Pokemon Crystal On Mac

The star cult of Skidi Indians

Gisela Ermel

extraterrestrial visitors and their star map

In: Legendary Times, No. 5, Beatenberg 2001



The Skidi are one of the many Pawnee tribes in historical times, the grass prairies and plains of Kansas and Nebraska inhabited. Amidst the surrounding Sioux, Oto, Omaha, Cheyenne and Arapaho were the Pawnee is the only known as the Caddo peoples, but it is not what it so unique makes.





religion of the stars

The Indian people were obsessed with the stars, especially the group of Skidi that are used by the anthropologists now often referred to as the astronomers among the Pawnee. These Indians practiced a pronounced Stellarreligion, star cult, the kind you find in any other tribe in North America. Not only their religion, even their social and political life revolved around a number of specific stars and constellations. The fact that the position of the stars in the recent past into the tribal life exercised a controlling influence, suggests that we are dealing with to do the traces of an ancient cult and have rooted. For many meanings of the individual stars and the exact positions in the sky have already been lost when the Europeans began to penetrate into the Pawnee tribal area, and long before anthropologists began to be interested in these stellar religion.

to fully understand the religion of the star Skidi it is essential to have a look in their mythology:

were once high god Tirawa prepare the contract to different star system, Earth and Sun for colonization by organisms. Morning and evening star played leading roles in these tasks, at the conclusion of a human girl in a "cloud" is set and the Earth has been sent. The girl was given corn seeds from the heavenly garden in the west of the universe, they should be planted on the ground. Later

was a boy - a son of the sun and moon - also sent to Earth. Of these two, of which the Pawnee believe originate from the earth people.

The basic idea of Skidi-idea that the first humans herstammten from the sky, is also many other nations around the globe known.

The first people began to multiply. One day they discovered that besides them was still another previously unknown group of people who also claimed to owe their existence star beings.

learned in a dream vision of the first man who was the son of the sun and moon have been sent to earth: These are the creatures of other star gods, from whom he also entrusted to different seeds. Both groups were to gather now, all residents should be invited to their star gods, they had already been informed about it, and then will be a large and comprehensive ceremony held, which will last for many days, and during the Tirawas creation of heaven and earth, people and animals should be replayed. Again, this ceremony serves to teach people the individual positions of stars and star gods in heaven to show them how their settlements after the positions of specific stars in the sky would be created.

This ceremony took place in the ancient time, when there was a direct connection between heaven and earth, the Pawnee.

Until the time into it than we deported the Pawnee to Oklahoma (1886), all Skidi villages were at positions that correspond to specific stars in the sky. Each village had its own star, a star belonging this "sacred bundles" and their own rituals that they do receive from their star God. There were four settlements Leitdörfer that the stars of the four Weltallquadranten represented. In the West, was the evening star village and other settlements, with a membership of stars whose Identification to date is unclear, because many of the old place names were lost forever.

for a historic North American Indian people, it is absolutely unique that the locality was given all the settlements of astronomical rules: on the position of certain stars. A Pawnee myth says that once nature of these stars came down to earth. They put their whereabouts due to the arrangement of "their" star in the sky, and in the recent past has been imitated into this order by the Skidi meticulously. Archaeological research has shown that it was probably 18 settlements, of which at a later date, the four Leitdörfer merged to a settlement: Old Village.





input into the dugout Skidi Indians



was the star of the cult Skidi also in the construction of their dugouts. No part of these buildings had no astronomical terms. The entrance into the dwelling imitating the rising of the sun - on a strictly east-west orientation of the cabin. The round dome represented the starry sky, and each post represented a particular star, etc.





dugout on the Skidi Lower Loup, photo from 1871



prehistoric astronomers

The Skidi-earth house provided it were a universe is in the universe, as it were a miniature of the great world. At the same time each of these huts served as a simple observatory. Sky observations could be made both through the entrance and through the smoke hole in the center of the dome.



Skidi priest at the Star Gazing through the smoke hole of a dug-



a Skidi placed at various locations within the house, so he could observe certain astronomical objects. The main task of the priests was to determine the position of certain stars and to observe its first rising after sunset or before dawn. This served not only to determine the times for religious ceremonies, but also mundane things such as planting, hunting and harvesting times.

The star gazing was in the Skidi cabins for daily routine. Each day began and ended with the sky observation. Early descriptions of settlements show that the huts were grouped so that they may be the observation of various celestial objects were previous. There was "holy bundle" special stars, and it may be assumed that preference was observed in these huts the associated stars.

Not only oral tradition and archaeological evidence, as presented by Waldo Wedel confirm Point by point the astronomical world view of the Indians. Mud huts from the time when settled on the Lower Loup Skidi (1550), the star symbols show much clearer than mud huts from the 19th Century. During excavations funded the archaeological team revealed Weltallquadrant four-post and set properly the onetime orientation of these huts with the opening set to the east.

The anthropologist Melvin Gilmore wrote in 1930 that the Arikara very similar huts and villages would have had the same symbolism. It may be concluded with great certainty that these cosmic order of settlements and individual houses is very old, for the Arikara - also known as Missouri-Pawnee - Split very early from the Pawnee to continue to move to the north.



mystery surrounding a star map

received 1906 the Field Museum of Natural History in Chicago, a strange and mysterious artifact: an oval piece of deerskin, painted with numerous four-rayed stars and dots in various sizes. This is now a unique sky map identified object was owned by James R. Murie, a Skidi half-blood with a Scottish father and Skidi-mother (1862 - 1923) who, though grown up among the whites, then worked in a bank, but later working for the Bureau of American Ethnology was.

The star map of the Skidi Indians

Murie, who had begun to care for his American Indian heritage, religion and mythology, especially the Skidi visited again these Indians could be present at ceremonies and then learned of the Skidi Lone Chief, that give it a star-painted animal skin. Murie was able to win the confidence of the Skidi, and she willingly showed the "sacred bundle" has been kept in the Others, those star map. For the love of his great interest in their culture and with the ulterior motive of this to preserve important cult object for future generations, is selling Skidi the entire "Big Black Meteoric Star Bundle at Murie along with star chart, and Murie were all on to the Field Museum.

What we know about this star map? First, it is a piece of elk-deer-skin, about 56 x 38 cm. Painted on the former hair side, there are stars and star clusters of different sizes. The age of the star map is unclear, but it was probably in the 16th Century marked and stored in a "sacred bundle" together with a supposed meteorite and other items.

The Skidi Running Scout told Murie on the origin of the star card is a very interesting myth:

Once Big Black Meteoric went to star a young Pawnee on the ground and took him up into the sky to a place where a "star" hovering. After returning to Earth, the young Indians dreamed one night that the star beings gave him an object on a particular hill and woman gave knowledge to seek this and to get. The next day the young Pawnee went to the hill and found a bundle, which contained a brass disc and the star map.

over the ownership of this sacred artifact Murie learned: Every year we have held in the spring and fall, a race from a dug-out to the River. The fastest racer got the card, and the whole event was a "big washing ceremony."

The state of the star map on arrival at the Field Museum did in fact close to erstwhile good use. Christine Danziger, curator in the department of anthropology of the museum left, tiny samples collected from the surface to be analyzed, the color pigments. The result: all three colors - red, black and yellow - were mineral origin. The animal skin was found to be tanned on Indian fashion. Which - though still not perfectly certain - advanced age of the map showed that it was made without any influence from Europeans.

shows what this card? You can see pictures of her eleven stars, two double stars, star clusters and the Milky Way, which stretches like a ribbon through the center of the map. There have been several attempts to identify stars and constellations. Some of the star groups roughly correspond with reality, others are obviously the wrong way back to the Milky Way. Some constellations contain more stars than you can see with the naked eye! To date, the identification of these constellations and individual stars is still controversial. The four-stars Weltallquadranten - White Star, Yellow Star, Red Star and Black Star - you tap on stars like Sirius, Capella, Antares, Deneb, but also Spika, Aldebaran oderRegulus. Their identity is lost apparently. Consensus among astronomers that dealt with the card, just across the North star, which they unanimously identified as the North Star. But even with the south, there is no agreement. Under discussion are Deneb and Sirius.

excerpts from the sky map of the Skidi Indians

is completely confusing it with the morning star and the evening star, the two main stars of the Skidi religion. You should know that the term evening - or morning star probably only arose when the Pawnee increasingly influenced by the whites (and overwhelmed) were. The Skidi-term is bright star and Big Star. Have the astronomers, and anthropologists at the Evening Star agreed provisionally to the planet Venus, so did the identification of the Morning Star unexpected difficulties. Time was taken Mars, Venus once on the short list, even Jupiter did not seem outlandish. The data could bring the information documented in writing Morgenstern victims?

bloody rituals

The Morning Star (Skidi: Grosser Stern, u-pirikucu) required now and then a human sacrifice in return for the first girl he had sent to Earth. The victim did not take place at regular intervals, but whenever a warrior was the morning star appeared in a dream and this ceremony "commissioned" had. From that point on, took the event to be required since ancient times over: View of the priest, first little rites, preparing the costumes, the opening of the morning star bundle, incense, training of volunteers by the priest, the train of some warrior in enemy territory, a to rape victims as suitable girl, the return and surrender the girl to a particular Warriors.

Now came the time to wait - days, weeks or months - until the priest noted that the morning star had appeared in the sky and then ask his victim. The infallible sign of the priest, that the "real" star appeared in the morning sky: a kind of red ring around it and a strikingly red radiation, a property that has prepared for today's astronomers big headache.

now follows the four days of the real victims ceremony: the visionary disguised himself as a morning star, he and the girl got her hair red color, symbolic of the red color of the star, was a wooden structure built and set up, kindled at some distance in a trough the fire and dug a small pit next to the skeleton, which was to be the beautiful garden in the western sky of origin of all our grain.

On the last morning the girl was asked to ascend the cross bars of wood Equipped, thereby simulating the passage through the different regions of the sky, to the morning star.

Morgenstern Skidi victims of the Indians. Diorama in Field Museum of Natural History, Chicago

The whole crowd was always aware that the Star Beings benevolently from above looked down and registered what was happening down here on our planet. As soon as the morning star was rising, performed an arrow shot at the girl the deadly act, and the Morning Star ritual was over.

Since several of these human sacrifices could be reconstructed exactly on the year were, for the identification of the Morning Star some dates available:

• In 1816 there was a girl was captured by the spring of 1817 after well prepared to sacrifice ceremony. As the girl had already climbed the wooden frame, stormed the Pawnee Pi-tari-su-ru approach, it saved at the last minute before the deadly arrow shot, and disappeared with him high on a horse's back. This good - or inexcusable - indeed, depending on your view, made the Indians famous. but not so quickly gave Skidi. Man caught a English boy who prepared him for the sacrifice - but in vain, he could escape. In June 1818 he reached his countrymen and made headlines in the press.

Pi-tari-sa-ru

• 1827: This time was a young Cheyenne girl had been captured and was to be sacrificed. On 11 April, just the "right time", appeared happens to be the Indian agent John Dougherty and his companions in the village - the four-day event was already in full swing - and he managed to persuade the chief and other influential personalities of the village to free the girl. But when it was led from the village, the Arrow is one of the ceremony participants met fatal, the Morning Star sacrifice was completed, albeit at irregular manner.


• On 22 April of 1838 was offered an Oglala Sioux girls the morning star.


• Several other witnesses may have taken place without the knowledge of them were whites. After 1838 were then probably only bloodless Morgenstern victims take place, in the years 1902, 1905 and 1915. In the year 1905 by a group of Pawnee Indians built a dugout one last time for old rules to hold ceremonies. In the ensuing ceremony, after the rising of the morning star, the others were told in a song, that now he could bring no human victims.

Great was the surprise of astronomers, and anthropologists, as it turned out that among the known times times Venus, Mars once had stood as a morning star in the sky.

It's hard to believe that the Pawnee-priests, to continuously watch the bright celestial objects, knew nothing about it to have that time as the morning star Venus, now stands as an evening star in the sky. The same appearance, the change from morning to evening sky and the fact that this star has never been seen together in both places, should have suggested at least that her evening star part of his life spent in the morning sky. Conversations with an ethnologist Skidi Indians in 1906 showed that this like this but had no idea.

The astronomer from Del Chamberlain suggested that the priest after the in-order-type of the victim by the dream apparition of a star system are so long watched the sky until a suitable morning star in the sky, and could then either Venus or be Mars. Once he appeared, he played his role as the morning star for the ceremony. In some cases - back-calculated astronomical - even Jupiter appeared to have played this role. Which star or celestial object which was the original Morgenstern of the ceremony, can not be determined today.

What if the original celestial object was not a star? Remember the myth, the reports that once a Pawnee Indians was taken to a floating in the sky "star" and then back to Earth. Other myths tell of this particular "star" and mention a red ring - which does not seem to match the stars we know and identify for today's astronomers as hard power.

Further exploration of the Skidi-sky map - until now at the Field Museum of Natural History in Chicago found - in connection with the Pawnee traditions about the stars and star clusters may have some surprises ready. It is a pity that so much information, so much knowledge, so many star names were lost, but the data that have been preserved to this day have still plenty of material for further speculation and evidence.

The victims of the morning star Skidi is unique among North American Indian peoples. Some anthropologists see this as a parallel to the Aztecs, who also an arrow victim to a wooden scaffold was communicated prior to a temple with a "holy bundle. Where did the Pawnee and the Caddo peoples originated, is still unknown, but some anthropologists and archaeologists suspect that they came from the south, perhaps from Mexico and Texas and Louisiana to Nebraska and Kansas walked out the Pawnee in 15. Century were representative of the Plains Indians.

Unknown is also the answer to the interesting, especially for the Paleo-SETI-research question about the reason for the strictly astronomical alignment of their settlements. Should be here for the generations passed and get some knowledge? Knowledge of a specific location at the "sky" or in space? Was also the star chart with her still-unexplained deviations from today's stars?

was able even Ralph Buckstaff, who tried in 1927 as the first, to identify the stars of the card, not explain why some stars were in correct positions but not others. His conjecture about "artistic problems of the artist" does not have to agree. Who knows what kind of message in the card can be found if an unprejudiced astronomer who also takes the Skidi myths seriously, would deal with it. is

In the Paleo-SETI-long research known to have been transmitted in other countries and cultures astronomical data in buildings or ceremonies. The Skidi had a good reason to concentrate their settlements astronomical and knew that they were to the earth by the visiting star beings have been guided. Let us hope that the archaeologists can reconstruct the onetime location of the Skidi settlements, which until now could only partially, and that they will give us information about some of our questions.

Literature:

Buckstaff, R.: Stars and Constellations of a Pawnee Sky Map. In. Amerian Anthropologist, 19, Washington 1927

Chamberlain, Von Del: When Stars Came to Earth. Los Altos 1982

Dorsey, G.A.: Traditions of the Skidi Pawnee. Boston, New York 1904

Dorsey, G.A.: The Pawnee: Mythology. Washington, D.C., 1906

Gilmore, M.R.: The Arikara Tribal Temple. Papers of the Michigan Adacemy of Science, Arts and Letters, 14, Ann Arbor 1930

Fletcher, A.C.: Starcult among the Pawnee. In. American Anthropologist, 4, Washington 1981

Fletcher, A.C.: Pawnee Star Lore. In: Journal of American Folk Lore. 16, 1903

Murie, J.R.: The Ceremonies of the Pawnee. Washington, D.C., 1981

Schoolcraft, HR: Information Respecting the History, Condition and Prospects of the Indian Tribes of the United States, Vol 5, 1855 Philadelphia

Schroeter, W.: Religion and mythology of the Pawnee. Wyk 1994

Wedel, W.: An Introduction to Pawnee Archaeology. Washington, DC, 1936

Well Fish, Gene: The Lost Universe. 1977 Lincoln

Wat Kind Of Std Do Pinky Have

All American Man

Gisela Ermel

surprised age Besim Mung a rock image archaeologists

In: Legendary Times, No. 1, Beatenberg 2004



rock paintings were and are interesting and important objects for the Paleo-SETI research - of humanoid figures with ring should, to interpretable astronomical "symbols and motifs. Criticism always had to be plugged on "Looks-like" interpretations. But while Paleo-SETI researchers previously otherwise be proven could, professional archaeologists and Prähistorikforscher fell into such a "Looks-like" trap. This shows the instructive example of one of the most famous North American rock art: the "All American Man".



The rock art "All American Man," Salt Creek, Canyonlands National Park, Utah



The southwest of the USA exhibiting the greatest concentration of rock art of both American continents. Thousands of rock art sites each have dozens of rock walls with hundreds of images. Only a tiny proportion of the "Louvre of the Wild" has been documented countless other rock and wait for screens yet they are discovered or rediscovered.

A distinction between pictographs - with color material applied rock art - petroglyphs and - in the bare rock with no foreign material into carved images. There are also combinations of both types of production.

All of these rock paintings are for us all in all still a mystery. We do not know why they were made, not by whom, and we do not know what they mean. are certain assumptions and interpretation Try a dime a dozen, but they all still remain - and this applies to the interpretation of prehistoric as well as for the präastronautische - speculation.

Great efforts have been made to the North American classified into different styles of rock art. It played a big role and the motives of the attempt, at least roughly the same rock type divided into certain periods of time. Until recently, the dating of rock art was completely unsafe. Guidance gave ruins or archaeological artifacts in the vicinity of painted cliffs or certain motifs such as various hunting weapons. Pictures with javelins were classified in an earlier time than those obtained with a bow and arrow, and images of horses could be classified as from the time after the appearance of the first Europeans, as horses have been introduced only by those in North America.

Only recently was a relatively new technology for age determination are also used by rock art: the radiocarbon test with the Accelerator Mass Spectrometry, a method with which only very little material is needed for a test. This works but only when organic components are included in the mixture of the ink material (such as animal blood, plant extracts, etc.). This age determination in rock imagery was only possible with a new technique in which an oxygen plasma is used to separate organic material from rock art color samples. This unique method scientists had developed a university in Texas.

Dr. Marian Hyman and Dr. Marvin R. Rowe Teaching Analytical Chemistry and devote himself for several years of conservation, a subject area, has set itself the aim of using high tech to solve archaeological problems. When they were the "All American Man" to determine the age selected, they had no idea of what a surprising - and for all Prähistorikforscher almost embarrassing - result should do this.

The "All American Man" is a unique rock art at the top of the Salt Creek Canyon Land National Park in Utah. We see an approximately life-size human figure with a round torso, head, something like "feelers". The rock art is located in a niche of a typical Anasazi cliff dwelling-place. The wall structures, storage tracks, and an artificial floor below the image as well as pottery fragments were of the archaeologists in the so-called late-phase of the Anasazi Pueblo culture dating - a time period, which, as I will show, of exceptional urgency, especially for the Paleo-SETI research.

counts from the motive, the "All American Man" to "strip armored anthropomorphic, also known as shield-bearer motif known which is also known from other rock art panels in Utah, Colorado, Arizona and New Mexico.

One of the typical "shield bearer", Galisteo Basin, New Mexico

But the color combination and shape of the "All American Man" is unusual falls completely out of line. The Image with its blue, red and white colors and the streaks inevitably recalls the American flag. And already, a majority of archaeologists was agreed that this image could only be a modern fake! Man suspected bored cowboys or modern graffiti artists as a producer of the picture. There were even "believers" who claimed that painted the picture or at least embellished, or to have been painted over - a sort of Doug and Dave (crop circle forger) of the Rock Art! No one dared, this image classified as authentic prehistoric.

But then were forwarded samples of the color image at the Accelerator Mass Spectrometry Laboratory, University of Arizona, after Hyman and Rowe had the team ready with their new plasma extraction. There were also thorough investigations of the minerals of the traces of color and the natural surface of the rock wall carried out and all this led to a consistent conclusion: The picture was painted in 1295 on the rocks - and so in time for use in the Anasazi ruins in its immediate nearby. Thus, the authenticity of the rock image was shown to the great surprise of the archaeologists who by their "Looks-like" conjecture had to be led astray.

order has entered the investigation and study of North American rock art in an entirely new stage. Finally comes we continue with the chronological order of this cultural heritage a step further. Meanwhile, another rock images were analyzed for their age. Thus it was possible the so-called Pecos style - characterized by multi-colored, life-size anthropomorphic - an age of about 3000 to 4200 years dated, while samples of a different style - tiny red linear figures - could be dated to an age of 1280 years.

rock art in the Pecos-style

The famous Holy Ghost Group of the famous Great Gallery - an example of the Barrier Canyon style with huge arm and legless anthropomorphic - was an age of 1880 - 1410 BC. dated.

Barrier Canyon style: Holy Ghost Group

Great Gallery of the Barrier Canyon style

But this dating by Accelerator Mass Spectrometry is still in its infancy, compared to the thousands upon thousands of hitherto undated rock art in the U.S. alone. This method of age determination can now help with "difficult" rock art, such as an arm-and leg-less anthropomorphic (actually the old Barrier Canyon style) with a bow and arrow (ie, an after 450 AD.-motif) and an animal, such as It does not occur in two styles. This could also show up - which archaeologists have long suspected - that not all the details of an image from the same period date. What do archaeologists, if they have a rocky time image can not fit into the existing styles? They appoint a new style - in the latter case, the Grand Canyon Polychrome style.

rock art in the Grand Canyon Polychrome Style

dating tests on its own speculative interpretations are always risky. In the words as the climatologist Paul A. Alee, a large part of the rock art constitutes stylized rain clouds, painted on cliffs, where to stay preferably, the rain gods, if they are not in the sky romp, and ergo thus originate from all these rock art the same time: the time one of the great drought, that it was only during the heyday several Anasazi.

Other proposals range from interpretation of "family galleries" to "territorial character" and much more.

This new type of rock dating using high-tech can be also for our paleo-SETI research is very important. Traveled the archaeological fieldwork had exhibit a very interesting result: Obviously there seems to be a temporal connection between the collapse of the Anasazi culture with the following mysterious disappearance of these Indians and the "emergence" of a new religion, by the anthropologists called Kachina religion.

The collapse of the Anasazi culture (up to 1300) and the disappearance of an entire tribe is still a mystery. The so-called "Chaco phenomenon - (named after the center of culture, Chaco Canyon in New Mexico) with its fantastic stone Great Houses in the corner region where Utah, Colorado. Arizona and New Mexico, where apparently everything was linked together by astronomical alignment, and where individual Great Houses were again aligned astronomically in and served kivas, towers, including buildings calendar purposes, where miles of straight roads built, sometimes up to four streets parallel run alongside each other and Other "Nothing" and ending unknown purpose - provides yet more and more questions than answers, especially given the sudden collapse of this important cultural and inexplicable disappearance of the Anasazi. Can there be a connection between this collapse and the emergence of the Kachina religion and Kachina motifs in rock art?

Who were the Kachinas? Taking five books on hand to look up, you get at least five different explanations. For the Paleo-SETI research at the most interesting is the statement by the Kachinas as heavenly teachers who once came from the stars to give people something to teach.

Further archaeological research in the ancient Anasazi area, and to reflect possible Age dating of the local rock art could cause this "once" to determine, perhaps in more detail. Kachina are motifs on pottery and wall paintings, it obviously not from the heyday of the Anasazi, but only from the so-mysterious collapse time. Archaeologists have long been discussed and prehistory of the possible causes of this so sudden "big change" in the Anasazi culture.

rock art near an Anasazi ruin in Chaco Canyon

The trigger for this change is still unknown. The declaration, the "Great Drought" (1276-1299) as a reason to pull the Anasazi, bag and baggage, had to more or less drop. New calculations are to rainfall and yield potential of fields have shown that would have produced enough food to stay over there. Second, this was not the first big drought of surviving the Anasazi had. The most important finding is from an archaeological field research, this: Apparently, began the collapse time before the Great Drought. Therefore, more and more archaeologists tend to "new religion" statement.

In this context, it would be a tremendous help to know which rock art from the time of the Chaco collapse are we still could get more detail by the depicted motifs and scenes of a response to all the open questions about this enigmatic people. I need scarcely mention here, I suppose, are just as explosive for the Paleo-SETI research a "new religion" and an example of simultaneous collapse of a flourishing culture like that of the Chaco phenomenon.

here catch the rock art to be interesting for us. One would hope that now many North American rock art of this modern age dating would undergo, and this action may be even more destroyed, as has already happened.

It is unbelievable what this fantastic Rock art - especially in North America! - Has already been done! The integration of many rock art sites in National Parks and National Monuments was both positive and negative for the rock art. These are either but now some professional supervision by park rangers, etc., others already there is now a strong inflow of visitors who do not adhere strictly to all the "site etiquette": See photograph, admire - and nothing else! As will be - touched rock pictures, taken loose small rocks with petroglyphs ado, faded rock art are traced with chalk or paint freshened to spice for photos and more visible - especially in places that do not belong to National Parks to make, as initials, pictures and smart sayings be engraved, painted or affixed by paint spray cans, and this, unfortunately, not only for tourists but also by owners of land or land where there are rock paintings.

rock art in Nine Mile Canyon is a modern inscription

in Nine Mile Canyon as the best rock video wall and the "incomparable Elk-image of our planet" (so JQ Jacobs), with large letters in modern color painted over: " THIS IS PRIVATE PROPERTY - NO Tresspassing "(such as: unauthorized entry of private property prohibited!) - and still not correct, trespassing to write a "S".

Today's laws offer rock art on private property, no protection. This will only be granted for sites with human remains. So on, for example, between South Mountain and the Gila River previously 60 walls with petroglyphs and rock paintings over 200 privately owned known, of which half have already been destroyed and are lost forever.

graffiti on a rock art of the Barrier Canyon style

And this is unfortunately typical of many places. Damage there was and also by scientists and archaeologists. We know cases where prints were made, which decreased the impression material equal to a large part of the image itself with rock from the wall. Well-meaning antiquarian leave chalk marks, traces of rubbing, wetting, tracing and marking of the rock art - not to mention the aforementioned refresh the colors for photo-and video recordings, a bad habit that could be not only private Felsbildbewunderer guilty.

Older graffiti on a rock art panel in 1859, El Morro, New Mexico

Many rock paintings have been further damaged by road construction, new iron tap lines, subways and tunnels, for Quarries, grassland and modern construction projects - all in the name of progress! Many Indians already draw parallels to the destruction or loss of a library. The importance of rock art is that they destroy, not often known. The situation is almost similar to the destruction of Central American manuscripts at the time of the English conquest of Mexico. When it was discovered in the 1880s that the Dresden Codex of the Maya a work of scientific content, with projections to lunar eclipses, etc. - and not a work of pagan devil, as the English missionaries believed at the time of the Conquest still - like many a too late, be clear that irreparable Guess because we were lost.

Meanwhile, there are first attempts at preservation of rock art, which should be very difficult. Rock art can now be protected under glass display cases do not even like pottery shards or Anasazi vessels. You must remain in the wild, in a quasi-outdoor museum unguarded, almost defenseless, where not only wind and weather, because ironischerweie are just the people themselves the greatest threat to rock art.

attempts to conserve Rock Art by spraying a kind of protective layer were discarded. You can not spray on a rock, because rock lives, the rock responds contains water by evaporation escapes. It must, applying a preservative coating be destructive and reach the opposite of what was sought.

Constance Silver, trained in the field of Preservation of Historic Architecture at Columbia University in New York, has been working for years with a Rock Art Conservation Project in Sego Canyon, Utah. You rock retouched images that contain modern graffiti, and "repaired" rock art with deep shot holes filled by artificial rocks in the holes. But even here, one could argue about whether or not these are bullet holes and graffiti already on the history of rock art and should be obtained (think the initials of people from past centuries). When asked, what is the difference between rock art and graffiti, she replied: Rock Art are rock art of native Indians, only x-graffiti vandalism of any modern people - two very different things. (Good thing it the "All American Man" is not wegretouchierte before he was old tested ...)

way: the "All American Man" now has a new name, they call him now, "Early All American Man".

Literature:

Chaffee, SD / M. Hyman / M. Rowe / N. Coullam / A. Schreodt / K. Hogue: Radiocarbon dates the All American Man Pictograph. In: American Antiquity 59 (4), 1994, www.geocities.com/SoHo/Workshops/7724

Hanson, Jeffery R.: Rock Art in the West. In: American Western Magazine 2001. www.readthewest.com

Hyman, M. / M. Rowe: Dating Ancient Rock Art Paintings. www.history-utah.gov/NiNj/dating-paintings.html

Schaafsma, Polly: Kachinas in the Pueblo World. University of New Mexico Press, Albuquerque 1994

www.india.com/~dheyser/aaman.html

www.jqjacobs.net/rock_art

How To Play Farmville On Blackberry

Megis, the flying shell

Gisela Ermel

pre-astronauts marks on birch bark rolls of the Ojibwa Indians

In: Legendary Times, No. 2 Beatenberg 2003



were used in its non-literate culture of the Ojibwa Indians for a long time with symbols illustrated scrolls as a reminder to their myths down from generation to generation pass. These roles also seem from the perspective of the Paleo-SETI research interesting aspects to include.

traditions, myths and religious beliefs were passed down from our ancestors in various ways: orally, in writing, by buildings, a sculpture or relief - but also in series of images, perhaps comparable to our modern comic books or religious images cycles (such as the Stations of the Cross). Such Überlieferungsart also used the Ojibwa Indians in the area known as the Lake District in Canada. Their visual recordings, they fixed on birch bark rolls.



The flight of shell

In a number of museums such roles stored, but usually not the originals, but by the Ojibwa carefully copies made because the material is not too durable. The birch bark scrolls were passed on to reliable "guardian" from generation to generation. Threatened to break down the birch bark, it was the role of these selected men and they are to be transferred to new roles. Later came a number of reports of such images to interested ethnologists, researchers, and Indians in the possession of several museums.





James Red Sky, which differs kept some birch bark rolls his tribe



After the content and the motives to include "creation roles," "Manito Assembly roles" or "hike roles." Other birch bark scrolls were named after the Ojibwa tribe, or a guardian, had in its possession to the role or was found, such as the "Red Sky Barch Scroll".

from pre-astronaut's point of view, the resulting creation roles are very interesting to see the various "creation sections, which are divided into four phases. The presentations always begin with a circle (the heavenly world) to see around which the Creator and his helpers. In the middle of the circle is an object in the Ojibwa mythology so important "flying shell - Megis - represents. comes from this shell-shaped object "Path" from a path that leads to a wider audience: the path that took the creator and his assistants, to visit earth.

In some creation roles can be found in / on the first circle - the distant world of the heavenly creator - Megis several "shells", of which then makes the journey to Earth.

The way on the second circle of the drawing - Earth - is presented with support points (small circles in the way). There, the Creator God our world has experienced and have then found that they are not for habitation of living was ready. He found it uninhabitable, as there was only water and ice.





Part of the creation role of Bungie Ojibwa: far left the world of the gods with celestial beings and Megis-flying objects, of which a path leads to the earth: the round small circle inside the breakpoint represents the trip, and the right circle shows the Earth at the time as it was considered habitable, again stopping at the heavenly visitor, here was so like in a comic book a double visit celestial beings depicted on our earth.







Another example of a creation role again left the world of the gods with celestial beings at the center Megis, then the way to Earth in unbesiedelbaren state (middle circle), then the right inhabitable Earth, it Megis, the gods vehicle.

The creation of the role of James Red Sky: here is yet another residence located on the ground, the last circle, only to see half, then the time of our last visit now habitable planet.

After completing the second circle in general, the trip to Megis to the next circle: the same world - our world - but this time with less water. Again, the Megis-way stops positions where did the Schöpergott and his helpers look around. The small rectangular object at the edge of the circle represents the first is out of the water mound rising, found during this Erdbesichtigung.

In some creation roles you see an otter in this district: this should be a messenger of the gods, who brought to life on our planet.

At the last descent Megis' is finally found everything perfect. In some creation of these roles circle is drawn as a highly stylized and primitive map of the Leech Lake - the "world" as they knew the signers of the birch bark rolls.

us here The traditional myth contains several aspects that allow for interpretation in terms of the Paleo-SETI research. The descent of God's associations to be on a flight: the road can be considered as a trajectory are, after all the stops as stationary (= orbit?) stays or landing a missile, which looked similar in form to a mortal shell. Is also remarkable to note that the flying object was by no means unique, but broke out of an "armada" of similar missiles.

on Red Sky's birch bark role we see, interestingly, on the edge of a circle - the world - an elongated object: this should be the god of heaven, as he looks around on this earth: the small projects into the district semi-circle was his head.

Telling the roles of the Ojibwa creation of all a fantastic event. They tell of different Development phases of our earth, tracked and monitored by non-human beings sky. And they tell of a journey of more time flying "shell" Megis, which was apparently manned, because the Creator God and his helpers look so from this object to out to Earth.

terraforming the earth

is depicted in many myths around the globe as the "gods" of our planet, first prepare for habitation by human beings. Such a company we know today as the concept of "terraforming". Thus a scenario is meant as directed exobiologists and others for hostile planet. By manipulating the atmosphere of celestial bodies in a life-friendly world is changed. Was it perhaps the beginning of the Erdevolution such interference by extraterrestrial intelligences, to report on the Ojibwa?

In the Ojibwa documents can be seen, however, initially only the "Otter". It is a symbol for one of the helpers of the god of heaven who had brought life to Earth. But on closer examination of some of the birch bark rolls, such as the creation of the role of James Red Sky, you can see that the people next creation, and in the first circle - is shown - the heavenly places. The presentation seems to want to show that people were already created before the Earth could have higher life before she was Megis and its crew finally classified as habitable. Unfortunately, betrayed the birch bark rolls no longer about this.

The meeting roles

The so-called "Meeting Roles" all start with an image that is from the performers and roles-owners known as the "Manito-assembly." Here is presented an assembly attended by the Creator God Manito and his helpers and messengers. This meeting is said to have taken place at a location to get over the location information is not secure. Some Ojibwa who were interviewed by researchers said that, this place must be 'high above have the soil over the four cardinal layers located. "consensus, however, the fact that this place far away from the Earth existed.

Drawn the scene as a circle or square with some figures on around them in it or. In the simplest cases are the essence only stylized by four small squares shown, which were misinterpreted later by non-Indian birch-bark roll performers as symbols of the four cardinal directions.

The purpose of the Manitoba meeting was to determine a messenger. He was sent to the people to be the now populated the earth. His mission was to teach people to teach them and to support them. For this task, it tells the myth, had the "bear" volunteered.

The journey of the god is following the Manito-assembly shown in four stages, the so-called bear-outs, as he had to overcome on this journey four mysterious obstacles. The Ojibwa passed vague talk about a "wall" through which the "bear tongue" without resistance was. The gods had come through something like a "hole" on the other side of the obstacle, but I have nothing there, no earth found. This happened two more times - and only after the fourth obstacle, he reached the Earth.

These four bears "breakthroughs" are shown on the birch bark rolls in various ways. Time simply by four strokes between the Manito-assembly location and the earth, sometimes by four bears paw prints, sometimes by four cross beams, then again by four circles. Manito law, the Assembly, left the earth, and in between the route of the messenger of the gods, the four obstacles represented by four strokes. Birch bark role of the Museum of Natural History, New York

law, the Manitoba Assembly, left the earth, between them again the route of the messenger of the gods, the four obstacles here than four bear paws traces shown

On the role of birch bark James Red Sky one sees four consecutive circuits through which each joins the "bear tongue.

Manito Assembly role of James Red Sky

In other representations we see the bear's head looks out of the fourth circle. These are all attempts, an incomprehensible, but for generations, well-handed action in connection with the journey of the god to earth somehow depict. Here, of course, from the perspective of the space age is a fantastic Food for speculation!

These four mysterious "bear-outs" are still up to the 19th Century in imitation of the Mide ceremony of the Ojibwa. A tribal priest did three tentative holding discreet steps. This was followed by a final and successful step in the Mide Lodge. The first task of the god on earth should be enough to build in the middle of the first-Mide lodge a "little tree" on which then a "thunder bird" landed. Here is the place, so is the messenger explained to the people could hear from which the sky god, the Indians always, whenever she phoned him. He would listen to anything if it will be precise at this place.

see in this scene are clearly right, the three steps of the Mide-priest, that he imitated the "bear-outs" before he entered the hut with the fourth step

One thinks of spontaneously something modern like a transmitter, an antenna. Similar messages, we have known for millennia in many cultures throughout the world. Prophets and seers were led to a particular place - by an invisible speaking being, or an "appearance" for example - and it was they applied specifically to build exactly an altar, a temple or a church, that God (or gods) of this receive their requests and concerns from local can.

(aside: If we ever had a messenger sent to another world, of course, would be his first job is to ensure there for conversation with the home world, whether by voice, image transfer or future high-tech no-stop connection whatsoever. .. 23.1.2009)

The migration of the Ojibwa

The mythological story of the ancestors continue to walk as a designated roles traditions. The Ojibwa Indians report that they once lived a long time on the shore of a sea so long that they forgot the whole time, where they came from originally. One day had risen from the ocean waves, an object that looked like a giant clam. This "shell" for a long time hovering over the land of the Ojibwa and have them returned to their old home. You always hovered in the sky, and the Ojibwa followed her. The aircraft showed them the way, especially when the "right path" came off, and reminded her to move on, if they remained too long in one place. Thus, the Ojibwa finally reached their home country.

appears on the birch bark rolls the "shell" because come into play, where the messenger of the gods "Bear" leaves the scene again. Indian artist vague report of "something" had handed over the the bear the "shell". Furthermore, they state that should point to the roles of different Mide huts shown inauguration ceremonies of the way Megis.

The Midéwegin ceremonies as well as playing a shell a big role. It dips shown on some roles on the shore of a sea. As the Ojibwa in their ceremonies sea shells used to believe some interpreters of Ojibwa myths, this is the origin of the Indian Evidence from the shores of an ocean. How else, they ask themselves, is an inland people to just a sea shell - and moreover one that actually occurs only in the Indian Ocean and Pacific - to use in their ceremonies?

The declaration could be quite simple. The shell Cypraea moneta - in the South Pacific used to make payments - was easy to obtain in the days of the great Ojibway ceremonies. In large quantities, was traded with them in the "Hudson Bay Company," and they were mass carried on merchant ships and not just in London department stores en masse for sale. Shells of this type was found, for example, in the Mounds Roden in Alabama, the Serpent Mound in Ontario or as decoration on clothing of the Cree Indians. This shell was simply readily available. The fact that the Ojibwa they used in their ceremonies, representing the bright, shining "Shell" Megis, which led to the walks, not necessarily mean that this flying object genaus like a cowrie shell looked like. Cypraea moneta was not on hand, used the Ojibwa, other shells at the ceremony. One thing is clear: The Ojibwa do by a flying object that have been most closely resembled in shape of a giant shell, out into their new / old home.

view examples of the flying object in the birch bark rolls Megis

cowrie shells

about the launch and the progress of the migration of the Indian tribe There is still no clarity. In the non-fiction is as a starting point times the Gulf of Mexico, sometimes given the Atlantic Ocean, the way stations vary accordingly. Can help the birch bark rolls? Many of these roles will end on Leech Lake. As a way station is almost everywhere on the Lake Superior. Everything else is uncertain, except one: the travel direction was from east to west.

The anthropologist William Warren (1885) calculated that the Ojibwa by about the year 1490 reached La Pointe, 120 years before Pere Allouez, the first European visitors to remember it, reached the area.

These are some basic myths motifs, as shown on the birch bark rolls are - some of the few relatively safe to interpret behavior. It is a pity that at the time when the Europeans began to be interested in these roles, hardly gave Indians, who knew that they interpret the given rolls. By far the greater part of the depicted scenes and themes as well as countless small details are thus largely lost for understanding. Nevertheless, these

are many different roles birchbark important evidence for the core message of the Paleo-SETI research here, an early contact of our ancestors with non-human beings who came from outside our planet, provided and delivered.

Literatur:

Barnouw, V.: Wisconsin Chippewa Myths and Tales. Madison 1977

Dewdney, S.: The Sacred Scrolls of the Southern Ojibwa. Toronto, Buffalo 1975

Dewdney, S. / K.E. Kidd: Indian Rock Paintings of the Great Lakes. Toronto 1967

Johnston, B.: Und Manitu erschuf die Welt. Köln 1984

Schoolcraft, H.R.: Oneota, or the Red Race of America. New York, London 1945

Warren, W.: History of the Ojibwa. Minneapolis 1885

Jeremy Bernal Zebra Pinn

Kachinas and Anasazi

Gisela Ermel

puzzle in the North American Southwest

In: Q'Phaze, No. 6, Kassel 2007



Who or what are Kachinas? If you ask different people, you get different answers. One of the Hopi Indians would answer: "High respected knowledgeable," while another would say: "ghosts". Again, another might say: "They came to us from space." The Zuni know these creatures under the name "Koko" and keep them as gods and messengers of the gods. Parallels to the Kachinas and Koko would be the Yei Navajo Indians. In virtually all Indian peoples of the North American Southwest we find the Kachina motif. It goes back to the time of the high culture of Anasaszi Indians? (See also my article: the Chaco phenomenon).

Kachinas: Drawing of FH Cushing, c.1890

These mysterious creatures have been interpreted as helping spirits, astronauts, aliens, time travelers, culture bearer, rain, harvesting, fire or Fruchtsbarkeitsgötter, teacher of men, star beings, and much more. This is quite confusing. Offensichtich but they were as human form presented, and if it is accessible to the rock art researchers such as the mask image and the headdress are detected and identified, not necessarily mean that it "masks" carried. Kachinas are by no means only the simple cute dolls, the tourist gift shops in the Pueblo of today may be for sale. The Kachina motif is still very popular. One finds Kachinas in comics, on subway station walls, banking houses, to silks on popcorn packs, on whiskey bottles, ceramics, rugs, weavings, etc. were

Chocolate Kachina

Apparently the Kachinas / Koko / Yei, according to mythology anthropomorphic stranger, which eventually came from somewhere and at some point again disappeared somewhere, and they promised to once again return. They were the Indians think in many ways, so provide the myths, whether of knowledge, know-how or equipment - grossly simplified as far as the essence of the traditions.

If all the myths of the Indians had not been so different and contradictory! What you can not give itself to the statement about the number and the names of the Kachinas, may be seen from the fact that for a while among the modern Hopi "Mickey Mouse" in the pantheon of the Kachinas was taken up and awake at ceremonies marched and danced.

One Anthropologist says there is 335 Kachinas, another says it is 229th The Navajo Yei limit their below twenty, while other sources speak again of over four hundred different Kachinas. Their number is not determined. Again and again they added Hopi, Zuni and other Pueblo Indians Kachinas new, while others are "out of fashion came, and also to representations of certain features were incorporated Kachinas not always true.

are unanimous in the various Indian tribes nor the origin of these strangers. As it is said once, it came from the underworld, then again is not an earthly location of the speech, the coming out of the universe, from nearby stars etc. - an underground location was never specified as the home of the Kachinas.

During their stay among the Indians to the Kachinas certain bases have occupied, to which they withdrew to their respective actions. Shall apply to the Hopi, the San Francisco Mountains as Kachina apartment, as well as a place near Pinon called Kisiwu as a place in Springerville, Arizona, a place in Monument Valley, and various places throughout the Chaco phenomenon of the Anasazi (ca. 850-1150) played a role.

The Zuni remember a divine city, Kolhulwala-wa, paradoxically, even as at a specific point somewhere north the Zuni settlement was presented, then "located in the Clouds" as a "sky city". Some places are in the traditions of the Pueblo Indians as a "gateway to the Kachina World", by the time could not only enter the Kachinas this world, but through which one could still reach their world.

A vertical stone plaque on the path is to the rock paintings of Palatki in Arizona such as a connection point. This dark shaded rock Plate imagine a goal, according to some Indians, by the Kachinas to travel between their and our world.

Another point is an altar-like structure on top of Twin Angels Mound, as the gateway to the world-Kachina applies. Twin Angels is a rock capital of the Anasazi, located in one of its long straight Roads. The Canyon de Chelly is also considered a stay of the Kachinas. Here do the Navajo have been taught by their Yei.

Some consider Hopi Kiva ruins in the Anasazi area as the former homes of Kachinas, and among the historic Pueblo Indians are kivas (round underground rooms), including as related to goals Kachina world. A myth of the Acoma, recorded in 1928, reports on the construction of the first kiva, later revered as a holy place, "can appear where the Kachinas.

Time and again we read in the traditions of the Pueblo Indians of the Kachinas their journeys over land and water, and even to distant worlds material missiles used. In particular, the Hopi and Zuni remember reports of "flying shields". In the Hopi were known Paatoowa Others, the "object that can fly over the water," also called Taweyah reason of its similarity of form with a pumpkin.

The Zuni remember the so-called Hero Twins, the Ahayata, twin sons of the sun god. They had once been sent to the people, so provide the Zuni, and led them and guided them in their migration to the proposed objectives for the individual strains. Here are the divine twins have traveled in flying shields. This Shields them had given her father the sun, and with them they could not only fly in the clouds over water and land, but also to the "underworld" and the "land of eternal summer, where the gods dwell.

These shields are known in the Zuni traditions as a magic shield, shields clouds, smoke, end shields, fog-making shield and water shield. The Hero Twins traveled always on (or in?) The sign, but not with him, as one might put it, if it had been endorsed as a shield against attack. These shields should have been equipped with defensive capabilities, as the Zuni deliver that light or fire rays from these could shields went out, turning attackers and animals in stone or burnt into stone. The shields should have from a mysterious "cloud material" passed on them was a kind of cross, where others could come out the "flashes of fire." When they parted, the Hero Twins, the Indians left the back, these should have suggested to make a replica of their flying shields, to always remember them. Even today represents a beautiful mesh of white cotton thread to a ring decorated with curious and down-quality springs, this shield of the Hero Twins.

The Hopi know divine twins that are seen with a white sign in context. The Hero Twins of the Navajo, also sons of a sun god (the mother here is a Yei / kachina woman), more time to their heavenly father have visited. There in the "Turquoise House" up there on the horizon, they had to pass difficult adventures that are still likes to tell of the Navajo. On old rock paintings of the Navajo, the Hero Twins shown in some cases by a circular, spiral-like object - a parallel to the flight shields of the Hopi and Zuni myths?

rock art of the Navajo: One of the Hero Twins

But what is of traditions of the Pueblo Indians to think about flying up to? Could ancient rock art to be here? Among the most controversial subjects on the rock art of the North American Southwest belongs to the so-called "shield bearer" and a round, disc-like object. At the sign support is a round circle that seems to serve in some cases as a basis for a body. Is it a round shield that covers a body? Most, however, no arms, legs and even to see no arms and only sometimes look a head (but almost always with "probe") and by foot. The round circle is sometimes patterned, sometimes not. The show with pattern on the circle shown on plate carrier usually horizontal lines or Circles, triangles, stars including geometric shapes, so talk some rock art researchers from the strip tank design. In many such rock art has now been found that the out-looking legs only later include the actual image has been added.

All American Man: One of the typical "shield-carrier" rock art

shield motif on the ruins of the Round Man House Anasazi

But very more often come round disks before on rock art, standing there in isolation, without being connected with a figure. The disk-like Structures emerge as a rock art motif from the first time after the mysterious civilization of the Anasazi Indians. This motive must have been, given its frequency is very important. After the collapse of the Anasazi culture, the motif is widespread in the regions around the old Anasaziland. During the collapse time of the Anasazi (= the time between high culture and the disappearance of the Anasazi = 1150 to 1300) it is found in practically the entire area in Utah, Colorado, Arizona and New Mexico, and it was also on the witnesses such as neighbors of the Anasazi Kayenta, Sinagua and Mogollon immortalized on the rock walls.

resplendent round disk-like objects directly in Anasazi cliff houses of the collapse time, such as in Round One in the House Tsegi Canyon (named for such a rock art), the Jailhouse Ruin, in Honanki and Palatki and many other ruins.

round object on a rock wall Honanki

Two other examples of round objects, below: on the rock face of Palatki

The classic Vernal-style Fremont-region (the Fremont were primitive hunter-gatherer neighbor of the Anasazi) offers round shield-like objects en masse, often in addition to spirals, dots, stars, and fantastically endowed human figures. round discs are also in the Mesa Verde area, in Canyon de Chelly, on the San Juan River, the Rio Grande and in Texas. Particularly interesting is a shield with a cross motif pattern of the Palatki ruins in Arizona, but it is reminiscent of the "cloud shield" of the Hero Twins of the Zuni Indian myth.

is to distinguish the location of label support, however, rock art, much of the later Indian as Comanches, Apaches, etc. were aufbegracht and in this case represent in fact defense shields in war scenes. These shields offer so no real parallel to the old shield motifs in Anasaziland and the surrounding regions, and must not be confused with them.

The motif of the "shield-bearer" and "shield" is only since about the 1950 debate. The researchers wonder if you have to do it with Klanzeichen, with mythological figures, the personification of the sun, or whether there is just cute circles were drawn. Or the mirror? Or stars? Or even turtles, as someone speculated? The "shield bearer", it is believed by most archaeologists, were just what they are: people who protect themselves with a shield against attacks. There's just one catch. There were only dug only two objects in Anasazigebiet that - maybe! - Could be interpreted as defensive shields. It is not clear whether the Anasazi at all shields produced and used. During the Time of high culture they had such weapons of war and not have needed, because this time, the excavations were younger, was a peaceful time without the struggles and wars.

What then shall all the "shield bearer", with its nice "probes" represent? Bison hunters, some suspect, with "hörnerartigem headdress. The renowned rock art researcher Polly Schaafsma want to see in the round disk-like objects, representations of the Central American rain god Tlaloc. Triangles on the circles may be Tlaloc teeth. Rock art interpretations, there are almost as many as rock art researchers. What is clear here that is nothing.

And if the Pueblo Indians talk about flying discs and their Kachinas Hero Twins, it may be a connection at least proposed. It is striking that the motive of the Kachinas and the round objects appearing only in the aftermath of the civilization of the Anasazi. What memories of events which have been placed here?

In our current cargo cults, for example, were reproduced only aircraft glad customized antennas made of branches and Coca Cola cans imitations, etc., having had compared with their more technologically sophisticated visitor, seen in which the primitives such items , had been whisked away. If the kachina representations, and the round objects on rock art and the myths of heavenly teacher a reminder of unknown master planner of the Anasazi, which helped this a cultural leap and they let build mathematical and astronomical pre-planned drawing board systems as well as straight as mysterious streets? The historical time frame seems to confirm this.

Historical traces of the Kachinas:

Up to about 850: In the North American Southwest live primitive Stone Age farmers, basket makers and mining house builders, land and climate is perfectly suited for a long time. No trace of any Kachina motifs.

Typical pit house, the basket maker Anasazi

Ca. 850: Some of these stone-age farmers - Some group of the Anasazi - a sudden leap to make culture to high culture without intermediate stages of development. Almost from one day to the other, they begin a complicated construction project. Whose center is located in Chaco Canyon in New Mexico, and it extends over the entire present-day corner region: Utah, Colorado, Arizona and New Mexico. Here for a comprehensive plan, a project is drawn, the first by a team of architects, astronomers, mathematicians, engineers, designers, surveyors, etc. must have been planned in every detail. (Master planner of the later models = illustrated and imitated Kachinas?) The fetched from all corners of the Anasazilandes workers are guided and controlled. This Project that without a creator and a monitoring body could not be imagined without links, stone buildings, settlements, calendar systems, and a road network through an invisible astronomical and geometric line network with each other. Everything is connected to everything, every building, every stone is indeed a very well defined and previously calculated Place. No Kachinas are presented, the Anasazi probably have enough to do so, complete the enormously labor-intensive construction project. The models for the later illustrated and imitated Kachinas live and work well even among them.

Today's archaeologists speak of a "master plan" and an incomprehensible and enigmatic Chaco phenomenon. But who the master planner, who designed this huge construction project that could run and controlled? The archaeologists have been able to find an answer. No known people and no simultaneous strain appears to be eligible, not even the local Anasazigruppen on a stone age farmers level. What all of this was built is still unknown. Of the thousands of rooms in the Great Houses and multi-storey buildings was apparently only a fraction of "occupied" or used. The workers themselves were living still in its tried and true pit houses. Most Roads led - straight up and over many kilometers away - to no discernible purpose for us. The construction project covered the entire four states today-ranging area with a geometric-astronomical pattern that can be seen only when one combines all the items on a map with lines. This pattern was the real purpose of the Master Plan? For whom and for when it was created? We have identified up to now not even all the lines and orientations, and found again, not all Roads. The master plan is likely even more fantastic and more extensive than previously thought.

reconstruction of Pueblo Bonito: Great Houses one of the typical

From about 1150: The construction project ends so suddenly and mysteriously as it began. Was the master plan completed? For the Anasazi - now left to themselves? - Begins the time of collapse. They move in cliff dwellings that they build into the stone walls of canyons, more or less far from Chaco Canyon, which is now completely deserted. These cliff dwellings - Cliff Dwellings - are virtually inaccessible to defend and easy, yet virtually invisible to located under rock overhangs.

White House: one of the tpyischen cliff dwellings of the collapse time of the Anasazi

In other places, be built numerous towers (Purpose: still unknown) and defensive Pueblo settlements, surrounded by an outer wall. Was the time of the Chaco phenomenon one been peaceful time, so now is the time of the collapse of a period of raids and massacres. Numerous settlements and Cliff Dwellings are attacked, killed the Anasazi in many places, often even fried, boiled and eaten. More and more Anasazi left their homes and move away.

But who were the enemy or attacker, the archaeologists have not been able to determine. What happens then, it must have been so dramatic that the Anasazi were Unopened food and valuables are simple. Where are the Anasazi disappeared, is still completely unknown. The fact that the Pueblo Indians as Hopi, Zuni, Acoma and so are their descendants could not be proved and is questionable. Rather, they are descendants of the witnesses of Anasazikultur, or they migrated in the meantime and had contact with descendants of the witnesses of the Chaco phenomenon.

Ca. 1300: The corner region where Utah, Colorado, Arizona and New Mexico is almost deserted and abandoned by the Anasazi. Round remain witnesses who had been during the time of the Chaco phenomenon and during the collapse of Anasazikultur lived on the old-type of Stone Age farmers, and do so still.

1330: The earliest archaeological traces of the Kachinas. Homolovi II of the Little Colorado River in Arizona is obviously one of the earliest sites of the Kachina religion. A large, over 1,200 rooms with forty comprehensive Pueblo kivas and plazas three large mural contains Kachinatänzern and the San Francisco Peak. Kachinas are also ceramic pots and on the nearby rock art. The Hopi believe that have lived here for a while, the members of two of their clans and were moved later to the Hopi mesa.

Until 1500: Time of the spread of the kachina religion, starting perhaps from the Rio Grande area, the most heavily populated region after the disappearance of the Anasazi. Kachina cults play no role so great, Kachinas are first presentation motive above all. The rock art of this period show that the world view of the People have changed. Beginning of a new religion? Especially the rock art of the Rio Grande style influenced later the sand paintings of the Navajo, the Pueblo Indians of Kachinamasken, the ceramic design, patterns, altar paintings and the later Kachinapuppen various Indian tribes. At the same time: the Jornada Mogollon rock art style, the masks and being with "goggles" and enigmatic headdress dominate. The ancestors of the Jornada Mogollon were adjacent-witnesses of the Anasazi civilization was. Kachina motifs also ceramic. The archaeologist Adams about this period: an "explosion of Kachina Zeremonialismus. And this is exactly in the regions around the former territory of the Chaco phenomenon. The Anasazi had disappeared, but apparently survived memories of their high culture with unknown master planners in the iconography of religion and the surrounding descendants that time witnesses.

From 1500: In the period shortly before the invasion of the first Europeans in the southwestern United States, in all material pueblos of the Hopi, Zuni, Tewa, and Acoma and those on the Rio Grande - that border areas around the abandoned Anasaziland - Kachina ceremonies. Heyday of the Kachina cult.

1615: The earliest reference in a European written document, the word "Cacina 'without further detail.

1681: One of the earliest written references to Kachinas, contained in a report by the English head of a cavalry division, Juan Dominguez de Mendoza. In his account of the reconquest of the Indian pueblos in New Mexico after the Pueblo revolt of 1680 he reported how he entered the abandoned Pueblo of Puaray and "many masks of chacherias, replicas of the devil, as they use in their devilish dances "took place. The Spaniards of course, burn all the "heathen rubbish." Other English documents from this period mention Pueblo ceremonies and masks, also of biased Christian perspective.

1850: First evidence of a Kachina doll. At the end of the US-Mexican War, the Hopi area, American Territory. This year in the management agent TenBroeck Fort Defiance, and includes a flat from there Kachina doll.

1880: At about this time, begin the first anthropologists to Kachinas interested. To celebrate this time only a few, living in very isolated areas Pueblo peoples actively kachina cults and ceremonies. Researchers are beginning to systematically collect information on the appearance, the history and attributes of the many Kachinas, that did and actions are imitated and reproduced in rituals. One of the most significant instances of this research was the 1899-1900 expedition to the Hopi, led by Dr. Walter Fewkes of the Bureau of American Ethnology. Fewkes made drawings to make the best Hopi. The result was a series of over 250 images of Kachinas. These images were published in 1903 together with Fewkes' observations of Hopi ceremonies. These representations were not only an important source for anthropologists, ethnologists and archaeologists, but, interestingly, also of Indian artists from other pueblos, where the Kachina tradition since the first contact with the White 16th Century had not been continued.

Kachina: Drawing a Hopi Fewkes in the collection

Today: New insights into who were the Kachnias where they came from and where they went, there is not. Only lots of speculation. My suggestion: The traditions of the Kachinas could to memories of the master planner of the Anasazi decline that caused the cultural leap and could be carried out by a part of the Indians a preplanned drawing board construction project, for whom, for what and for whenever.

Literature:

Breen, Judy: The Fremont: kah2/students/Fremont An enigmatic people and their Rock Art www.jan.ucc.edu/ ~

Bunzel, RL: Zuni Ritual Poetry. In: 47th Annual Report of the Buerau of Amerian Ethnology, Washington, D.C., 1932

Cushing, Frank Hamilton: Zuni Fetiches. Second Annual Report of the Bureau of American Ethnology. Washington, D.C., 1880-1881

Cushing, Frank Hamilton: Outlines of Zuni Creation Myths. 13th Annual Report of the Bureau of American Ethnology. 1891 - 1892. Washington, D.C., 1896

Ermel, Gisela: Das Anasazi-Rätsel. Leipzig 2005

Hartmann, Horst: Kachina-Figuren der Hopi-Indianer. Berlin 1978

McPherson, Robert S.: Sacred Land, Sacred View. Navajo Perceptions of the Four Corner Region. 1992

Moyer, David: A Case of Mistaken Identity: Shield Bearing Warriors on the Northwestern Plains. 51th Annual Northwest Anthropological Conference, Missoula 1999

Schaafsma, Polly: Kachinas in the Pueblo World. Albuquerque 1994

Schaafsma, Polly: Warrior, Shield and Star. Santa Fé 2000

Schaafsma, Polly: Tlolocs, Kachinas, Sacred Bundles and Related Symbolism in the Southwest and Mesoamerica. In. Curtis Schaafsma / Carol L. Riley: The Casas Grandes World. University of Arizona Press, Salt Lake City 1999

Short, Susan Rock Images of New Mexico. 1999th www.mninter.net/ ~ short

Waters, Frank: The Book of the Hopi. Dusseldorf, Cologne 1982

www.goldrush.com/ ~ CBjork / RockArt

www.jqjacobs.net / rock_art

www.nps.gov/ azru

www.sacred-texts.com/nam/hopi

www.sascred-texts.com/nam/zuni

www.sidecanyon.com / features / rockart

www.stud.uni-Leipzig.de/ ~ tsantsa

more:

Gisela Ermel:

The Anasazi mystery.

master planner, cannibals and Kachinas: On the trail of a vanished people.

Bohmeier-Verlag, Leipzig 2005 ISBN 3-89094-448-5

200 pages, with illustrations