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Game Drive Fences and Desert Kites in Rock Art - Rock Art 105
902 Plays1 year ago
In this news this month are Desert Kites from Jordan and Saudi Arabia. They are large, star-shaped, stone fences that early people used to direct game into pits where they could be easily killed. This has been done all over the world in various ways, including North America. We discuss the recent discovery of plans for these represented on rock art and how that’s also been done in North America.
Transcripts
For rough transcripts of this episode go to https://www.archpodnet.com/rockart/105
Links
- Stone Engravings of Mysterious Ancient Megastructures May Be World's Oldest 'Blueprints'
- Desert Kites, Miami Pre-History, and Illicit Antiquities - TAS 165
Contact
- Dr. Alan Garfinkel avram1952@yahoo.com Dr. Alan Garfinkel’s Website Support Dr. Garfinkel on Patreon
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Transcript
Introduction to California Rock Art Foundation
00:00:01
Speaker
You're listening to the Archaeology Podcast Network. Hello out there in archaeology podcast land. This is Dr. Alan Garfinkel. I'm the president and founder of the California Rock Art Foundation. And what we do is we identify, evaluate, manage and conserve rock art both in Alta, California and in Baja, California.
00:00:21
Speaker
We conduct field trips, we have trainings, exercise, we do research, and in every way possible we try to preserve, protect, and coordinate treasures of Alta and Baja California rock art, of which there are many, and diverse. We also work closely with Native Americans and partner with them to recognize and protect sacred sites. So for more info,
00:00:43
Speaker
about the fabulous California Rock Art Foundation. You can go to carockart.org. Also, I'm open to give me a call, 805-312-2261. We would welcome sponsorship or underwriting, helping us to defray the costs of our podcasts, and also membership in California Rock Art Foundation, and of course, donation since we are a 501c3 nonprofit scientific and educational corporation. God bless everyone out there in podcast land.
Desert Kites: Middle East and North America Comparison
00:01:16
Speaker
You're listening to The Rock Art Podcast. Join us every week for fascinating tales of rock art, adventure, and archaeology. Find our contact info in the show notes and send us your suggestions.
00:01:34
Speaker
Welcome to the Rock Our Podcast, episode 105. I'm Chris Webster, and I'll be talking with Dr. Alan Garfinkel today about an article we saw recently in the news and thought it would be important to bring on this show. It's about desert kites over in Saudi Arabia and Jordan and how the blueprints for these 9,000-year-old game drive structures have been found on rocks and what that means in North America. Enjoy the show.
00:02:04
Speaker
Welcome to the Rock Art Podcast, everybody. This is Chris Webster. And if you're hearing my voice, that means it's just Alan and I today. And we are actually going to talk about something that's been in the news recently and also kind of relate this back to North America. Alan, how's it going? Good. How are you, Chris? Thanks so much for patching in. You're on your mobile caravan, as it's called, a digital nomad.
00:02:30
Speaker
You're traveling around the world. And here we go. Through the world of magic and digital technology, we get to continue our ongoing conversation on all things rock art and related matters. Yeah, absolutely. I guess we're going to talk about, they call it a map. I'd never heard it called a map per se, but we're talking about this thing we might call game diversion fences.
00:02:57
Speaker
And I guess they're characteristic both in the old world and the new, is that correct? Yeah, that's right. It's been in the news. If you're listening to this in real time, we're recording this in the last week of May, 2023. And there's been some news articles that have come out and actually on the archaeology show that I co-host with my wife. We talked about this a few months ago, and I'll link to our episode in the show notes.
00:03:20
Speaker
But these desert kites, they call them, found out in Middle East Saudi Arabia in particular, Jordan and Saudi Arabia, I should say, for these particular ones. But yeah, they're just big, huge, I mean, many hundreds and hundreds of feet long rock walls used to corral animals and then they would kill them, you know, when they got to the, when they got to the end. Yeah. So this, this phenomenon is quite characteristic of the desert west. Have you ever seen them on the ground, Chris, or no?
00:03:50
Speaker
Yeah. Yeah. We see them out in Nevada occasionally when you see just a, just a stone fence. Well, they used them. The confusing thing in Nevada too sometimes is that they used them historically as well to herd like cattle and stuff like that. So, but yeah, we see them. I've seen them occasionally in the, in the West, in Nevada. And I know people find them all the time up in like the Dakotas, I think some places would have been plowed. So, yeah.
Rock Art as Ancient Blueprints?
00:04:14
Speaker
So this caught my eye for a variety of reasons, because there's a lot of
00:04:19
Speaker
parallels and issues relating to my own research that sort of overlap this. First of all, there's another rock art researcher who believes that we have depictions of these game diversion fences in the rock art record itself in association with a Bitcoin sheep
00:04:40
Speaker
antelope and deer hunting sites. He's done that through documentation, both in the Great Basin but also in the American Southwest. He's convinced that they, in fact, show that. I think he's correct. I've seen them also
00:05:01
Speaker
out in Utah, where they actually show a depiction of the fence and the drive and a particular leader of the drive, perhaps a shaman, who has a Bitcoin cheap headdress on, and he's leading this particular exercise to hunt and slay the animals.
00:05:25
Speaker
Fascinating, huh? Yeah. Yeah. And the interesting thing about this article that's in the news now is that they're saying it may be the world's oldest blueprints. That's the Scientific American article that I'm looking at here. Because they have found some basically large rock slabs that seem to
00:05:43
Speaker
basically have the idea of these things drawn out, drawn to scale, you know, carved out into the rock. Like here's how we're going to build this thing, or here's how you do build one of these things. And it's, you know, seven, 8,000 years old, which I think is fantastic. And, and the age on that one that they estimate was, was nine to 10, 9 to 10,000 years old. So that would be right. Yeah. So.
00:06:09
Speaker
On the landscape, there's monographs that have been written, lengthy treatises, about these features all over the desert west. They claim that the principal animal they were going after was antelope, the pronghorn antelope. The reason being, it's on the valley floor.
Landscape Archaeology Explained
00:06:31
Speaker
If it's on the valley floor, they would be going after pronghorn antelope or deer.
00:06:37
Speaker
because that's the way you could hunt them, and that's the way you could get them. They would channel them into a restricted area, and then they would have their archers or their people that would be ready to go to kill these animals, either with dart and ottlotl or bows and arrows. And they would probably be hiding behind either brush or rock structures, like those blinds, those rock blinds that they talk about.
00:07:07
Speaker
The key is, this is a piece of landscape archaeology, because you have to find a particular place that you can constrict them. You have to engineer this elaborate exercise of an enclosure.
00:07:24
Speaker
And it's quite an elaborate enclosure. Does that make sense? It does. It does. And I really love this too because I just love seeing the... I love seeing something that gives us a little...
00:07:39
Speaker
impression of the way people thought back then because, you know, we can kind of infer that from artifacts and from building materials and things like that. But the more that we see, especially seeing this illustrated on, you know, as a carving and then seeing it played out on the landscape as a teaching moment, right? Yeah. And I think it's very cool. Now, this sort of connects back with
00:08:04
Speaker
this, they call it game intercept drive sites. That's one of the elaborate pieces of, you know, verbiage that they use to talk about these. And these things, the heyday for these sorts of things, at least in the far west, was again the middle archaic from about 2000 BC to circa AD1. And what blew my mind about them
00:08:30
Speaker
was in doing the research for one of my articles on projectile points that I'm always obsessed with, is they found one of these, a game intercept drive site with hundreds of projectile points that had those impact fractures where they were shot and then the proximal end broke off of those points.
00:08:54
Speaker
So, they found hundreds of them, two different kinds, Humboldt Basil Notch Bifaces and Elko's. But on top of that, they found 25,000 pieces of animal bone from those pronghorn antelopes. And this was a site in what's called the Anchorite Hills on the edge of California and Nevada.
00:09:20
Speaker
And that's, that's rather amazing, don't you think? Oh, absolutely. Yeah, it really is. And you know, one thing that that just reminded me of too, is we always hear, well, I've heard in the past, I don't know how many they've found, but they have found some of these game drive fences underneath the Great Lakes. I think underneath Lake Superior. Oh, really?
00:09:42
Speaker
Really? Yeah, because back when the Ice Age happened, those lakes were not there, if not way smaller, right at the end of the Ice Age when the glaciers had retreated over the top of them and carved out basically the lakes and hadn't filled them back in yet. So it was still just the plains. Exactly. It's pretty cool. Yeah, it's pretty neat. But I think this particular perspective on rock art
00:10:07
Speaker
on hunting features and the nature of landscape archaeology is an interface that brings up this whole topic of a new theme or a relatively new theme called landscape archaeology. Yes.
00:10:26
Speaker
And landscape archaeology is commensurate with, equivalent with, or interactive with, the cutting-edge digital nature of the newest in technology.
00:10:44
Speaker
What someone does is work with the kinds of technology that you've taught us about using those elaborate GIS machines out in the field, but also twinning them with a means of creating a three-dimensional model of the landscape and also using drone photography to do that same thing.
00:11:10
Speaker
One of the things I want to mention is I was on the committee with one of my board members, Ryan Gerstner, who's had one of the episodes on here for his work up in Baja. But his master's thesis work at the University of Southern California
00:11:28
Speaker
was on landscape archaeology, doing this GIS work on the landscape, trying to tie in or reconstruct the hunting behavior with the physical features on the landscape and the topography and the landforms. So it's a multi-layered phenomenon.
00:11:55
Speaker
very impressed. And also, it has to do with rock art as well, because the rock art that is there in the association with all of these features depicts projectile points, huge dart points, and the interaction of the hunters hunting the sheep, both with ottlottles.
00:12:15
Speaker
Nice, nice. All right. Well, that was a good setup for this show, especially talking about the article. Again, look at the links in the show notes. Let's go ahead and take a break. Cause I've got something I want to really get into on the other side of this. And it's just been, it's just been in my head since I saw this article. So let's talk about this on the other side of the break back in a minute.
00:12:35
Speaker
Welcome back to The Rock Art Podcast, episode 105. And we're talking about game drives, features, and rock art and blueprints. And again, check the link in the show notes for some really cool news article and some other stuff. But you know, Alan, the one thing I wanted to ask you about, and I don't know if we can even tell this, but I think we're closer to it with this particular drawing or carving.
00:12:58
Speaker
We always talk about hunting images, like animals, especially animals that might have, you know, spears pointed at them or somebody actually throwing a spear or a bow or an arrow or something like that, you know, and saying, well, you know, this could be like hunting magic. This could be, you know, honestly, a demonstration to say, here's how you kill these animals. You know, I'm just taking the kids and saying, look, here's what we do. This is the plan. And
00:13:25
Speaker
But we're never quite sure that that's exactly what it is. But I feel like this current research here, with these rock carvings of these desert kites, why would you spend the time carving this thing out on the rock if it wasn't to show other people how to make these things?
00:13:39
Speaker
You know what I mean? Probably how to make them, how to experience them, how they were engineered and also to document a narrative, a historical record of what was accomplished.
Hunting Techniques and Rock Art
00:13:52
Speaker
And then you could share it as a story board or a story towards the youths or other people who would then engender a better understanding of what they're trying to accomplish. Does that make sense? Yeah, I think so. That does make sense. Okay.
00:14:09
Speaker
Yeah, and one of the explanatory models for understanding rock art is that these are storyboards, these are commemorative memorials of important events that took place and that they're minimonics, they're memorials or ways to remember these significant events that took place and to commemorate them
00:14:33
Speaker
in perpetuity for supposedly almost immortality, if you will, on the rocks. Now, one of the things I wanted to mention is that I have an outstanding example of sort of the scientific study of
00:14:54
Speaker
landscape archaeology, cutting-edge technology, rock art, and hunting magic or hunting strategy. So we have a situation at the place called Little Lake, which I've talked to often. It's in Rose Valley. It's in the eastern skirt of the Sierras, the southern end of the Owens Valley. There's a naturally fed lake that's been there for the last 5,000, 6,000, 7,000 years. And then above that, bringing the lake
00:15:24
Speaker
is a lava flow, which is very steep and it's that columnar basalt that you've seen before all around the lake. So what we have is a sort of a perfect place that would be an extreme example of this escape terrain, which the bighorn sheep like.
00:15:51
Speaker
if they're going to get water or if they're going to be open on any sort of flat surface, they want to always have, within earshot, escaped terrain that will allow them to go vertically away and get away from any sort of hunter or animal that was attempting to kill them.
00:16:13
Speaker
So this is a perfect sort of physical area to do that. Well, there was an extensive study of the rock art done.
00:16:23
Speaker
for years, 10 years of rock art with 80 people studying every jot and tittle of all the rock art surrounding Little Lake, and they found what, 7,000 individual elements. But the argument made by the author of the book, The Monograph, was that there did not seem to be any compelling evidence for relating those images to hunting.
00:16:49
Speaker
Right? Because, well, she was on the flats. She was looking where most of the rock art was and she wasn't looking above the lake. She was looking around the lake and near the lake and where the concentrations of rock art were. Well, lo and behold, if you just hike up the hillside and get above the lake on the plateau, there is examples of
00:17:19
Speaker
features associated with hunting these animals. First of all, there's dummy hunters. What are dummy hunters? What are dummy hunters, doctor? Remember those? No, I don't know what those are. What is that? They call them dead men and they're in the Southwest or on the plains. They either use wood
00:17:42
Speaker
or they use rock and they create these columnar features that when you glance at them quickly from down below, they look like people. And so because the numbers of people involved in this, they wanted to channel the animals away from certain areas and so that they would be able to hunt and slay them.
00:18:08
Speaker
and so they used dummy hunters. Muir, in talking about these, said in every promontory throughout the Sierra Nevadas, he found such features. So, you got the dummy hunters. But then you also have these rock hunting blinds, and they would be physically configured. I think he found five of them all scattered
00:18:34
Speaker
up on this plateau in a way to orchestrate, coordinate, and work with the killing and slaying and interacting of the animals.
00:18:44
Speaker
So what he was able to do, they say, well, how do you test that? How do you go about figuring out what these are? Well, there's different measures of doing this that people have pioneered all over the world to begin to kind of understand how this all works.
00:19:07
Speaker
Okay. You can model escape terrain. You want to know how steep is steep and if you have that escape terrain so far away from the features that you're studying. Then you want to look at the line of sight, the view shed analysis. Where can these people see? How can they see and what can they see and how could that be worked out?
00:19:31
Speaker
And so you've got this visibility analysis. Then you've also got a means of using those drones so you can do the three-dimensional analysis and recreate the landscape and look at it topographically. Oh, yeah. So we're using GIS maximum cutting edge to do this three-dimensional graphics to see if we can test for the viability
00:20:00
Speaker
and the nature, the content, the character of this interaction of game and hunters. Does that make any sense?
00:20:08
Speaker
It does. Yeah, it really does. We've seen hunting blinds numerous times across Nevada and Utah. It just reminded me of seeing those and just another feature on the landscape that doesn't have to really change all that much. And people use that kind of stuff today. It's really neat to be able to see that on the landscape. So one of the more unusual things, another project that's sitting in the back there, is when I went down to Imperial County,
00:20:37
Speaker
There's a museum there, almost in Mexico, and they had a display of an object that was found turn of the century, last century, in the 1920s.
00:20:55
Speaker
And it was a disguise that an individual could put on their head to look like so they would not be seen as a human being. And so it's a vegetal disguise. It's made up of plants.
00:21:11
Speaker
And so it would be a head disguise. Now, such a disguise has been found in the Great Basin at Peronigan. It's a full-body disguise with a head disguise as well, as little holes for eyes. And they said when they were hunting, using ottlottles, they would wear these disguises and they would sit behind these rock blinds and wait for the sheep to come so they could kill them.
00:21:41
Speaker
So here's a real live example of one of those. And the funny thing was they found that disguise nested in a rock blind right next to a big horn sheep trail.
00:21:57
Speaker
Jeez. Nice. You can't get much better than that. It makes you wonder how that just gets left there. You know what I mean? Like to say, did they come back to it often, but maybe they just, I don't know if they died one season or they get, they went on somewhere else and kind of forgot all about it. Yeah. Yeah. It's interesting. I always wonder.
00:22:16
Speaker
We make a lot of assumptions based on how we find stuff in association with each other. But a lot of times those things were just dropped, discarded, or just left. They're not usually in the context where they were used.
Religion, Nature, and Rock Art
00:22:29
Speaker
Yeah. Since these are foragers at hunter-gatherers, they try not to take a lot of baggage with them. And sometimes they'll store these things in the rock crevices and cover them up.
00:22:41
Speaker
Yeah. Okay. That makes sense. Yeah. So remember when I was talking about in Utah where we found that big horn sheep headdress? Yeah. And it was in a rock crevice and it was a, you know, it had the horns, it had the leather hood, it had the oliveella beads hanging from it and it was a thousand years old.
00:23:05
Speaker
Wow. Nice. So it was probably, it was probably a headdress, which was used either in ceremonial fashion or was used in association with the hunting for sheep per se, which is what, which is the way in which ethnographically you talk about it. Okay. Well, that is a perfect segue into what I want to talk about in segment three. So let's take a break and come back on the other side and finish up this discussion back in a minute.
00:23:32
Speaker
Welcome back to The Rock, our podcast episode 105. And you just mentioned something at the end of the last segment that I was actually thinking about and was going to ask you, and this is a good time to do it. We talk about
00:23:46
Speaker
the purpose behind rock art all the time, which is probably one of next to dating sometimes, but dating is getting a little bit better. But next to dating, it's one of those questions that we'll probably never exactly know the answer to. We can probably get closer and closer to what we think it might be, but without speaking to the people who created it, it's really difficult to discover the intent behind something.
00:24:08
Speaker
And there's almost a joke amongst archaeologists just because of historical references. And anytime somebody didn't know how to explain something, they called it ritual. They was like, oh, I don't know what this is. It must be ritual because we didn't understand it. But now that we go forward in time and we learn more things, we have better dating techniques or analytical techniques, and we say, oh, OK, well, maybe this was used for this and not necessarily ritual. And it makes me wonder, well,
00:24:35
Speaker
Well, obviously, some rock art is definitely used for ritualistic purposes. I mean, there's almost no question they're given some of the fantastical nature of some of those things. But I just wonder how much of it really is for that and how much of it is more for instructional purposes, especially with pre-literate societies that had no writing or anything like that, no other way to really demonstrate to other members of their tribe or band or community
00:25:02
Speaker
or even the children, you know, the teenagers that are coming up learning how to do these things. I mean, it wouldn't surprise me if more rock art than less ended up being instructional in nature. You know what I mean? Yeah, I know what you mean. I know that even in my own work, when they've worked with a Native American from the Owens Valley,
00:25:22
Speaker
and looked at the rock art. I know that Sandy Rogers, who's another person that we had interviewed here, who's a specialist in rock art and also in obsidian dating, wrote an article about rock art at storyboards. And they were a means of communicating, educating both adults and children to the value merits and the nature of the cosmology. Now, one thing we should remember
00:25:52
Speaker
is we're thinking about this in sort of Western industrial thinking. When we try to think about indigenous ways of thinking or functions, there is no difference between religion and non-religion. There's not a sort of a cosmological religious supernatural and a natural world. They're all intertwined so intimately
00:26:20
Speaker
that no matter how they think about it, it's all the same stuff. So when you look at images on stone, they, they probably have some sort of a religious or ceremonial or ideological element to them, but that doesn't mean that it had, didn't have a very functional, basic tutorial or educational element as well. Does that make any sense? Yeah. Yeah. That makes a lot of sense. Yeah.
00:26:49
Speaker
It's very difficult to think like a native person or to somehow grasp the way in which an indigenous pre-literate person would be thinking about the world. They would grasp and connect with the natural environment in a whole different way.
00:27:12
Speaker
totally different. Yeah. And that it's so interesting you say that because I hadn't really thought about it like that before because it, you know, I'm not very much a religious person, but just, you know, I've seen churches, I've been to church and things like that. You are a religious person and go to church. And it makes me think of that sort of ritualistic behavior that we exhibit today, which is on the one hand, it's, it's ritual, it's ceremony, it's, it's, you know, worship, but on the other hand, it's instructional.
00:27:42
Speaker
in the way that they see it, right? It's both things simultaneously. Yeah. Okay. Yeah. It's how to live, but it's also to be, to being different or understanding sort of the instruction manual for life, which is, which is a guide from our creator. And so that that's the kind of thinking that we might have engendered
00:28:08
Speaker
Also remember that everything about this exercise we're talking about is different than with the way we think about the world today. And what I mean by that is the rocks, the trees, the wood, the water, the sky, all of them were alive with agency.
00:28:31
Speaker
they all had active roles in the environment. They could be connected with, they could be communicated with, they could be heard, they could be, they would train us, they would help us, et cetera, et cetera. And that is a whole other realm that is rather difficult for a modern industrial literate individual to grasp. I bet. Yeah. Yeah.
00:29:00
Speaker
And that comes in being very important when you're trying to tease out the salient elements of what the heck rock art or what the heck an archaeological feature or anything about archaeology is. Now, aside from potentially a similar thing as the article that sparked this discussion, finding images of
00:29:22
Speaker
I guess game drives or game fences or something like that here in North America. Can you think of anything else that is just like overtly instructional on rock art that you've, that you've seen? I mean, I, aside from maybe it's just the hunting. No, no, no, no. No, absolutely. Okay. One of my most mind boggling discoveries was in little Petroliv Canyon. Yeah. And I think, I think I've mentioned this. I don't find,
00:29:52
Speaker
I find only a handful of very easily decipherable glyphs that hit me between the eyes and tell me what they're telling me in a way that I can explain it. But there happens to be one of those in Little Petroglyph Canyon that I've only recently, in the last couple of years, discovered. It's on a pyramidal boulder.
00:30:16
Speaker
It has five figures. One is a woman holding snakes above the moon, and the others are patterned around the outside, and they look to be holding things that look like parachutes. And I was mystified by it for a while, and then as I fell over it, I found out what that was all about.
00:30:40
Speaker
And the reason this is an instruction manual is it's a key creation narrative for ancient Uto Aztecans. In other words, they talk about
00:30:52
Speaker
When the world was dark and there were no people, there were these dignitaries, these ritualists that accompanied the lunar goddess, and what they did was create the sun. And so, to do that, they had to
00:31:14
Speaker
move along this path and go to this sacred place, and then one of the person had to do a sacrifice and jump in the fire. And then as they came out of the fire, they would then be reborn and be able to create the sun. And once they did that, when the sun would be nested in the heavens, they had to make sure
00:31:39
Speaker
that it would stay there in the right spot because if it's too low, it would burn everything up. If it was too high, it would freeze everything away.
00:31:50
Speaker
And so to do that, they were stationed in the four corners of the earth and became the pillars of the earth. And they also became the people that brought the rain and held up the clouds and the heavens. So what that whole picture is, is the clouds, the people, the goddess of the moon, they're all arrayed in this one panel and there's nothing. That's all that's on that panel. It's very simple. It's very straightforward.
00:32:20
Speaker
And that same story is told in South Texas, the creation narrative, as a pictograph that dates to that same general time period. And that same story is identified with the Weech Hall and with the Aztecs. And the reason I talk about that, it's an instruction, it's a storyboard to anyone who would look if a shaman or a religious adept individual
00:32:50
Speaker
would say, okay, here's an example. I'm depicting the famous creation story of our people and here it is on the rock. Does that make sense? Nice. That's really cool. Yeah. I like that. Okay. You know, that's probably about it for this episode. Yeah. I mean, it's really cool.
Concluding Thoughts on Ancient Cultures
00:33:09
Speaker
Yeah. Yeah.
00:33:10
Speaker
I really enjoy talking about these news articles when they come out because, you know, people see them and they don't necessarily understand what's going on there and how that relates to, you know, if the audience happens to be here in North America, how that maybe relates over here. But, you know, you go back that far, there's not a lot of differences in humanity. There's really not now, to be honest with you. I mean, there's cultural differences, but you go back 9,000 years and people had the same goals. Yes.
00:33:39
Speaker
All right, Doc, thank you. God bless. All right. See you on the flip flop, gang. Thanks for listening to The Rock Art Podcast with Dr. Alan Garfinkel and Chris Webster. Find show notes and contact information at www.arcpodnet.com forward slash rock art. Thanks for listening and thanks for sharing this podcast with your family and friends.
00:34:23
Speaker
This episode was produced by Chris Webster from his RV traveling the United States, Tristan Boyle in Scotland, DigTech LLC, Cultural Media, and the Archaeology Podcast Network, and was edited by Chris Webster. This has been a presentation of the Archaeology Podcast Network. Visit us on the web for show notes and other podcasts at www.archpodnet.com. Contact us at chris at archaeologypodcastnetwork.com.