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Birds and Beasts of Ancient Mesoamerica - Ep 252
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Today Chris talks to the editors of a fascinating new book about animals and their representation and symbolism in ancient Mesoamerica. We talk about things like frogs that soak in water through their bellies and animals wearing clothes…and what that means! Ancient people in this area were very connected to their surroundings and observed everything with amazing clarity.
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Transcript
Introduction to The Archaeology Show
00:00:01
Speaker
You're listening to the Archaeology Podcast Network. You're listening to The Archaeology Show. TAS goes behind the headlines to bring you the real stories about archaeology and the history around us. Welcome to the podcast.
Animal Symbolism in Mesoamerica
00:00:16
Speaker
Hello, and welcome to The Archaeology Show, episode 252. On today's show, I talked to Elizabeth Bakwadano and Susan Milbreath about their new edited volume about birds and beasts and their symbolism in ancient Mesoamerica. Let's dig a little deeper, but without Rachel.
00:00:34
Speaker
Welcome to the show everyone. It's just me today. Rachel can't make this recording, but we have another, just like we did a couple of weeks ago, we have another book review sort of, except with the authors or at least the editors, as they say in academic circles. I mean, people still do author books, but a lot of times you see these edited volumes where
00:00:52
Speaker
several people, or one person even, basically contacts a bunch of other people and says, hey, we want to talk about this. And a number of chapters are written by different people. So that's what we're going to talk about today.
Exploring 'Birds and Beasts of Ancient Mesoamerica'
00:01:02
Speaker
The book today is called Birds and Beasts of Ancient Mesoamerica, Animal Symbolism in the Post-Classic Period. And there is a link to this in the show notes. You can find it at University Press of Colorado. More than likely at some point, you can find it on Amazon and other places too. I mean, Amazon pretty much has everything. So
00:01:19
Speaker
But University Press of Colorado is where this was published. So let me introduce to the show. Then we've got Susan Milbreath and Elizabeth Baccadanno. Welcome to the show, ladies. Hello. Hello. Thank you. All right. So we'll leave your guys's profile information, your bios. If anybody's interested in hearing more about them, we'll have that in the show notes. I just want to use our time to go straight
Key Animals and Their Significance
00:01:43
Speaker
into the book. So will one of you guys give us the, the overall highlights on what this book is about?
00:01:49
Speaker
Well, the book is about animal symbolism, very much looking at key animals in Mesoamerica, animals that have had a special significance in Mesoamerica, not necessarily in the Maya or in Highland Central Mexico with the Aztecs, but overall in Mesoamerica. So many of these animals are recurrent
00:02:14
Speaker
in different times, in different periods, they seem to be particularly associated with seasonality, with the change of the seasons. So they're either associated to the wet season or to the dry season. And there are also mythological animals covered in the book.
00:02:36
Speaker
So what we have done is a selection of papers written by key authors, by some of the most distinguished scholars working in Mesoamerica. So we are very lucky to have a book written by people who have specialized in the different creatures that we are covering in the book in one way or another. I would add that some of the
00:03:06
Speaker
animals that are represented in the book are not ones that you would think of as being important mythologically, such as the quail. The quail was sacrificed to the sun on a daily basis. And there's a reason for that that's given in the book by Elena Massetto, who has studied this imagery. And she has found that the quail, because of its spotted belly,
00:03:33
Speaker
came to be recognized or symbolically linked to the night sky because it looked like it had a starry sky on its body.
Cultural Significance of Animal Symbolism
00:03:42
Speaker
So to get the day to rise, the sun to rise, you kill the night. Wow. Tough day for quills, I guess. Yes. America.
00:03:55
Speaker
The audience for this show is not necessarily archaeologists. We have a lot of people from around the world with different backgrounds. Can you give your academic definition of symbolism real quick so we can understand and be on the same page with that?
00:04:08
Speaker
Yeah, well symbolism is basically what defines those creatures, what are the characteristics, what are the traits that are symbolic of those animals. For example, we were talking about seasonality and how the change in the seasons
00:04:28
Speaker
is associated, for example, with snakes that change skin or also with toads and frogs that metamorphosis and that change their nature. So animals that have very specific symbols, for example, the hummingbird waking up at the beginning of the rainy season, coming from hibernation,
00:04:57
Speaker
when the rainy season starts. So these animals that have connections with specific realms, for example, the eagle with the sun or with the sky, because they fly very high up. So they're closely to the sun or so it seems. Other creatures that are more terrestrial, for example, the jaguar has aspects to do with the Earth.
00:05:26
Speaker
and also to do with the underworld, but it depends on the context. So many of the traits of these animals are very specific to context. So the context dictates what we are looking at. If we find a female context or if we find animals that are
00:05:50
Speaker
associated with warfare such as jaguars or eagles or hawks or pumas. So all these animals that have bellicose aspects that are aggressive by nature, that they are animals that are very fear because there's no feline more aggressive in the Americas is the most
00:06:15
Speaker
Aggressive is the most powerful of all the creatures in the Americas, not only in Mesoamerica, but all over the Americas.
00:06:25
Speaker
One of the ones that I would add that's an odd one is the hummingbird was related to warfare and the warlike sun god. And you'd say, well, a tiny hummingbird will lie. They are apparently very aggressive towards each other and anything in their way.
00:06:46
Speaker
They are obviously very speedy too. So the symbolism part comes from the fact that the animal behavior or morphology, the way it looks, somehow or another stands for another concept. So that's what is a symbol.
00:07:04
Speaker
Also, in the case of the hummingbird, I would like to add that they're very territorial birds, as Susan said, but also they defined a territory and fight for the territory. So this is important during the expansion of the Aztecs and how much they defended a territory. So their associations with the behavior of hummingbirds, these very small
00:07:33
Speaker
bears that also have certain features. They feed themselves with the blood of insects and the association blood, you know, getting the protein flying 400 kilometers without stopping. The only animal that can hover, that can fly upwards and downwards and can go back is the only animal that
00:08:00
Speaker
has a very small heart that beats very, very fast. So it's all these number of symbols that make this bird very special. It's also an American bird. It doesn't exist in other parts of the world. And when it does, it's not native, but to the Americas.
00:08:24
Speaker
So it makes this very small bird connected with more than one aspect, to do with warfare, but also with the beginning of the rainy season, the color, the plumage, the green and the blue feathers, symbols of water, fertility, the lush vegetation at the beginning of the rainy season. So it's all the combination, all these different elements.
00:08:51
Speaker
that make the bird very attractive and symbolic of the most important Aztec god, Huitzilopochtli. Huitzilopochtli, as such, means left-handed hummingbird. So the hummingbird in Nahuatl is called Huitzilin. So it's also a hummingbird in Nahuatl, Huitzilin.
00:09:16
Speaker
the tribal god of the Aztecs, the most important Aztec god, as well as the innovation in the Aztec period, in the Aztec pantheon.
00:09:29
Speaker
All right. Well, one of the chapters in the book is called how to construct a dragon for a changing world. The zoom off on the Venus platform at Chichen Itza. So speaking of possibly warfare or something like that, dragons usually symbolize something like that, but we'll talk about that. This chapter was written by Cecilia Klein and you dedicated the book to her. Tell us
Innovative Interpretations at Chichen Itza
00:09:48
Speaker
about that.
00:09:48
Speaker
Well, this is the result of a conference that Elizabeth Baccadanno and I organized in 2019 to honor her at the Society for American Archaeology. And the papers were all so good that we decided, actually, we were asked to do a volume on this. And her article, her chapter, rather, is one of the most interesting in the book because she has a very innovative approach to
00:10:14
Speaker
all sorts of scholarship. I mean, she's extremely knowledgeable about ethnohistorical sources, which are often a main source of our information, meaning the chroniclers who wrote at the time of the conquest and shortly thereafter, and attempted to explain Mesoamerican religion.
00:10:33
Speaker
She ended up interpreting this creature that's best known from the Venus platform at Chichen Itza in Yucatan, but it clearly has a lot of central Mexican influence, meaning not Aztec because the Aztecs yet weren't defined. This is an early post-classic site, which means it's generally dated around 850 to 1150.
00:10:56
Speaker
And at this site at Chichen Itza, this creature has elements of multiple animals, including a serpent tongue coming out of its mouth and feathers that are clearly Quetzal feathers, claws that have been variously described as crocodilian or bird-like, but her article has defined them more as perhaps images of a raptor of some sort.
00:11:25
Speaker
She also recognized the nostrils as being those of a crocodile, which had never been said before. So she had a lot of interesting new interpretations all woven together with classic period information from the Maya area and also post classic information from central Mexico. So she did a major synthesis and it's certainly going to be, you know, one of the more important articles written on Chichen Itza for quite a while.
00:11:53
Speaker
Okay. Yeah. I was just trying to look for my pictures on that. My wife and I visited Chichen Itza just a few years ago and I remember that, taking pictures of that. That was, it's really interesting. She thinks it's a heartbeat eagle. The eagle, the eagle component is a heartbeat eagle, which was very important in the Maya area as well. Whereas in central Mexico, the eagle of preference was the golden eagle in terms of iconography. So she said,
00:12:18
Speaker
In her article, she ended up saying that this seemed to be a synthesis of an attempt to talk to both the Central Mexican cultures, which would have been Tula at the time in the early post-classic, and the people of Yucatan itself, because Yucatan was undergoing a drought that was a major drought
00:12:39
Speaker
So she feels like it was an attempt to show some cross-cultural connections and maybe a cry for hope at that point in time. Okay. Well, I think with that, let's go ahead and take a break. And when we get back, we will talk about both of your contributions to the book back in a minute.
Amphibians in Aztec Archaeology
00:12:59
Speaker
Welcome back to the archeology show. And I've got Susan Milbreath and Elizabeth Bakadano here. And we're talking about this book that they were editors on. And it's again, linked in the show notes, birds and beasts of ancient Mesoamerica, animal symbolism in the post classic period. And I want to talk about your guys's contribution to the book because you both each have chapters here. So Elizabeth, why don't you tell us about yours first?
00:13:22
Speaker
Okay. Well, my chapter revolves around toads and frogs in post classic Mesoamerica. These animals, these amphibians are very well represented throughout Mesoamerica, throughout the different chronological horizons from BC times right through to the conquest period. And of course they continue to be important in some
00:13:47
Speaker
villages and in some places in Mexico where they still follow the traditions of honoring mountains and climbing to see when the rains are going to come. So they're very closely associated with the change of the seasons. One of the aspects that I found interesting about
00:14:12
Speaker
the archaeology, particularly, was to be able to contribute to one of the most fascinating symposia that I've ever attended. This was organized by Leonardo López Lujante, director of the Templo Mayor Excavations, and he has been working systematically since he was
00:14:37
Speaker
a student, even before he went to study archaeology. And, of course, he's one of the leading archaeologists in the Americas and one of the leading archaeologists in the world. And I'm not just saying it out of nationalism. He really has all the credentials. You can look it up for yourself in academia. You can see his CV.
00:15:00
Speaker
It's one of the most impressive civies that I've ever seen. But of course, he has been working at the Temple of Maior for 44 years. Well, the excavation started in 1978. And then he joined as a student, working there in his spare time, walking around the Temple of Maior, asking questions, a very inquisitive type of scholar from very early on.
00:15:27
Speaker
And he joined the Templo Mayor when Eduardo Matos Magdesuma, who incidentally started the excavations of the Templo Mayor, he had the vision to actually put together the most comprehensive archaeological project
00:15:43
Speaker
in Mesoamerica using all kinds of specialists, biologists, zoologists, conservatives, all types of experts participating in the excavations. So going back to the book that I was invited to participate on, Leonardo, as the director of the excavations, put together one of the most
00:16:09
Speaker
interesting symposium that I have attended, as I said earlier, it was all to do with the animals that have been found in the excavations of the Templo Mayor. The context where they have been found, what they mean,
00:16:26
Speaker
what kind of species they are. So it's not only just looking at the different animals, but it's actually looking at how often they appear and where do they appear. So in that context, when he was putting together the conference, he asked me if I would like to contribute, which was a great honor for me to participate with all my
00:16:54
Speaker
friends and colleagues of the Templo Mayor excavation, so it was a great delight to do something with them and I decided to write on frogs and toes. Unfortunately, even though these animals reproduce very easily in large amounts and there are many frogs and many toes, there are not many skeletal remains
00:17:17
Speaker
found at the Templo Mayor excavations, the most important Aztec temple. So I thought, well, I will ask all the right questions and I will be asking Lopez Lujan how many frogs they have found, how many toads. To my surprise, there were only four
00:17:39
Speaker
amphibians found in the excavations for an animal that even has a little temple facing the temple of Tlalog, the god of rain. It's very interesting that there are no skeletal remains, so this was something that
00:17:58
Speaker
Through the work that I did, I had to use what's available. So the only thing that I could find a lot of information was to do with garments, different types of jewelry where frogs are depicted or frogs and toads.
00:18:15
Speaker
Even some of the, as I said, some of the garments made of mother of pearl shaped as frogs and found on the side of the god of rain, Klalock. So it was very interesting to be able to work on what's available
00:18:35
Speaker
in the material record, what was surprising was to see that there was one particular symbol that appears in several representations of frogs and is the water symbol. So the water symbol is located on the stomach.
00:18:56
Speaker
of rocks. So that particular symbol is important because obviously water is important for agriculture, particularly for agricultural societies. So when you actually see the water symbol and where it appears, I started asking myself why this particular symbol
00:19:17
Speaker
And why is it placed on the stomach as anywhere else? So I started looking at the biology of amphibians and realized that frogs and toads sit on puddles. When the rain comes, they go and sit.
00:19:36
Speaker
on these little puddles or ponds that have little water to absorb the water. So they drink water through their seed patch. They actually absorb the water there. And of course, the Aztec Square, the great
00:19:55
Speaker
at observing nature, at looking at what happened, and they put together the water symbol with what these creatures did and how they behaved. So I discovered by reading books on biology and zoology that these creatures actually
00:20:18
Speaker
have the the seed patch very well localized and is to do with the consumption of water. So I put together what is found in the sculptures where you find those sculptures and I also looked at the
00:20:34
Speaker
behavior in biology. But that's only one of the aspects of the paper. Another aspect that I was very interested in was that at looking how certain offerings found in the excavations of Templo Mayor have different layers. And those layers have an important
00:20:58
Speaker
symbolism. Sometimes it's connected with water and everything that belongs in the realm of water. For example, you get frogs and you get fish and you have sand and creatures that belong in watery environments. So what is interesting as well is to see that this particular level of the offerings
00:21:27
Speaker
is depicted in sculptures of reclining figures called Chuck Morley. Chuck Morley is the name given to men who hold vessels in their midsection that seem to be reclined. And if you were to lift those sculptures representing reclined men, if you were to lift them up, you would find that on the underside, there is a carving
00:21:57
Speaker
exactly of the same creatures that you find in the offerings. So you have frogs, you have fish, you have water indicated as wavy lines. You also have different types of shells, corn shells. And of course, in the excavations of the Temple of Myyard, you can look at what type of shells and how many and where do they come from. Do they come from the Pacific or from the Atlantic?
00:22:26
Speaker
So, the amount of information is unique, is incredibly thorough, using the most modern techniques. And so, I was able to compare what has been described by Leonardo Lopez-Rohan in his
00:22:44
Speaker
major work on the offerings of the Templo Mayor, which he published both in Spanish and in English. And I saw what different levels brought and what different levels contained. So it was interesting to see not only
00:23:04
Speaker
the symbols that you find on the sculptures in an obvious manner, but also some that are hidden. You obviously need drawings and those drawings had been carried out and we can compare and contrast what is carved on those sculptures with the offerings themselves. So I did
00:23:26
Speaker
archaeology and compare it with their sculpture. So I try to be innovative using not only what exists in books, but looking at the material culture and how this gives us different information using different methods. So it's
00:23:48
Speaker
was talking about the ethnohistorical sources. And of course, now we have a very rich corpus of archaeology, mainly thanks to the ongoing excavations that started in 1978. So it's one of the most extraordinary excavations before the excavations of 1978, all the Aztec
00:24:15
Speaker
excavations were rescue excavations. And this, with Eduardo Matos Moctezuma, he started a new trend of making all the excavations in a systematic, orderly way. So that's one of the aspects of it. But of course, I was talking earlier, there is also observation of what these creatures do. And of course, in the dry season,
00:24:44
Speaker
frogs and and toads hide in the earth and and some of them stay buried in the earth until the rains come and they they put their head faced up looking at say looking at the sky obviously they're buried in the earth so looking up the representations of the earth
00:25:07
Speaker
are also always depicted with the face looking up. So there's the association frogs with the rain, but also the transition, what happens in the dry season, metamorphosis that they undergo,
00:25:24
Speaker
And of course, the aspects of the earth, they're very closely associated with rain, but also with the Lord of the earth, Lord and Lady Tlaltekutli of the earth. And of course, in the dry season, they really wait for the rain to come. When the rain starts, then they start mating and their behavior
00:25:50
Speaker
changes completely. So this is one of the aspects and the question still remains, why so few of these toads and froads in the skeletal remains? And there are many froads and toads throughout Mesoamerica, so we have to continue searching for them. They must be somewhere because they were also eaten, they were consumed, there were different festivals and so on.
00:26:18
Speaker
I just got to say, as we're ending segment two here, it is one more example of, and we talk about this on other shows in the Archaeology Podcast Network. I've mentioned it before, but a lot of people look at archaeology and think, well, it's all just, you know, digging and probably dusty old history books, right? And something like that. But it really is cross-disciplinary in order to really understand because the people that we're often studying
00:26:41
Speaker
I mean, had an incredible knowledge of the world around them, much more so than people do typically today. I mean, we don't pay attention to anything outside of our TVs and our, you know, and our, and our stereos and things like that. And it's just, it's just amazing the knowledge that they had of the world and how they applied that and used it and, and, you know, put it in their symbolism, for example, like you guys are discussing. And it's just, I don't know, it's fascinating. They weren't savages by any means.
00:27:10
Speaker
Definitely not. Exactly. Exactly. All right. Well, let's take a break and we'll come back on the other side and talk about Susan's contribution to the book back in a minute.
00:27:19
Speaker
Welcome back to the archaeology show. This is the third and final segment. And Susan, I want to go to your chapter now. We didn't quite have time to do it last time, so we're going to talk about it now. Your chapter was called Animal Symbolism in the Calendar Almanacs of the Codex Borgia and links to post-classic imagery in Mexico.
Animal Symbolism in Codex Borgia
00:27:36
Speaker
And we actually did, I think it was around this time last year, we did a whole podcast on this show on calendars. It was the end of the year and dealing with daylight savings and stuff like that. And it was interesting. And the calendars of the Maya are just
00:27:49
Speaker
fascinating and the whole Mesoamerican area. So let's hear what your chapter was about. Well, my culture area in this case is central Mexico, although I've done a lot with Maya. One of the interesting things about central Mexico is their calendar is very similar to the Maya, but they ended up recording month dates that were not
00:28:13
Speaker
the same as the Maya. So we sometimes have to try and piece together exactly what time periods they were referring to. So this chapter, I attempted to show that a certain section of I would think the most famous codex from central Mexico that dates to the pre-conquest time before the conquest, the codex Borgia, how it records actual dates in the calendar that can be called real-time dates.
00:28:42
Speaker
And with that information that has only recently been noticed, shall we say, in the last 15 years or so, people have started to realize that what are called calendar round dates can be placed in real time. So with that in mind, I've worked on the calendar inscriptions of the Codex Borgia.
00:29:04
Speaker
to try and find out exactly what time periods, what events are shown. And in this particular chapter, I focused on a set of pages that are called a directional almanac because it shows essentially four scenes that are each, each one a different scene associated with a different cardinal direction, the classic, you know, North, you know, et cetera.
00:29:27
Speaker
When we got to the point where we could start to read the calendar glyphs, these pages have specific dates that fall in what is the last month of the Aztec calendar. Now, the code exposure was painted in a neighboring community in the Pueblo Tlaxcala area rather than in the Valley of the Mexico where the Aztecs lived, but they shared a similar calendar. And so we're able to say,
00:29:55
Speaker
that these scenes all relate to the last month of the Aztec year, also known from Puebla Tlascala area, because we have the Relaciones de Tlascala that tell you about the calendar.
00:30:10
Speaker
Knowing that, it's interesting that they all show scenes showing the erection of a world tree as if this belonged to a specific kind of world renewal ceremony like our new year. And indeed, when we go to the Aztec calendar, the last month of the year, Iskali also has the erection of world trees and the concept of world renewal. So that allowed me to kind of set these pages in the context of
00:30:39
Speaker
what I would say would be chronological time. But then I became interested in the amount of iconography that refers to animals. There's a lot of animal sacrifice. There are animals represented as attacking other animals or attack against some cases humans. So in terms of the four pages, one of the most important images is essentially decapitated quetzals on a tree of sacrifice.
00:31:07
Speaker
on flowering vines around a jeweled tree, which all are associated with the east, and a fire serpent with a fire drill. Well, actually, Iskali was the month in which they drilled a new fire every year, you know, to symbolically renew the year. So we had all these scenes that can now be placed in some kind of symbolic context, crocodiles, jaguars, eagles with feathered serpents. And in one case, the eagle is trying to take a
00:31:36
Speaker
a rabbit out of the jaws of the feathered serpent, which would seem just very weird. It's just hard to explain unless you understand the symbolism of central Mexican iconography, wherein the rabbit is often a representative of the moon.
00:31:54
Speaker
And then the feathered serpent is often a representative of the planet Venus, and the eagle is often a representative of the sun. So in that case, it seems to be an astronomical image. But more important, these animals also turned out to be central to the central Mexican calendar, shared again by Tlaxcala and the Yazdex. And half of the day signs
00:32:20
Speaker
that are part of a unique 260-day calendar refer to animals. And so the first actually day sign in the series of 20 day signs that were used repeatedly with 13 numbers, 13 times 20, 260. With the first animal is the crocodile, which stands for the first of the day signs. And then the lizard is the fourth, a serpent, a feathered serpent is the fifth.
00:32:48
Speaker
a deer is the seventh, a rabbit the eighth, a dog is the tenth, and a monkey the eleventh, and a jaguar the fourteenth, and the fifteenth is an eagle, and the sixteenth a vulture. So with those animals in mind, I attempted to delve into the symbolism of each of those animals to see why did they become essentially used in the calendar. What is their importance symbolically in the central Mexican area?
00:33:15
Speaker
And what'd you find out? Yeah, I ended up coming to some, I think, you know, interesting conclusions. The jaguar not only as an earth symbol, but also can be lunar. He's paired with the eagle often in iconography as a symbol of warfare, because those were the two highest classes of costuming that were awarded
00:33:38
Speaker
to the warriors, much as we put bars and stars on our warriors, they had costumes that reflected their status in the community of warriors. The deer is also one that's among the calendar symbols, but not an aggressive animal at all. But that animal is used in metaphors, in other sources, ethnohistorical sources,
00:34:07
Speaker
timidity and animals that fear other animals and not surprisingly. So all these animals turn out to have multiple levels of symbolism that is found throughout their iconography. And I did do one other chapter, the closing chapter just to try to
00:34:26
Speaker
make sense of it all, shall we say. And in that chapter, I do include notes from contributions throughout the volume, but I also attempt to show that the overriding principle of the animal imagery is not necessarily astronomy. And I'm known for astronomy, so I'm sure some folks thought, oh, there's going to be a lot of astronomy here.
00:34:50
Speaker
No it turns out when i when i dialed into these animals that a lot of it has to do with close observation of nature and the importance of these animals as symbols for instance the crocodile became a symbol of the earth because actually what they do when they lay eggs is they make a little.
00:35:11
Speaker
Model of the earth by mounding up earth around the around the water in which they're usually residing they make a mound and they lay their eggs in that mound so they created this visual image of the earth and then of course just seeing them floating in the water in a community such as Mesoamerica that has water on both sides, you know, you would naturally see that as an image of the earth and
00:35:36
Speaker
Well, I could go on longer, but I hope people will buy the book and take a look at how many symbols of close observation of nature end up in the Mesoamerican iconography.
Navigating the Book's Chapters
00:35:49
Speaker
Awesome. Well with that, I think we will end the show because we're out of time. And again, the book is birds and beasts of ancient Mesoamerica animal symbolism in the post classic period. And you can find the link to that in the show notes and then hopefully maybe pick up a copy and check it out. Lots of good stuff inside of there. And as we mentioned in the last book podcast that we did,
00:36:09
Speaker
These are the kinds of things that, I mean, it's not like a book of fiction or something that you read cover to cover. You can actually jump around a little bit if you want to because they're chapters written by other people and they're independent. So if you find something interesting that you want to read first, go ahead and you can take a look at that. That's one of the nice things about the way books like this are written. So with that, I think we will say thank you to Susan and Elizabeth for coming on the show. And we hope that everybody goes and checks out the book. Thank you for inviting us. Thank you, Chris. All right. See you guys next week.
00:36:45
Speaker
Thanks for listening to The Archaeology Show. Feel free to comment and view the show notes on the website at www.arcpodnet.com. Find us on Facebook, Instagram, and Twitter at arcpodnet. Music for this show is called, I Wish You Would Look, from the band C Hero. Again, thanks for listening, and have an awesome day.
00:37:08
Speaker
This episode was produced by Chris Webster from his RV traveling the United States, Tristan Boyle in Scotland, DigTech LLC, Culturo Media, and the Archaeology Podcast Network, and was edited by Rachel Rodin. This has been a presentation of the Archaeology Podcast Network. Visit us on the web for show notes and other podcasts at www.archapodnet.com. Contact us at chrisatarchaeologypodcastnetwork.com.