Category: Jack Brink

Preserving the Past at Writing-on-Stone

Preserving the Past at Writing-on-Stone

toddkristensen

Writing-on-Stone Provincial Park is nestled into the winding valleys and coulees along Milk River in Southern Alberta. Painted and carved on its fragile sandstone walls are one of the largest collections of rock art in North America. Appropriately named, Writing-on-Stone is a rocky canvas of ancient and historic art that spans many centuries.

To increase awareness of this unique piece of the past and to encourage the preservation of sensitive historic resources, a collaborative team of the Historic Resources Management Branch, the Royal Alberta Museum, and the University of Alberta initiated the Heritage Art Series project. The goal is to create artwork, like the piece depicted above, that captivates the public in order to encourage the appreciation and protection of Alberta’s past.

Rock Art in Alberta

Alberta’s rock art includes pictographs (paintings), petroglyphs (engravings), carved boulders, and effigies (rocks arranged to form shapes). Art that was applied to rock walls has a variety of functions and there are six major types in Alberta.

Rock Art Map
This map depicts the general extent of recorded First Nations rock art in Alberta.

 

‘En Toto Pecked’ involves figures that were entirely pecked out of the rock wall and this tradition of art appears in Alberta from 2500-1500 years ago. It is thought to have originated in Wyoming.

‘Vertical Series’ may be a type of rock art that acted as a communication system that related events and actors. It may be ideographic (like Egyptian hieroglyphs) with name glyphs like the Mayans of Central America.

‘Columbia Plateau’ refers to vision quest or hunting ritual art thought to be made by people originally from interior B.C. This style of rock art ranges from a few hundred to several thousand years old.

‘Foothills Abstract’ is a rock art style that consists of enigmatic shapes and motifs that may be the work of religious figures. Subjects include handprints, animals (and their tracks), and stylized humans.

‘Plains Biographical’ refers to rock art that documents events, important figures, or tallies of things acquired/exchanged by the Blackfoot and their ancestors.

Lastly, ‘Plains Ceremonial’ refers to spiritually important rock art that is still of great significance to modern Blackfoot Nations. Out of respect for the power of these and other rock art images to modern First Nations, photographs of the various styles of rock art are not included here.

The Milk River Valley Through Time

First Nations pursued buffalo herds in the Milk River region and view the valley as a sacred place where stories and dreams were recorded on the rock walls. The earliest Europeans included a mix of traders, coal miners, and Northwest Mounted Police, the early history of which is still recorded in modern place names.

Milk River valley map

 

Milk River Valley photograph

Cattle quickly replaced a vacancy left when buffalo were eliminated in the late 1800s. In addition to ranchers, new irrigation techniques and canals opened up the area to more intensive cultivation. Modern users of the Milk River landscape include farmers, Kainai First Nations, oil and gas operators, ranchers, and people in the tourism industry associated with Writing-on-Stone Provincial Park and National Historic Site (the photograph below is of the morning light on the park’s sandstone hoodoos, courtesy of Robert Berdan). Just as the uses of the Milk River region have changed in the past, they will continue to evolve in the future.

Writing-on-Stone photograph

The above painting by Anne McCartney is a textured narrative of landscape change in the Milk River Valley. The background is from an aerial photograph showing irrigated fields creeping to the valley’s edge. At lower right is a looming sandstone cliff that has witnessed a steady flow of First Nations, traders, miners, explorers, and farmers passing through the valley. In the upper left is a rock art panel depicting a battle scene from the deep past. Recent vandalism of that very panel highlights the need to protect and appreciate the landscape of Writing-on-Stone.

Protecting Rock Art Landscapes

The evocative and significant collection of art at Writing-on-Stone is under constant threat. Sadly, vandalism and graffiti have defaced some of the park’s art but through education and restricted access, much of the vandalism has now been curtailed. Instilling visitors with a healthy respect for the spiritual importance of the area to the modern Blackfoot will help ensure that the landscape is protected. Natural erosion, however, is unstoppable.

Much rock art has disappeared over the centuries from weathering of soft sandstone. New technologies are helping to better document the art and may lead to long term methods that slow rates of erosion. The park has been a key site in North America for experimentation with techniques to protect rock art.

Laser scanner
Archaeologists use laser scanners to accurately record rock art panels.

Portable laser scanners have been used to record high-quality images and to produce near-perfect replicas. Artificial drip-lines and plastic caps are diverting water from some exposed panels and a consolidant has been applied in experimental non-rock art locations to test the ability to strengthen rock and prolong the life of rock art images. Note that none of the preservation measures will be applied directly to ancient images without thorough review and cooperation with the Blackfoot people. Rock art left in its natural setting will eventually be lost, but there is much that can be done to enable a prolonged period of appreciation and enjoyment from viewing the hopes and dreams of early artists.

Written by: Todd Kristensen, Northern Archaeologist, and Jack Brink, Royal Alberta Museum

Okotoks Big Rock – Managing Vandalism with Technology

rebeccagoodenough

The word ‘Okotoks’ translates from the Blackfoot language as ‘Big Rock.’ The name was given by the resident indigenous people to a very large boulder that is known as a glacial erratic – boulders that have been moved from their original location by glacial ice. Okotoks is by far the largest erratic in Alberta; it is about the size of a two-story house and is estimated to weigh nearly seven million kilograms. The Big Rock is a well-known landmark in southern Alberta. It is a designated provincial historic resource owned by the Government of Alberta, and is accessible to the public by means of a hiking trail, signage and a parking lot. What is not well-known is that the Okotoks Big Rock has a great deal of Aboriginal rock art painted on its surfaces.

Okotoks Big Rock Erratic
Okotoks Big Rock Erratic

Rock art includes pictographs (paintings) made with a red paint composed of iron-rich hematite (red ochre). The existence of a few red ochre images on the Big Rock has been known for decades, but the revolution in digital photography and image enhancement has brought to light a whole lot more art on the Okotoks erratic than previously known. Specifically, we now know that some areas of the rocks were extensively rubbed with red ochre. Since these red areas lack definable rock art figures like humans and animals, it was long believed that the red blotches were simply part of the rocks’ natural colour. Through enhancement we can now pick out hand prints and finger swipes, telling us these red blotches were indeed made by human beings.

Rock art at Okotoks Big Rock
Rock art at Okotoks Big Rock
Photo-enhanced areas of red ochre smeared on Okotoks Erratic. Note hand prints at top.
Photo-enhanced areas of red ochre smeared on Okotoks Erratic. Note hand prints at top.

All rock art sites are sacred to Native people; rock art represents communication between human beings and the spirit world. Blackfoot people still visit the Okotoks site, conduct ceremonies, and hold the site in great reverence. Thus, it is all the more sad and frustrating that the Okotoks erratic has been subjected to extensive and increasingly frequent bouts of vandalism. As the site is operated by the province and is open to the public, there comes a point where some action needs to be taken. It is an eyesore, an embarrassment and severely disrespectful to the Blackfoot beliefs about the sacred character of the rock. But what can be done with a massive rock surface covered with graffiti that underneath lies fragile, precious painted pictures that tell stories of ancient Aboriginal people?

In the past few years, serious incidences of graffiti were washed off the rock face using a high pressure water sprayer. More recently, an environmentally friendly paint stripper had been used with good success. But critical to any graffiti removal has been potential impact to underlying rock art. We realized that we could never properly manage the site until we had a high-quality “map” of the rocks that plots the complex rock structure and the locations of all the rock art images. We realized that the best way to make a physical record of the Big Rock was to record it in 3D using a portable laser scanner. While documentation won’t stop vandalism at Okotoks, it will make us much better prepared to deal with future instances in a way that protects significant historical resources.

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A partnership with the internationally respected organization CyArk was formed. CyArk is a nonprofit organization dedicated to digital recording and preservation of the world’s most significant sites. Among their credits are 3D recordings of the statues of Easter Island, Pompeii, ancient Thebes, and Mt. Rushmore. CyArk also digitally stores the 3D information for each site, serving as a world archive of heritage data. CyArk retained a local service provider to assist with the equipment and expertise to conduct the laser scanning. In early October 2013 the entire external surface of the Okotoks Big Rock, including the tops of the rocks and some internal crevices, was scanned during two days of field work. The result is a strikingly accurate rendering of the Okotoks erratic in both its geometric shape and the plotting of all known rock art images. The project also resulted in production of an accurate 1:200 scale model of the Rock that will be useful for planning and educational purposes.

3D rendering of point cloud data from laser scan at Okotoks with enhanced photography overlaid. Red areas are red ochre paint; note square-bodied human figure at upper left.
3D rendering of point cloud data from laser scan at Okotoks with enhanced photography overlaid. Red areas are red ochre paint; note square-bodied human figure at upper left.

In addition to the rendering and scale model, the project also raised awareness about negative impacts associated with graffiti and heightening understanding of the value and importance of historic resources to the community. Further Alberta Culture now has a sophisticated tool to use for site management.

Alireza Farrokhi holding 1:200 scale model of the Big Rock
Alireza Farrokhi holding 1:200 scale model of the Big Rock

Sadly, the rocks have already been subjected to more graffiti in the months since our project ended; however, we now have accurate information on the type and location of rock art that will assist in graffiti removal efforts. There are other threats to the cultural and natural significance of the Okotoks erratic. It has long been a favoured place for climbers, subdivisions are rapidly encroaching on the site, and public visitation is increasing. There are many challenges ahead in the long-term management of the Big Rock, but thanks to the careful recording conducted through Innovation Program funding we have a solid baseline of information about this very special place that will guide future management.

Written by: Jack Brink, Curator, Royal Alberta Museum and Alireza Farrokhi, Head of Conservation and Construction Services, Historic Places Stewardship

 

Hooves in History: How the Horse Changed the West

Matthew Francis

This post continues our look at the work of Alberta’s Archaeological Survey. Previously, we explored “10, 000 years of hunting in Alberta“, as shown in the archaeological record. While RETROactive will continue to be your source for news and information about Alberta’s historic places, we are branching out to provide insights into other aspects of our work to understand, protect and conserve historic resources.

The chronological spread of the domestic horse into Alberta over the last 500 years.
The chronological spread of the domestic horse into Alberta over the last 500 years.

When horses galloped across what would become the US border onto Alberta’s rolling prairies in the 1720s, it was a bit of an overdue homecoming. It had been roughly 10,000 years since the province’s expansive grasslands shuddered under hard equestrian hooves. Fossils indicate that North America is the original home of the horse where it first appeared millions of years ago.

Ancient spear from Alberta that was coated in blood of the now-extinct Mexican horse.
Ancient spear from Alberta that was coated in blood of the now-extinct Mexican horse.

The now-extinct Mexican horse (Equus conversidens) ventured well north into Alberta’s tundra meadows and onto the menu of Alberta’s first humans. Ancient residues of horse blood were found on stone spear tips used over 10,000 years ago in southern Alberta. Fossil horse bones have also been found near Grande Prairie, Taber, Cochrane, and in the Edmonton area. Around 10 millennia ago, the horse mysteriously disappeared. When the horse returned with the Spanish 500 years ago it assumed a central role among Indigenous and European cultures in the West. The story of the horse in Alberta is a fascinating ride through the province’s heritage.

Once groups like the Blackfoot and Assiniboine mastered horseback riding, the horse occupied just about every dimension of life on the Plains. The new hooved pets created new hunting strategies, they changed the way people moved across the prairies, and they altered the dynamics of Plains warfare but reconstructing when and how the domestic horse spread into Alberta has been tricky. Historic records offer only a handful of references to horse adoption by Indigenous people but a unique piece of heritage offers fleeting and beautiful glimpses of how the horse changed the West. Writing-on-Stone Provincial Park in southern Alberta houses one of the largest collections of rock art in North America. For over a thousand years Indigenous people carved and painted their stories on the sandstone hoodoos and canyon walls and the horse looms large in those depictions.

This carving (‘petroglyph’) from Writing-on-Stone depicts a domestic horse in a buffalo hunt.
This carving (‘petroglyph’) from Writing-on-Stone depicts a domestic horse in a buffalo hunt.

Horse carvings depict a wide variety of events and beliefs including battle scenes, hunting expeditions, and tallies of horses acquired through trading or raiding. In everyday life, some horses replaced the dog as beasts of burden while other horses were highly revered as ‘buffalo runners’, prized for being long-winded and intelligent while overcoming an 800 pound buffalo. For buffalo hunters who needed both hands free for their weapons, a well trained horse was a matter of survival.

A painting by George Catlin from the 1800s of life on the Canadian Plains (reproduced with permission from the Bruce Peel Special Collections Library, University of Alberta).
A painting by George Catlin from the 1800s of life on the Canadian Plains (reproduced with permission from the Bruce Peel Special Collections Library, University of Alberta).

The horse also quickly galloped into peoples’ social lives. Families that acquired many horses gained prestige and respect. Horse raiding became a mark of courage for many groups and horses were traded for a multitude of things including European goods, food, membership into societies, and spiritual power. During the fur trade while slick beaver furs were motivating European economic interests in northern Alberta, horses, guns, and buffalo meat were becoming entwined in complex trade networks that would shape the history of the prairies. When the buffalo eventually vanished, the hooves of the horse pounded on.

This combat scene from Writing-on-Stone shows an early horse draped with body armour (photograph reproduced with permission from Michal Klassen).
This combat scene from Writing-on-Stone shows an early horse draped with body armour (photograph reproduced with permission from Michal Klassen).

The unique collection of rock art at Writing-on-Stone is a provincial treasure that captures pivotal centuries of modern Plains cultures. For this reason, the area is both a Provincial Historic Resource and a National Historic Site. Writing-on-Stone is still a sacred place to the Blackfoot people; a place where spirits dwell among the sculpted bedrock. Visitors are encouraged to learn the story of this powerful place. One of the many benefits of the stony archive of art on the Milk River is that it can be enjoyed and appreciated under blue skies.

Morning light on the beautiful hoodoos at Writing-on-Stone (photograph reproduced with permission from Robert Berdan).
Morning light on the beautiful hoodoos at Writing-on-Stone (photograph reproduced with permission from Robert Berdan).

What better way to learn how the horse changed the west than from reading the walls of Writing-on-Stone while cool breezes blow in hints of sage and a red-tailed hawk reads over your shoulder? Site protection combined with a healthy respect for Blackfoot traditions and the archaeological record will ensure that the history of the old West will endure and the story of the horse will ride on.

Written by: Todd Kristensen, Northern Archaeologist & Jack Brink, Curator of Archaeology, Royal Alberta Museum.