A mouse couple, in search of the mightiest husband for their daughter, approach the sun, the clouds, the wind, and a butte, before the unexpected victor finally appears.

Provides a look at the history of the Black Hills country over the last ten thousand years through rock art, which illustrates the rich oral traditions, religious beliefs, and sacred places of the Lakota, Cheyenne, Kiowa, Mandan, and Hidatsa Indians who once lived there. Original

Rock art has long been considered an archaeological artifact reflecting activities from the past, yet it is also a phenomenon with present-day meaning and relevance to both indigenous and non-indigenous communities. Relating to Rock Art in the Contemporary World challenges traditional ways of thinking about this highly recognizable form of visual heritage and provides insight into its contemporary significance. One of the most visually striking forms of material culture embedded in landscapes, rock art is ascribed different meanings by diverse groups of people including indigenous peoples, governments, tourism offices, and the general public, all of whom relate to images and sites in unique ways. In this volume, leading scholars from around the globe shift the discourse from a primarily archaeological basis to one that examines the myriad ways that symbolism, meaning, and significance in rock art are being renegotiated in various geographical and cultural settings, from Australia to the British Isles. They also consider how people manage the complex meanings, emotions, and cultural and political practices tied to rock art sites and how these factors impact processes relating to identity construction and reaffirmation today. Richly illustrated and geographically diverse, Relating to Rock Art in the Contemporary World connects archaeology, anthropology, and heritage studies. The book will appeal to students and scholars of archaeology, anthropology, heritage, heritage management, identity studies, art history, indigenous studies, and visual theory, as well as professionals and amateurs who have vested or avocational interests in rock art. Contributors: Agustín Acevedo, Manuel Bea, Jutinach Bowonsachoti, Gemma Boyle, John J. Bradley, Noelene Cole, Inés Domingo, Kurt E. Dongoske, Davida Eisenberg-Degen, Dánae Fiore, Ursula K. Frederick, Kelley Hays-Gilpin, Catherine Namono, George H. Nash, John Norder, Marianna Ocampo, Joshua Schmidt, Duangpond Singhaseni, Benjamin W. Smith, Atthasit Sukkham, Noel Hidalgo Tan, Watinee Tanompolkrang, Luke Taylor, Dagmara Zawadzka

The Plains region that stretches from northern Colorado to southern Alberta and from the Rockies to the western Dakotas is the land of the Cheyenne and the Blackfeet, the Crow and the Sioux. Its rolling grasslands and river valleys have nurtured human cultures for thousands of years. On cave walls, glacial boulders, and riverside cliffs, native people recorded their ceremonies, vision quests, battles, and daily activities in the petroglyphs and pictographs they incised, pecked, or painted onto the stone surfaces. In this vast landscape, some rock art sites were clearly intended for communal use; others just as clearly mark the occurrence of a private spiritual encounter. Elders often used rock art, such as complex depictions of hunting, to teach traditional knowledge and skills to the young. Other sites document the medicine powers and brave deeds of famous warriors. Some Plains rock art goes back more than 5,000 years; some forms were made continuously over many centuries. Archaeologists James Keyser and Michael Klassen show us the origins, diversity, and beauty of Plains rock art. The seemingly endless variety of images include humans, animals of all kinds, weapons, masks, mazes, handprints, finger lines, geometric and abstract forms, tally marks, hoofprints, and the wavy lines and starbursts that humans universally associate with trancelike states. Plains Indian Rock Art is the ultimate guide to the art form. It covers the natural and archaeological history of the northwestern Plains; explains rock art forms, techniques, styles, terminology, and dating; and offers interpretations of images and compositions.

The Zuni are a Southwestern people whose origins have long intrigued anthropologists. This volume presents fresh approaches to that question from both anthropological and traditional perspectives, exploring the origins of the tribe and the influences that have affected their way of life. Utilizing macro-regional approaches, it brings together many decades of research in the Zuni and Mogollon areas, incorporating archaeological evidence, environmental data, and linguistic analyses to propose new links among early Southwestern peoples. The findings reported here postulate the differentiation of the Zuni language at least 7,000 to 8,000 years ago, following the initial peopling of the hemisphere, and both formulate and test the hypothesis that many Mogollon populations were Zunian speakers. Some of the contributions situate Zuni within the developmental context of Southwestern societies from Paleoindian to Mogollon. Others test the Mogollon-Zuni hypothesis by searching for contrasts between these and neighboring peoples and tracing these contrasts through macro-regional analyses of environments, sites, pottery, basketry, and rock art. Several studies of late prehistoric and protohistoric settlement systems in the Zuni area then express more cautious views on the Mogollon connection and present insights from Zuni traditional history and cultural geography. Two internationally known scholars then critique the essays, and the editors present a new research design for pursuing the question of Zuni origins. By taking stock and synthesizing what is currently known about the origins of the Zuni language and the development of modern Zuni culture, Zuni Origins is the only volume to address this subject with such a breadth of data and interpretations. It will prove invaluable to archaeologists working throughout the North American Southwest as well as to others struggling with issues of ethnicity, migration, incipient agriculture, and linguistic origins. CONTENTS Foreword by William H. Doelle Preface: Constructing and Refining a Research Design for the Study of Zuni Origins David A. Gregory and David R. Wilcox Acknowledgments Part I Large-Scale Contexts for the Study of Zuni Origins: Language, Culture, and Environment 1. Introduction: The Structure of Anthropological Inquiry into Zuni Origins David R. Wilcox and David A. Gregory 2. Prehistoric Cultural and Linguistic Patterns in the Southwest since 5 BC Cynthia Irwin Williams (1967) 3. The Zuni Language in Southwestern Areal Context Jane H. Hill 4. Archaeological Concepts for Assessing Mogollon-Zuni Connections Jeffery J. Clark 5. The Environmental Context of Linguistic Differentiation and Other Cultural Developments in the Prehistoric Southwest David A. Gregory and Fred L. Nials 6. Zuni-Area Paleoenvironment Jeffrey S. Dean Part II Placing Zuni in the Development of Southwestern Societies: From Paleoindian to Mogollon 7. The Archaic Origins of the Zuni: Preliminary Explorations R. G. Matson 8. Zuni Emergent Agriculture: Economic Strategies and the Origins of Zuni Jonathan E. Damp 9. A Mogollon-Zuni Hypothesis: Paul Sidney Martin and John B. RinaldoÕs Formulation David A. Gregory 10. Adaptation of Man to the Mountains: Revising the Mogollon Concept David A. Gregory and David R. Wilcox (1999) 11. Mogollon Trajectories and Divergences Michael W. Diehl Part III Zuni in the Puebloan World: Mogollon-Zuni Connections 12. Zuni in the Puebloan and Southwestern Worlds David R. Wilcox, David A. Gregory, and J. Brett Hill 13. A Regional Perspective on Ceramics and Zuni Identity, AD 200--1630 Barbara J. Mills 14. Mogollon Pottery Production and Exchange C. Dean Wilson 15. R

Boyd seed a way that hunter-gatherer artists expressed their belief systems; provided a mechanism for social and environmental adaptation; and acted as agents in the social, economic, and ideological affairs of the community. She offers detailed information gleaned from the art regarding the nature of the Lower Pecos cosmos, ritual practices involving the use of sacramental and medicinal plants, and hunter-gatherer lifeways.

This text is meant to educate and help people with the identification of unusual stones fashioned by early man. Many of these stones are nothing short of true works of art, as you will see. In these pages are photographs and drawings of stones collected over thirty years, and four years to write this book—60,000 words and 318 photos and drawings to help you understand how ancient man used and really looked at a stone, and you will too. There's no book like this on earth!