Utah Archaeology 2001, Volume 14, Number 1
CONTENTS OF ISSUE
Message from the Editors by Joel C. Janetski and Robert B. Kohl
- Late Paleoindian Artifacts from Utah Valley by Joel C. Janetski
Late Paleoindian artifacts in the High Plains tradition are rare in the Great Basin. This paper reports Paleoindian style stone tools from Utah Valley in west-central Utah. These finds hold implications for: 1) the timing of human occupation in Utah Valley, and 2) Plains/Great Basin interaction during the terminal Pleistocene, early Holocene period (~9,000 B.P.). Interaction does not imply an intrusion of people nor do these artifacts necessarily equal the existence of a big-game hunting strategy in Utah Valley or the eastern Great Basin during this period.
- Cultural Affiliation of Kachina Bridge Ruin by Nancy J. Coulam
Kachina Bridge Ruin, a storage site in southeastern Utah, has been called a San Rafael Fremont site based on the presence of adobe turtleback structures and triangular anthropomorphs painted on the inside wall of one of the turtleback structures. Based on new radiocarbon dates, the construction of the adobe structures at the site and the painting of the triangular anthropomorphs are now known to have occurred on or after A.D. 600–655, a time when upper White Canyon was occupied by Mesa Verde Anasazi, not Fremont. A literature review of turtleback structures and triangular anthropomorphs indicates that these traits cannot be considered diagnostic of the Fremont, and that Kachina Bridge Ruin is a typical Anasazi site for the region.
THE AVOCATIONALIST’S CORNER
- The Ogden High Graffiti Rock by Dann J. Russell
To declare that rock art in the state of Utah is abundant is an understatement. One need only visit the many state and national parks throughout Utah or browse the literature sold at their visitor centers. One book documenting the best known of this art is the multi-volume set Petroglyphs and Pictographs of Utah by Kenneth B. Castleton M.D. Most rock art in the state can be attributed to prehistoric Native Americans, but not all. Dr. Castleton’s book documents three panels that appear to be historic (Castleton 1987:64, 91). Another panel not documented by Castleton, similar in appearance, is located near Ogden and referred to by some residents as the “Ogden High Graffiti Rock” (Sawatzki 1996:5). This article will document the panel, compare it to similar panels described by Castleton as well as other rock art in Utah, and explore the questions of how, when, and why they were produced.
- A Tip On Stabilizing Ceramic Vessels by Barb Jolly and Roy Jolly
Jim Starr (Dixie-Jennifer Jack Chapter USAS) knows that patience and ingenuity are the prerequisites for ancient pot reconstruction. The St. George octogenarian has drawn attention throughout Utah with his innovative method using coat hangers to stabilize pots, instead of plaster of Paris. Starr retired in 1977 and began his career as an avocational archaeologist in 1990 by taking classes taught by Diana Hawks, BLM archaeologist. While working on the South Gate excavation, BLM archaeologist Gardner Dalley asked Starr if he would be interested in reconstructing pots. Since then, he has reconstructed approximately 40 pots, and each pot requires 40 to 50 hours to complete.
- A History of Dogs in the Early America, reviewed by Mark E. Stuart
- Kachinas in the Pueblo World, reviewed by Jon R. Moris
- The Art of the Shaman: Rock Art of California, reviewed by Steven R. Simms
- Prehistory of the Carson Desert and Stillwater Mountains: Environment, Mobility, and Subsistence in a Great Basin Wetland, reviewed by David W. Zeanah