enhancement program DStretch to reveal patterns in the placement offigures. The form of Great Mural figures has been well studied. In this paper I will argue that the placement of figures with respect to eachother can be intentional in Great Mural art. I will present examples from Cueva Santa Gertrudis Norte and Cueva El Muerto of Mono(human) figures that were intentionally arranged in pairs with limbs overlapping.Ken Hedges (San Diego Museum of Man)Placing the Sears Point Style in Regional Context (Contributed Paper)The Sears Point Style describes a distinctive body of rock art confined to a restricted area along the lower Gila River in southwestern Arizona.This paper provides an overview of style characteristics that distinguish the Sears Point Style from Gila Petroglyph Style rock art characteristicof Hohokam regions to the east and from other Patayan styles to the west, and places the rock art in a broader regional context of Patayanrock art styles in western Arizona, southern Nevada, eastern and southern California, and northern Baja California.Elena Hegly-Delfour (Museum National d'Histoire naturelle - Département de Préhistoire)Bear Images and Symbols in Paleolithic Art (Contributed Paper)Through a naturalistic approach to cave and portable art, which is the main symbolic behavior of the Upper Paleolithic, this study presentsthe first results of my Ph.D. thesis being done at the National Museum of Natural History in Paris, France. I have chosen Bears because,during prehistoric times, they are not insignificant animals. Not often hunted, they are still Man's main rivals, fighting for territories, bothfor living and hunting. They also share human stature by the standing position. I have considered it essential to observe how this ambiguousanimal may be represented in art, one of the only testimonies of the mental structures of our ancestors, Homo sapiens sapiens.Daniel Herrera Maldonado and Martin Cuitzeo Domínguez Nuñez (ENAH)Analysis of the Rock Art Feline Picture in Cueva de la Malinche, Hidalgo, Mexico/Análisis de la imagen rupestre de un felino en la Cuevade la Malinche, Hidalgo, México (Contributed Paper)In this work we are going to analyze a rock art picture that possibly represents a feline. The pictograph forms part of the biggest rock sheltersystem, called “Cueva de la Malinche,” in the town of Hierbabuena, Estado de Hidalgo, Mexico. We are going to adapt iconographic methodsdevelop by Irwin Panowfski, and use the approach of Carlo Ginzburg, in trying to identify the subject, chronology, and the possible culturalaffiliation of the feline. This analysis allows us a first approach in the interpretation of the picture.El presente trabajo realizará el análisis de una imagen rupestre que evoca la posible representación de un felino. La pictografía forma partede uno de los varios conjuntos de motivos rupestres en el abrigo rocoso “Cueva de la Malinche”, localizado en el poblado de la Hierbabuena,Estado de Hidalgo, México. Con base en la adaptación del método iconográfico propuesto por Irwin Panowfski y del empleo del paradigmaindiciario formulado por Carlo Ginzburg intentaremos identificar la temática, ubicación temporal y posible filiación cultural del felino. Elanálisis anterior permitirá un primer acercamiento a la interpretación del significado de la imagen.

12La Pintura 2007–2008walls of different Tikal buildings, but many represent probable war-related or ceremonial activities, such as the bearing of palanquins. Someglyphs identified as artist signatures on well-known monuments seem to have been added after the carving of the monument and could beconsidered graffiti/arte rupestre.Reeda Peel (Rock Art Research, Center for Big Bend Studies, Sul Ross State University)Abstract Eyes and Owl Faces (Contributed Paper)The Graef Petroglyph Site is a horizontal bedrock site located in the central Trans Pecos region of Texas. Kite Aerial Photography furnishedan aerial view of the 357 square meters of rock art spread over approximately 3 acres. The overall aspect of the art conforms to the ChihuahuanDesert Abstract Style of the Western Archaic Tradition, but the site is punctuated with abstract eyes, owl faces, a therianthrope with aceremonial headdress, 374 cupules, and mortar holes. Five similar rock art sites identified in the region offer hope of establishing the firstrock art style unique to the Trans Pecos.Reeda Peel (Rock Art Research, Center for Big Bend Studies, Sul Ross State University) and Mark Willis (Blanton & Associates)Kite Aerial Photography and Photogrammetry of the Graef Site (41RV50) (Poster)Kite Aerial Photography provided a bird’s eye view of the Graef Site, a horizontal petroglyph site in Reeves County, Texas. The poster explainsthe methodology of kite aerial photography and photogrammetry as they were utilized by Mark Willis of Blanton & Associates for this Centerfor Big Bend Studies rock art documentation project. The program, set up on a laptop, plus a three dimensional model of the therianthropepetroglyph produced from dimensions gathered by the photography, offer an interesting hands-on experience for conference attendeesinterested in this unique process.Ann Phillips (University of Colorado, Museum of Natural History, Research Associate)Inscriptions in Chaco Canyon (Contributed Paper)In the keynote address at the ARARA Conference in 2006, Fred Blackburn challenged us to consider inscriptions on stone, not as graffitibut rather as an aspect of the historic record. Navajo, Hispanic and Anglo signatures were inscribed on the walls of Chaco Canyon as earlyas 1858. Other than the identities of those individuals that left their names, what can be determined from their signatures about the useof the Chaco Canyon environment and the changing socio-political climate of the Southwest from the mid-Nineteenth Century?George Poetschat (Oregon Archaeological Society) and James D. Keyser (US Forest Service, retired)The Rock Art of Atherton Canyon: Relationships to the Bear Gulch Complex (Contributed Paper)Atherton Canyon (24FR3) has long been known to be related to the Bear Gulch Site. Recent research by the Oregon Archaeological Societydetails the numerous similarities between the two site—especially with the Shield-Bearing Warriors—but also illustrates some key differencesbetween them. Newly recorded information indicates that Atherton Canyon was used earlier and later than Bear Gulch and the art thereshows a wider range of probable functions.E. Gene Riggs (Cochise College and AAS)The Unique Rock Art of Canador Peak (Report)Canador Peak is a trincheras site with numerous walled terraces. Located in southwest New Mexico, it overlooks the Gila River, which flowswestward into nearby Arizona. Above the terraces, huge geometric petroglyph panels occur on cliff faces and boulders. A variety of unusualanthropomorphic figures are also present, some five feet or more in height. In this southern “four corners” area, the Canador Peak rock arthas no counterpart. In terms of panel size and concentration, none are equal. Stylistically, the rock art does not appear to be related to thatof any published rock art sites in the Southwest.Tim Roberts (Texas Parks and Wildlife Department)The “Art Mobileur” of Texas and Northern Mexico: The Transition from the Representational Female Forms of Painted and EngravedPebbles and Cobbles to the Naturalistic Forms of Ceramic Artifacts (Poster)The painted and engraved pebbles/cobbles of Texas and northern Mexico, with their linear and geometric designs, are thought by someresearchers to be representative of female figures. Water, the source from which the raw materials for the decorated pebbles and cobbles arefound, is linked to female processes in the worldview of Native Americans, and is the home of ancestral spirits, game animals, and femaledeities. As a result, these pebbles/cobbles may have been considered to have certain inherent powers, powers which were accentuated andtheir effectiveness increased with the addition of symbolic designs or other modifications to the original stone, and their frequent placementwithin rockshelters. Nonetheless, these decorated stones, with their postulated powers, gradually gave way to more naturalistic representationsof females in portable ceramic figurines. The present poster shows this transition, and suggests possible reasons for the transition.Alexander K. Rogers (Maturango Museum)An Analtyical Tool for Assessing Potential Solar-OrientedArchaeoastronomy Sites (Report)Rock art scholars often need to evaluate potential equinox and solstice markers at rock art sites. Unfortunately, the mathematics can bedaunting, especially if the marker involves an elevated sight-line. This paper presents an easy-to-use analytical tool based on Microsoft Excel,which computes solar azimuth and elevation as a function of time on any specified day of the year. The mathematics are fully describedfor both morning and afternoon solar position, and the exact formulas to enter into Excel are provided. The Plot Wizard in Excel can beused to create plots of the data to carry into the field.

Conference ProgramMay 200813Will G. Russell (Arizona State University) and Aaron M. Wright (Archaeological Research Institute)Footprints to the South: Hopi Clan Symbols in the Rock Art of the South Mountains (Contributed Paper)Hopi emergence and migration stories list certain clans as having come from /Palatkwapi/, a desert oasis arguably synonymous with theHohokam core area (i.e., Phoenix Basin). In conjunction with the South Mountain Rock Art Project, we have identified a compelling numberof “Hohokam” petroglyphs which could be interpreted as proto-Hopi clan symbols. In seeming accordance with Hopi oral tradition, the clanspotentially represented are, by and large, those affiliated with /Palatkwapi/. Our research lends credence to longstanding Hopi claims ofHohokam descendancy and validates Indigenous contributions to the fields of rock art research and archaeology.Polly Schaafsma (Museum of Indian Arts and Culture/Laboratory of Anthropology)The Jog-toed Sandal Enigma: On Chaco Sandstone and Other Rocks (Contributed Paper)Jog-toed sandal images occur on rare occasions in Ancestral Pueblo II and III petroglyph sites from Chaco Canyon to the Colorado River.This brief study describes these depictions and evaluates their significance at Chaco and beyond. Since this sandal shape is repeated as anicon in other media, it is likely that it held some symbolic significance. It was hoped that rock art, iconographic contexts, and locational featuresmight illuminate its meaning. Unfortunately no consistent associations were found. Six-toed Chaco kings wearing custom-made shoes assymbols of hierarchy is not a viable hypothesis!Courtney Smith and Jeffrey F. LaFave (Independent Researchers)PBAs and PBZs: An Overview of Patterned Body Rock Art in the Western United States (Contributed Paper)Patterned body anthropomorphs (PBAs) and patterned body zoomorphs (PBZs) are an important part of the rock art corpus of the westernU.S. Indeed, PBAs and PBZs are often used to create classification frameworks and are some of the most recognizable elements of the resultingrock art styles. They are present from the archaic onwards and occur in paintings and petroglyphs. Possible explanations of why some rockart has patterning include that the patterns represent visual images and symbols, phosphenes, cultural heroes, and items of material anddecorative culture such as body paint, garments, textiles, jewelry, shields, and ceremonial objects.Rebecca Grace Stoneman-Washee (Curator, Edge of the Cedars State Park Museum)Faces on the Landscape: Rock Art Traditions of the Salinas Interface (Report)The Flaming Crown pictographic image, as first described in 1580 by Spanish historian and scribe Lujan, can be found in concentration alongthe middle Rio Grande. It is most predominant in the rock art images of the region known as the Salinas Province, the locus of multiculturalinterface during the Pueblo IV period. This paper presents some imagery that may represent Lujan's "flaming crown" figure and exploresthe possible significance of and associations for this notable pictographic icon.Ben H. Swadley (Arkansas State Parks)Suggested Approaches to Rock Art Site Management (Contributed Paper)This paper covers site management techniques using Rock House Cave at Petit Jean State Park in Arkansas and other sites as examples ofsuccessful site management techniques. Although each site has its unique threats and problems that change over time, there are generalconcepts of visitor management and site protection methods that may be adapted from many sources and combined to form a plan for managinga particular site and abating vandalism. The most important guiding principal in managing rock art sites is to evaluate and address problemsby becoming proactive instead of reactive to existing and anticipated threats.David Sucec (BCS Project)Alone In The Crowd, A Small Figure At The Harvest Panel Canyonlands National Park (Contributed Paper)The Archaic Barrier Canyon style is best known for a score of large, billboard-size galleries, such as the Great Gallery and the Harvest Panelin Canyonlands National Park. Unlike the Great Gallery, The Harvest Panel contains several form types or variants, including, the stylizedand extremely elongated, Maze Variant. One small figure stands out by its difference in scale, color and form. In fact, this figure appearsquite similar to a painted figure found north of the junction of the Green and Colorado rivers. This paper will discuss the images found atthe Harvest Panel and particularly the small figure that stands alone in the crowd.Ilaz Thaqi (Kosova Rock Art Research Association [KRARA])Kosovo Rock Art: Methodical Transliteration (Contributed Paper)The Zatriqi inscription is engraved on an open air surface in horizontal position. Just in zone A we have 272 signs and symbols in 72 associationgroups. They are very interesting compositions of symbols linked with a script letter system, expressing thinking about social life, beliefs, andprayers. I have done some transliterations of these compositions and, based on analogy with conventional ancient scripts, they express verysignificant themes. The composition and style of writing is schematic, like ideograms in Chinese script. Topographic, sexual, origin, and energysymbols may help us to know much more about Neolithic society and mind. In this place it is very interesting to say some words about ritede Passage. In the same place is a stone with a passageway underneath, suggesting an ancient ritual practice about youth and symbolictransformation into a new role in society, in which adolescents make a passage through the tube from bottom to top, attended by a respectedleader of the community. I try to present this inscription system in a gradual decoding and transliteration so that we may understand someof the messages in a local language.

14La Pintura 2007–2008Alice M. Tratebas (BLM)Use of Abrasion in Central Plains Rock Art (Contributed Paper)Using abrasion to create images or prepare a surface for painting or engraving is widespread across the Central Plains. Although diverse stylesemployed abrasion, it usually co-occurs with incising, especially deeply incised images, and rarely with pecking. In addition to forming entireimages, it is also used for components of images, such as bodies, heads, feet, and vulvas, while the remainder of the image is incised. Abrasionis integral to one of the oldest rock art traditions, but also occurred as a component in several other traditions. Aside from use to improvethe aesthetics of images, abrasion tends to be used to convey a limited range of themes.LeRoy J. Unglaub (RARA, URARA, SNRAA)Apache Iconography at Alamo Mountain, New Mexico (Contributed Paper)Alamo Mountain is a major rock art site in Southern New Mexico comparable to Three Rivers and Petroglyph National Monument in termsof quantity of images. Its predominant rock art style is Jornada-Mogollon but it also has significant amounts of archaic and Apache rockart. In fact it is probably the major Apache rock art site in Southern New Mexico and far West Texas. This paper will discuss the characteristicsof Apache rock art and illustrate them with a wide variety and seldom seen iconography such as shield figures that are found at this site.Steven J. Waller (Rock Art Acoustics)Sonic Cave Replicas: Why and How (Poster)Cave replicas of Lascaux, Niaux, etc., reproduce the caves’ shapes to the millimeter and the paintings to the brushstroke, yet lack the profoundecho effects that can be heard in the real caves. Ancient myths explained echoes as emanating from spirits dwelling in rock, revealing thecultural significance of such sound reflections. Archaeoacoustic data showing a correspondence of echoes and art placement suggests soundplayed a role in motivating rock art. A sound system with convolution reverberator software can replicate a space’s acoustical characteristics,enabling interactive immersive sonic cave replicas—a step toward documenting/conserving rock art soundscapes.Aaron M. Wright (Center for Desert Archaeology) and Todd W. Bostwick (Pueblo Grande Museum)Technological Styles of Hohokam Rock Art Production in the South Mountains (Contributed Paper)Archaeologists employ two conceptual frameworks to address “styles” observable in material culture; one regards the visual attributes ofartifacts while the other concerns the methods and techniques employed in their production. Stylistic analyses of rock art tend to focus onthe images’ visual qualities. It has long been suggested, however, that production techniques, or technological style, can also aid in elucidatingrelationships between rock art, identity, and ritual practice. This paper reviews the various technological styles of Hohokam rock art inArizona’s South Mountains and hypothesizes several social implications of consistency and diversity in rock art production techniques.Donna YoderOverview of Chaco Navajo Rock Art (Contributed Paper)Rock art was an early permanent visual representation of the Navajos. Navajo oral tradition places Navajo occupation of Chaco Canyoncontemporaneously with the Ancient Chacoans. The earliest tree ring dates, however, place Navajos in the Canyon in the early to mid 1700s.A variety of rock art subjects and techniques are represented. Placement in the landscape revealed some grouping by subject and age. Acomparison of Chaco Navajo rock art with that in the Dinétah and Canyon de Chelly reveals differences in the numbers of subjects as wellas the various techniques used to create the rock art.AFTER THE FOUNDING of the Rock Art Symposiumin 1974, the fledgling organizationadopted the name ARARA at the El Pasomeeting in September, 1975. The new associationheld the Charter Membership rolesopen for one year and published the followinglist of Charter Members in 1976, “dedicatedto those people whose pioneering effortslaunched our organization.”Kenneth R. Alexander, Denver City, TXJannette Alexander, Denver City, TXAlex Apostolides, El Paso, TXVictoria Atkins, Austin, TXCamille Avery, Las Cruces, NMARARA Charter MembersJuly 1976Elizabeth Ayer, El Paso, TXGeorge Ayer, El Paso, TXGaye Barbre, Tucumcari, NMEunice Barkes, Midland, TXJim Barkes, Midland, TXF. A. Barnes, Moab, UTBertye Barnhart, El Paso, TXJack Beckman, Rimrock, AZMichael J. Bilbo, El Paso, TXBazil BilderHarriet BilderGeorgia Ann & Sharon Blake, El Paso, TXHelen Blumenschein, El Prado, NMFrank Bock, Whittier, CAA. J. Bock, Whittier, CAHilda S. Burlingham, El Paso, TXDr. G. Kenneth Burlingham, El Paso, TXJohn B. CarlsonKenneth Castleton, M. D.Dr. John Cawley, Bakersfield, CALou Cawley, Bakersfield, CAJohn J. Cawley III, Watsonville, CAVon Del Chamberlain, Herndon, VAGeorge Christopher, El Paso, TXGeneva Christopher, El Paso, TXLarry W. Coburn, Albion, WACarl B. Compton, Denton, TXHarry W. Crosby, LaJolla, CAJohn V. Davis, El Paso, TXMarguerite L. Davis, El Paso, TX

Conference ProgramMay 200815Edmundo de Anda, El Paso, TXJohn G. Douglas, Phoenix, AZThelma V. Dunlap, Long Beach, CADonald Englishman, Boulder, COKenneth J. Ewing, Los Alamos, NMAlan Ferg, Tucson, AZGerald X. Fitzgerald, El Paso, TXMildred Fitzgerald, El Paso, TXLudwig Fornfischer, Munich, GermanyDr. Joseph Gaiser, LaGrande, ORCampbell Grant, Carpinteria, CACharles GrantCharlotta GrantJohn W. Green, El Paso, TXHarry Hadlock, Fruitland, NMMrs. Harry Hadlock, Fruitland, NMTerry Halligan, Oakland, CA.Ruth Hawk, Aztec, NMKen Hedges, San Diego, CASue Holden, Phoenix, AZWesley Holden, Phoenix, AZRobert P. Howell, South Pasadena, CAAnne Johnson, Bishop, CAKC Publications, Las Vegas, NevadaKenneth E. Kidd, Peterborough, OntarioDudley W. King, Albuquerque, NMCharlotte Kney, Silver City, NMPhyllis Lancefield, Sandy, ORGeorgia Lee, Santa Barbara, CAJohn Leeder, Irvine, CACindy Leeder, Irvine, CAJ. Malcolm Loring, Portland, ORMiriam A. Lowrance, Box 208, Alpine, TXDonald E. Martin, Santa Rosa, CADorothy Mayer, Berkeley, CARoberto Reyes Mazzoni, HondurasHelen Michaelis, Los Angeles, CAJ. Timothy Moore, Callahan, CALois M. Morey, Mesa, AZDr. Werner Muller, West GermanyFred J . Myers, Denver, CODaniel McCarthy, Twenty-nine Palms, CAHarold H. Naylor, El Paso, TXDr. George I, Ogura, Denver, COAlbert A. Ortiz, El Paso, TXHarald Pager, Johannesburg, South AfricaMarilyn O. Peterson, Boring, ORLinda Ann Popelish, Tucson, AZCharles Pulner, El Paso, TXJohn Rafter, Pico Rivera, CARon Ralph, Austin, TXCarol Rector, Riverside, CANancy Robertson, Raton, NMEdward RoewerPolly Schaafsma, Arroyo Hondo, NMOwen Severance, Moab, UTDr. Sidney M. Shepperd, El Paso, TXJack R. Skiles, Langtry, TXDr. Gerald A. Smith, Redlands, CAHoward N. Smith, Jr., Yuba City, CAKaren L. Smith El Paso, TXDr. Ernest E. Snyder, Tempe, AZFrances F. Sommer, El Paso, TXPaul P. Steed, Jr. , Dallas, TXDr. Jack Steinbring, Winnipeg, ManitobaJack Stewart, Seal Beach, CAMary Stewart, Seal Beach, CAEmory Strong, Stevenson, WADr. Kay Sutherland, El Paso, TXDr. James L. Swauger, Pittsburgh, PAMaria Teresa Uriarte de Lang, Mexico CityFrederick A. Usher, Santa Barbara, CADelcie H. Vuncannon, Yucca Valley, CADr. Klaus Wellmann, Brooklyn, NYCharlotte Willits, Riverside, CAWesley A. Wilson, El Paso, TXAlbert W. Wood, Dayton, OHForty-four people signed the attendance sheet at the first OrganizationalMeeting, May 11, 1974

16La Pintura 2007–2008A note from the Conference Coordinator, Donna Gillette: I could not have done this meeting without the unbelievable hoursand support from our ARARA President, Mavis Greer. In a very real sense she and I served as co-chairs for this year’sConference. She needs to be included in our thanks!Special FeatureA Reproduction of the First Issue ofLa PinturaVolume 1, Number 1

ROCK ART SYMPOSIUM NEWSLETTERVolume I, Number 1 July, 1974ROCK ART SYMPOSIUM LAUNCHEDLast May 10, 11, 12, nearly one hundredkindred souls met for a three dayconference on rock art in Farmington,New Mexico. The results of this initialmeeting were, first, an awareness of agreat amount of interest in petroglyphsand second, the establishment of theRock Art Symposium. The conferencewas spearheaded by Dr. Kay S. TonessThe formation of an interim organizationfor rock art research was undoubtedlythe potentially most importantand far-reaching event of the successful1974 Farmington rock artsymposium. While it is true that thefinal name, the ultimate scope, and thelegal status of the fledgling society arestill to be determined, most likely bythose who will attend the El Pasomeeting in 1975, a means of communicationhas now been established bywhich ideas can be exchanged andhitherto isolated efforts can be coordinated.For those who were not presentin Farmington, here are the names andaddresses of the first slate of electedofficers: Chairman, Klaus F. Wellmann,580 East 21st Street, Brooklyn, NewYork 11226; Vice-Chairwoman, Kay S.Toness, 169 S. Awbrey, El Paso, Texas79905; Secretary-Treasurer, A.J. Bock,P.O. Box 4219, Whittier, California90607; and Archivist-Bibliographer,Shari T. Grove, 618 W. Animas, Farmington,New Mexico 87401.The need for close and continuedcommunication and cooperation betweenall individuals engaged in any ofthe various aspects of rock art researchand Mrs. Shari Grove.Without knowledge and independentof each other, these two highly motivatedindividuals had previously madeplans to hold rock art symposia; Dr.Toness in El Paso, Texas, and Mrs.Grove in Farmington. After sending outpreliminary notices, they became awareof their duplicated efforts. It wasA Statement from the ChairmanKlaus F. Wellmann, M.D. *should be self-evident. During the pastsix years, five long rock art trips tovarious parts of the North Americancontinent have left me with the vividimpression that, all too often, valuableinvestigations are being conducted byhighly motivated persons who arehardly aware of similar studies pursuedby their peers in neighboring states. Thislack of communication is not the faultof those dedicated individuals but is analmost unavoidable consequence of geographicisolation and of the relative inaccessibilityof much of the published(and unpublished) rock art literature.Yet, the problems of recording, preserving,interpreting, dating, and utilizingrock art are basically the same anywhere.There is much to be gained,then, for all concerned, from coordinatingefforts and from pooling all availableresources. The remarkable successstory of the six-year-old Canadian RockArt Research Associates, a society withaims largely identical with ours, shouldgo a long way in convincing skeptics ofthe potential benefits of the organizationalapproach for many of the problemswe face.(Please turn to Page 2, Col. 1)decided to combine interests, and thefirst Rock Art Symposium was held inFarmington under the aegis of the SanJuan County Archeological Society, anddirected by Mrs. Grove.The three days were filled with thereadings of professional papers, slidepresentations, field trips, and many informalgatherings. Participants camefrom Arizona, California, Mexico, NewMexico, New York, Texas and Utah.The enthusiasm engendered carried intothe establishment of the Rock ArtSymposium. The first slate of electedofficers includes: Dr. Klaus F. Wellmann,Chairman; Dr. Kay S. Toness, Vicechairwoman;Alice J. Bock, Secretary-Treasurer; and Shari T. Grove,Archivist-Bibliographer. The participantsat the Farmington conferenceaccepted the offer from El Paso CommunityCollege to host the 1975 symposiumand Dr. Toness, an instructor inanthropology at the college, was chosenvice-chairperson in charge of organizingthe meeting. Dates and ideas for theSecond Annual Rock Symposium arebeing formulated and more specific informationwill be printed in the nextnewsletter. Tentative plans are to offerindividual papers and sessions devotedto special topics, such as a uniformnomenclature, inventory methods, andexperiments with pigmentation. Suggestionsor questions, and particularly anyoneinterested in giving papers at theSecond Annual Rock Art Symposium inEl Paso, contact Dr. Kay S. Toness, ElPaso Community College, 6601 Dyer, ElPaso, Texas 79902.

2REPORT FROM FARMINGTONA.J. Bock *Excitement filled the lobby of the SanJuan County Archaeological ResearchCenter and Library near Farmington,New Mexico, as eighty-two eager participantsregistered on Friday evening, May10, 1974, for the Symposium on AmericanIndian Rock Art. Animated greetingsdotted with laughter were heardbouncing from the adorned walls of thebrand new facility as old friends becamereacquainted, new friends intro -CHAIRMAN WELLMANN’S REPORT(Continued from First Page)As of now, four means of formalcommunication have already been established,or are about to be created. First,there is the Newsletter, edited by Frankand A.J. Bock, Whittier, California, forthe rapid dissemination of informationbetween all members. Second, there isthe prospect of future rock artsymposia, to be held annually or perhapsat greater intervals. At the invitationof Kay S. Toness, the next symposiumwill take place in El Paso, Texas,although the exact date (in the Springor Fall of 1975) has not been determinedduced, and pen-pals attached faces tofamiliar names.For the very first symposium held inthe Southwest on rock art a surprisinglylarge number of interested persons fromthe four corners of the United Stateshad gathered in this beautiful, fertilevalley just east of the Navajo IndianReservation.Through the combined efforts ofShari T. Grove of Farmington and KayS. Toness of El Paso, Texas, as manyindividuals as they could find addressesfor had been notified, and the gatheringof professional, semi-professional, andamateur, all sincerely dedicated to rockart, was in process.With a great deal of dexterity andpatience, the petite Mrs. Grove usheredeveryone into the round exhibit roomthat contained stimulating exhibits, andmarvelous pictures of the petroglyphsand pictographs of the surroundingareas near Farmington. A special greetingand a very warm welcome was extendedby Mrs. Grove and the symposiumwas under way.After four presentations of papersThe day's activities were concludedwith a bar-b-q dinner at the BloomfieldHigh School where the renowned PollySchaafsma of Arroyo Hondo, NewMexico gave a lecture on Functional Interpretationsof Pueblo Rock Art.Sunday morning for those who didnot have to leave, breakfast was held atthe Salmon Ruins Camp Area and fromthere field trips to Crow Canyon,Encierro Canyon and Largo Canyonwere taken. Sunday afternoon broughtto a close this highly successful and outstandingsymposium.Following is a list of the activitiesand papers presented, starting Fridayevening, and continuing through Sunday.Friday Evening:1. Petroglyphs of Star Canyon–DanLeverett & Janet Christensen2. An Introduction to Rock Art inNew Mexico–Harry L. Hadlock,Farmington, New Mexico3. Rock Art in the Four CornersArea–John Cawley , M.D., Bakersfield,California4. Petroglyphs in New Mexico (withas yet. Third, proceedings are to and color slides, the meetings wereemphasis on six-toedbe published of each symposium to beheld. Those of the first symposium arebeing edited by Shari T. Grove who soably organized and conducted the Farmingtonconference. And lastly, a centralarchive for the deposit of published andunpublished rock art works and of otherpertinent materials is about to be established,under the tutelage of Shari T.Grove, at the San Juan County ArcheologicalResearch Center and Library inFarmington, New Mexico, for themutual benefit of all members.Let me conclude this statement bycordially inviting all persons concernedin one way or another with the impressiverock art heritage of the UnitedStates to lend their skills and talents tothe new organization by joining itsranks, by participating in its activities,by subscribing and contributing to thenewsletter, by submitting rock artrecords to the central archive, and, ifpossible, by attending future symposia.United, we can accomplish much.* Klaus Wellmann is a Pathologist, practicing inBrooklyn, New Yorkadjourned for the evening, and most ofthe travel weary participants headed fortheir bed-rolls. However, a few dauntless(or just plain foolhardy) met in themotel room of Dr. & Mrs. John Cawley,for a preliminary discussion of forminga national organization. Many excitingand intriguing ideas were exchanged beforesheer exhaustion set in and everyonecalled it a night.Saturday was a full day with thereading of many excellent papersaccompanied by slides, and a tour of theSalmon Ruins just south of the researchCenter was taken by many at lunchtime. The remaining papers, again of avery high caliber, were presented in theafternoon and at 3:15 p.m. a meeting ofthose interested in starting a rock artassociation was held. There was muchdiscussion both pro and con, and aftersome warm debates, the Rock ArtSymposium was formally formed on aninformal basis. Then everyone stretchedtheir cramped legs and headed for theSalmon Ruins Camp Area for a no-hostcocktail-if-you-likeget together.prints)–Helen G. Blumenschein,El Prado, New MexicoSaturday Morning:RegistrationPresentation of Papers1. Petroglyphs of the Little ColoradoRiver Valley, Arizona–Peter J.Piles, Jr., Flagstaff, Arizona2. Rock Art of the Big Bend,Texas–Miriam A. Lowrance, AlpineTexas3. Materials of Ancient SouthwesternArt–Editha Watson,Mentmore, N.M.4. A Cultural Classification of RockArt Motifs at Hueco Tanks StatePark, El Paso–Kay Toness, Ph.D.,El Paso, Texas5. A Prehistoric Water ControlSystem at Hueco Tanks StatePark, El Paso–John V. Davis, ElPaso, Texas6. X-ray Motifs in North AmericanIndian Rock Art–Klaus F. Wellmann,M.D., Brooklyn, New York7. The Fort Hancock Rock ArtSite–Paul P. Steed, Jr., Dallas,Texas (Please turn to Page 5, Col. 3)

3Notes on the Canadian Rock Art Research AssociatesSelwyn Dewdney *CRARA, Canadian Rock Art ResearchAssociates, was organized by ameeting of interested persons at LakeheadUniversity, Thunder Bay, Ontario,in December of 1969, on the initiativeof K.C.A. Dawson, Director of NorthernStudies in that institution, and myself.In 1967, searching museums for examplesof Ojibway birchbark pictography,I had discovered unpublished records ofa large petroglyph site at Nett Lake innorthern Minnesota deposited by fourseparate individuals in as manymuseums. Following Reagan's report tothe National Museum of Canada, in1912, each subsequent record had beenmade without any awareness of workthat had been done previously. This includedmy own work at Nett lake forthe Royal Ontario Museum in 1958 and1959.Another motivation for calling a conferencewas an awareness of the suddenupswing of interest among anthropologistsin rock art research: Pohoreckyand Jones in Saskatchewan, Steinbringin Manitoba and the Vastokases inEastern Ontario. We were all aware ofthe tremendous number of sites west ofthe Rockies, but it was only at the lastminute we became aware of JohnJohn Cawley, M.D. *Throughout the rock art of theSouthwest there frequently is depicted acharacter with a dorsal lumbar kyphosis,a true dorsal kyphosis, or a lumbarkyphosis, and is displayed in many attitudes.He is portrayed with and withouta flute, with and without a phallus, andin some instances with a flute and aphallus, and has been identified bymany names, one of the most commonbeing Kokopelli. The literature tends tobe somewhat confusing on the identityof this symbol and I therefore feel thatsome attempt should be made to explainthese characters depicted as ahump-back throughout Southwesternrock art. For the purpose of attemptingsuch an explanation, I have divided thecharacters into four general categories,as follows:Corner, a government apiarist who hadbeen working quietly away for morethan a decade in the Cordilleran interiorand had just published Pictographs inthe Interior of British Columbia, and itwas only during the first conferencethat we learned of Gilles Tassé, justappointed to the University of Quebecand completing his doctorate on prehistoricrock art under Leroi-Gourhan inParis. Since that first session, six rockart researchers have turned up in BritishColumbia.At our business meeting followingthe conference the concensus was infavor of a loose, informal organizationwith three stated aims:“To protect and preserve rock artsites in Canada.To promote Canadian rock art research.To inform the Canadian public of itsaboriginal art heritage.”A senior Associate was elected to actas CRARA's voice in any case where asite was being disfigured or threatenedwith destruction. Responsibility for informingthe public was left to Associatesin each region. So far this has resultedin films by CFPL-TV in southwesternOntario, by a private education-THE HUMP-BACK CONTROVERSYThe Hump-backThis is a character depictedwith a humpbackand withoutflute or phallus. He isfound scatteredthroughout the Southwesternpictographand p e t r o g l y p hpanels. This character was depicted becausehe was a leader. His hump wasvery likely a dorsal kyphosis caused by ajuvenile epiphysitis, secondary to hardwork in his early years. His fathertaught him to work hard in the fieldsand in carrying heavy loads, thusdestroying the growth pattern of hisvertebrae and producing a kyphosis asseen. This did not in any way inhibit hisphysical activity, but because of the factthat he was taught to work at an early(Please turn to Page 4, Col. 1)al TV firm in Toronto, and interviewson a number of local radio and TVshows across the country. Associatesalso have been productive in writingpapers and articles, such as the booklengthpublication on rock art in Canadaby Dewdney, Corner, R. & J. Vastokas(Sacred Art of the Algonkians), and byBeth Hill (Petroglyphs of the WestCoast). At least three others arepending.Our three biennial conferences werehosted by the anthropology departmentsof Lakehead University (1969),the University of Saskatchewan(Saskatoon, 1971), and Trent University(Peterborough, Ontario, 1973); andCRARA has been invited by the Universityof Winnipeg for the next conference.Lest this has created an impressionof academic domination I should pointout that currently the Associates includea wide spectrum of backgrounds:a young Ojibway (who headed anOjibway team to record rock art inOntario in 1973), a P.R. official fromthe National Gallery of Canada, anamateur regional historian, two lab assistants,a research chemist, a Fine Artsgraduate, a professionally trained artist,a museum curator, and others.The membership pattern that seemsto be developing is that of two sorts of“Associates” (a word we deliberatelypreferred to avoid creation of a peckingorder): Those with a demonstrated continuinginterest and activity in pictographicresearch (including aboriginalbark, wood and hide pictography as wellas rock art), and peripherally-interestedpeople of any background who wouldbe subscribers to the newsletter (@$5.00 per annum, currently). No doubtmany of them would also wish to subscribeto your newsletter and vice versa.Finally, I should mention the tentativebibliography on rock art in Canadacompiled by Tim (E.H.) Jones, copies ofwhich should be available by writinghim% Dr. Zenon PohoreckyDepartment of Anthropology& ArchaeologyUniversity of SaskatchewanSaskatoon, SaskatchewanCanada* Selwyn Dewdney is Senior Associate of theCanadian Rock Art Association

THE HUMP-BACK CONTROVERSY(Continued from Third Page)age he became a good farmer, a goodhunter, a good provider, and because ofhis diligence in work he was able toaccumulate more wealth than the averagemember of his group. Thus, becauseof his wealth, his ability to work and hisdiligence he became a leader. This thenwould provide a reason for his beingportrayed in rock art of his generation.Hump-back Flute PlayerThis diligent and hardworking hump-backmastered the flute-hemay have even inventedthe flute. Becauseof his abilities to playthe flute he taughtothers also to play theflute, and the flute became a veryimportant part in the lives of his contemporaries.The flute was used asentertainment in the evenings and as anessential part of all ceremonies. It subsequentlybecame a specialty of groups ofShari T. Grove *The goals of the Archivist/Bibliographerof the Rock Art Symposium areto compile a comprehensive bibliographyof published and unpublishedmaterials on rock art; to start a collectionof published and unpublishedmaterials to be stored in the San JuanCounty Archeological Research Centerand Library in Farmington, NewMexico, (this collection will be the propertyof Rock Art Symposium); to actas a resource-reference person to rockart researchers. The success of thesegoals will depend upon you, rock artresearcher. I wish to thank those whohave already returned the completedquestionnaire. If you haven't done so,please return the rock art questionnairetoday. The compiled information willanswer other researcher's questions andto inform rock art researchers aboutnew publications via the newsletter.* Shari Grove is the Archivist-Bibliographerof the Rock Art Symposiumpeople who became known as the"Flute Player Clan" and an essentialpart of the Hopi Indians. (Brimhall feltthat the flute man is not truly a hunchbackbut an itinerate flute player whocarried a small pack. He is found inmany panels along the Green and ColoradoRivers, but in that area was rarelydepicted with a phallus symbol).Hump-back with PhallusThis character I feel isvery likely a localcharacter who couldwell have been anachondroplasticdwarf, and because ofhis affliction was unableto participate inthe hunts, the wars, the working of thecrops and gathering and foraging forfood. Thus he was left alone in the villagewhile the active males went out toperform their various functions. This leftan adult male character who, al-Mexico CityConferencePlan your vacation this year for thefirst week in September, and hie thee toMexico City to attend the XLI CongresoInternacional de Americanistas. Theconference will be held from September2 to September 7, 1974, in the NationalMuseum of Anthropology. The sessionswill include papers and discussions rangingfrom archaeology to social anthropology,and including petroglyphology.In addition to the meetings, theNational Institute of Anthropology andHistory has arranged a program of extendedtours to Yucatan, Oaxaca,Guanajuato, Chiapas, Tepotzotlan, andTeotihuacan. More information may beobtained by writing to:Dr. Enrique FlorescanoEl Secretarío General del CongresoI.N.A.H. Departamento de InvestigacionesHistóricasAnexo al Castillo de ChapultepecApartado Postal 5-1 19México 5, D.F.though small in stature and deformed asto legs and arms, was not at all deformedso far as his genitals were concernedand could perform equally as well inthis category as any of his athletic contemporaries.As the strong men wouldbe gone from the village, sometimes fordays, it became not a matter of thehump-back seducing the young maidens,but rather the young maidens seducingthe hump-back. When their warrior boyfriendsand husbands came home fromthe hunt and found them pregnant sometype of story had to be concocted. Thisstory usually consisted of blaming theachondroplastic dwarf and at the sametime endowing him with certain supernaturalpowers. Thus it was throughthese supernatural powers that the girlswere seduced and became pregnant.This is emphasized by the story as toldby Mischa Titiev and there are many instancesof this character in the legendsof the Southwest. Because of his supernaturalpowers he was not destroyed bythe hunters but was rather depicted ontheir murals as the hump-back with thephallus.The Hump-back Flute Player with thePhallusThis is Kokopelli, nota human but a legend,and is the Kachina asoutlined by FlorenceHawley and others.He is the legendaryfigure of the Hopi andis the true Kachina and true Kokopelli.He existed for many years with the fluteand the phallus; later the flute was droppedso far as the Kachina dolls wereconcerned. Later a Kokopelli mana wasadded to the legend and to the ceremoniesof the Hopi.I feel that it is indeed a great mistaketo classify all hump-backs and all fluteplayers as Kokopelli.* John Cawley is an Orthopaedic Surgeon,whose practice is in Bakersfield, California

5FROM THE EDITOR’S DESK RECENT PUBLICATIONS WORTH NOTINGThis initial publication of the RockArt Symposium Newsletter heralds along sought after goal of many peoplededicated to the serious study of petroglyphicart. We now have a means toexchange information, disseminatenews, and in general establish a line ofcommunication between ourselves. Theformation of a Rock Art Symposium isparamount to the continuing efforts ofpreserving and studying these enigmaticdesigns that are etched or paintedaround the world. This newsletter becomesthe tool whereby 'this importantwork can find outlet. We solicit fromyou, our readers, news items and articlesof all types dealing with rock art. Wehope to establish a forum for expressionof ideas as well as a medium for disseminatinginformation. Currently we canreproduce pen and ink drawings as wellas written articles. Perhaps in the nottoo distant future we will be able also toreproduce black and white photographs.Our present mailing list is small. Ifyou like the idea of receiving LAPINTURA, would you please let usknow? And let others know so we canadd them to the list. The funding forthe first publication and mailing camefrom those who attended the Rock ArtSymposium in Farmington, NewMexico, last May. If we are to send outsubsequent mailings, we must ask foradditional funds. Four dollars willassure you delivery of three more newslettersthis coming year.Subsequent publications will include:continuing news about the Symposium;information concerning the 1975 RockArt Symposium to be held in El Paso;book reviews, articles, and announcementsof rock art field trips, fieldschools and other meetings; and informationon current rock art research,plus when available information fromrock art symposia held throughout theworld. Make LA PINTURA your publication.Send subscriptions, articles andany correspondence to:Frank Bock, EditorLa PinturaBox 4219Whittier, California 90607“Contributions of the University ofCalifornia Archaeological ResearchFacility.”No. 20, May, 1974Contents: “Four Great Basin PetroglyphStudies.”This publication contains fourarticles, all of professional mien, two ofthem co-authored by no less an authoritythan Robert Heizer. Of particular interestis the third essay,“ The Manufactureof a Petroglyph: A ReplicativeExperiment,” by James C. Bard andColin I. Busby. They systematically setup an experiment on possible tools andmethods of pecking and pecking/grinding petroglyphs on patinizedbasalt. Although not done under fieldconditions, the experiment is neverthelessan important step forward in research.This volume is published by theUniversity of California, Department ofAnthropology, Berkeley, Calif.Speaking of Heizer, if you haven'tavailed yourself of Heizer and Clewlow'stwo volume pubiication, PrehistoricRock Art of California, you are missinga definitive source book for yourlibrary. Although in many ways repititiousof Heizer and Baumhoff's earlierPrehistoric Rock Art of Nevada andEastern California, including many ofthe same illustrations and text, and aninadequate listing of California sites, thisnew publication is expanded and a valuableasset.By the way, keep your eyeballs openwhen visiting your favorite used bookstore.We accidently stumbled across theTenth Annual Report of the Bureau ofEthnology–1888-’89. (Washington GovernmentPrinting Office, 1893). This isone half of the initial work of real scopedone an American rock art. It containstwenty-three chapters (822 pages) of“Picture - writings of the AmericanIndians,” by Garrick Mallery. The hundredsof illustrations–drawings and photographs–depictpetroglyphs all overthe United States, and in many parts ofthe world. And of course the survey wasconducted before the turn of the century.In many instances this report isthe only remaining evidence left ofsome American rock art. - F.B.Farmington(Continued from Second Page)8. Rock Art in Southern California–KenHedges, San Diego, CaliforniaTour of the Salmon RuinsLunchPresentation of Papers9. Pictographs and Petroglyphs ofApache County, Navaho Reservation,Arizona–Jane Kolber andDonna Yoder, Ganado and ManyFarms, Arizona10. Petroglyphs of the Raton Sectionof the Great Plains Province–Nancy and Jean Robertson, ColoradoSprings, Colorado, & Raton,N.M.11. Petroglyphs of the South Mountainsof Arizona–Ernest E. Snyder,Tempe, Arizona12. New Mexico Rock Art FieldSchool: Organization and Purpose–Col.James Bain, Albuquerque,New MexicoTour of the Salmon RuinsMeeting of those interested in starting arock art Association.* A. J. Bock is the Secretary-Treasurer of theRock Art SymposiumROCK ART SYMPOSIUMChairman . . . . . . . . . . . . . . . . . . . . . . . . . .Klaus F. Wellmann, M.D.Vice Chairwoman . . . . . . . . . . . . . . . . . . . . . . .Kay S. Toness, Ph.D.Secretary-Treasurer . . . . . . . . . . . . . . . . . . . . . . . . . .Alice J. BockArchivist-Bibliographer . . . . . . . . . . . . . . . . . . . . . . . . .Shari T. GroveEditor . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Frank G. Bock, Ph.D."La Pintura" is published by the Rock Art Symposium. Editorial address is P.O. Box4219, Whittier, California 90607. The opinions expressed in all signed articles arethose of the authors and do not necessarily represent the views of the Rock ArtSymposium.

22La Pintura 2007–2008Call for Papersfor La PinturaARARA members would love to read about your newrock art discovery, recording project, or new idea forinterpretation. La Pintura needs members to submit articleson current research or fieldwork. Doing so will makeLa Pintura a better journal. Editorial guidelines can be foundon the inside back cover of every issue.Editorial Deadlines for La PinturaTo insure timely publication of each issue of La Pintura,please follow the following schedule of deadlines for allEditorial copy and other submissions:Issue 1: August 1Issue 2: November 1Issue 3: February 1Issue 4: May 1(Note: Issue 4 is the Annual Conference Program Issue, butincludes additional Editorial matter as in any other issue)Send all materials for inclusion in La Pintura to the Editor,William Breen Murray, via e-mail:wmurray@udem.edu.mx or WBMurray1@yahoo.comInternational Newsletter on Rock ArtINORA—The International Newsletter on Rock Art, editedby Jean Clottes and published in French and English threetimes a year (February, June, November)—is available toARARA members for $20 a year. Subscribe throughARARA and save the $10 French bank charge. The 32-page newsletter contains the latest international rock artnews. To subscribe, send a check for $20 made out toARARA to:Donna Gillette1642 Tiber CourtSan Jose CA 95138Phone: (408) 223-2243e-mail: rockart@ix.netcom.comLa Pintura is the official newsletter of the American RockArt Research Association. ARARA is not affiliated with theDeer Valley Rock Art Center, which provides mailing facilitiesas a courtesy to the Association. Subscription to thispublication is a benefit of membership in ARARA.ARARA AddressesARARA has several addresses. To get the most timelyresponse, please send your inquiry to the right place.MembershipFor all Membership matters, including new and renewalmemberships (see full membership information on insideback cover), replacement of undelivered issues of La Pintura,and corrections or changes in membership information andaddresses, contact:ARARA Membership3711 W. Deer Valley Rd.Glendale, AZ 85308-2038e-mail: ARARABoard@gmail.comLa Pintura Editorial MattersFor editorial matters relating to La Pintura, includingletters and articles for publication (see guidelines on insideback cover), preferred contact is by e-mail:William Breen Murray, Editore-mail: wmurray@udem.edu.mx orWBMurray1@yahoo.comPostal mail for the La Pintura Editor may be sent to:ARARAAttn: Editor, La Pintura3711 W. Deer Valley Rd.Glendale, AZ 85308-2038For matters regarding production of La Pintura, contact:ARARA – La PinturaAttn: Jennifer Huang, Production Manager3711 W. Deer Valley Rd.Glendale, AZ 85308-2038e-mail: LaPintura@earthlink.netArchive, Library, Book OrdersFor information on the ARARA Archive, Library, andpublications available for sale, contact:ARARA Archive3711 W. Deer Valley Rd.Glendale, AZ 85308-2038Phone (623) 582-8007e-mail: dvrac@asu.eduWeb Sitewww.arara.org

Conference ProgramMay 200823The American Rock Art Research Associationis a non-profit organization dedicatedto encourage and to advance researchin the field of rock art. Association memberswork for the protection and preservation ofrock art sites through cooperative actionwith private landowners and appropriatestate and federal agencies.The Association strives to promote nondestructiveutilization of rock art for scientific,educational, and artistic purposes. Thisis accomplished through a wide-ranging programto inform and educate the members aswell as the general public regarding the rockart heritage of the United States as well asworldwide. These goals are comunicated through the quarterly newsletter,La Pintura. Annual three-day conferences give both membersand others interested in rock art the opportunity to share professionalpapers, slide presentations, and informal discussions.Membership in the American Rock Art Research Association isopen to all with an active interest in research, non-destructive use, andpreservation of rock art, regardless of their nationality or country ofresidence. Membership fees are:Donor $120.00Family $50.00Individual $45.00Society/Institution $60.00Student* $35.00*Student rate requires photocopy of currentstudent ID. Foreign members please add $5.00 forCanada/Mexico, $10 for other countries.Membership runs from July 1 through June 30 of each year. TheAssociation is concerned primarily with American rock art, butmembership is international in scope. Benefits include La Pintura, onecopy of American Indian Rock Art for the year, reduced conference fees,and current news in the field of rock art. More importantly, membershipmeans a shared concern for the ongoing conservation and preservationof one of the most significant elements of our heritage. Sendmemberships to:ARARA Membership3711 W. Deer Valley Rd.Glendale, AZ 85308-2038e-mail: ARARABoard@gmail.comwww.arara.orgARARA Code of EthicsThe American Rock Art Research Association subscribes to thefollowing Code of Ethics and enjoins its members, as a condition ofmembership, to abide by the standards of conduct stated herein.1. All local, state, and national antiquities laws will be strictly adheredto by the membership of ARARA. Rock art research shall be subjectto appropriate regulations and property access requirements.2. All rock art recording shall be non-destructive with regard to therock art itself and the associated archaeological remains which may bepresent. No artifacts shall be collected unless the work is done as partof a legally constituted program of archaeological survey or excavation.3. No excavation shall be conducted unless the work is done as partof a legally constituted excavation project. Removal of soil shall not beundertaken for the sole purpose of exposing sub-surface rock art.4. Potentially destructive recording and research procedures shall beundertaken only after careful consideration of any potential damage tothe rock art site.5. Using the name of the American Rock Art Research Association,the initials of ARARA, and/or the logos adopted by theAssociation and the identification of an individual as a member ofARARA are allowed only in conjunction with rock art projectsundertaken in full accordance with accepted professional archeologicalstandards. The name ARARA may not be used for commercialpurposes. While members may use their affiliation with ARARA foridentification purposes, research projects may not be represented ashaving the sponsorship of ARARA without express approval of theExecutive Committee.The ARARA Code of Ethics, points 1 through 5, was adopted at theannual business meeting on May 24, 1987. The Code of Ethics wasamended with the addition of the opening paragraph at the annualbusiness meeting, May 28, 1988.ARARA Officers & BoardPresidentMavis GreerVice-PresidentEvelyn BilloSecretaryCaroline MaddockTreasurerGarry GilletteConference PlannerDonna GilletteBoard Members Chris Gralapp, Terry Moody,William Breen Murray, Peggy WhiteheadEducation Committee ChairAmy LeskaConservation Committee Chair Jack SpraguePublications Committee Chair Peggy WhiteheadLa Pintura is published by the American Rock Art Research Association. All Editorial material for La Pintura should be sent via e-mailto the Editor, William Breen Murray, at wmurray@udem.edu.mx. Opinions expressed in signed articles are those of the authors anddo not necessarily represent the views of the American Rock Art Research Association. La Pintura solicits articles, news, letters to theeditor, and other items of interest to its readers. Please observe the following criteria for all manuscripts submitted. Letter to the Editor:No special format necessary. News Items: Please indicate all pertinent information such as the event, time, place, cost (if any), groupor person in charge, who to contact, addresses, and deadlines. Articles: Manuscripts of original research are always welcome. They shouldembrace sound principles of investigation and present data in a clear and concise manner. Consult American Antiquity for body copy,notes, literature citations, and the proper format for References Cited. Articles are subject to editing for length. If possible, please submitall materials intended for publication via e-mail (wmurray@udem.edu.mx). Please include author’s name, title or profession, affiliation,city, state, and return e-mail address. Send illustrations as e-mail attachments. Submit line drawings as 600 dpi bitmap .tif files andblack-and-white photographs as grayscale 300 dpi high-quality-level .jpeg images. Materials that cannot be e-mailed may be sent to themailing address: ARARA, Attn: Jennifer Huang, 3711 W. Deer Valley Rd., Glendale, AZ 85308-2038.

La Pintura is the Official Newsletter of the American Rock Art Research AssociationAddress all editorial materials via e-mail to William Breen Murray, Editor, at wmurray@udem.edu.mx.Our mailing address is: ARARA, Attn: La Pintura, 3711 W. Deer Valley Rd., Glendale, AZ 85308-2038ARARA 2008ConferenceProgramInsideA reproduction of thefirst La PinturaVolume 34, Number 4La PinturaAmerican Rock Art Research Association8153 Cinderella PlaceLemon Grove, CA 91945-3000First Class MailAddress Service RequestedDated Material

34 no. 4 - American Rock Art Research Association

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