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Painting a Narrative on Squamish Ochre Sources and Rock Art

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Painting a Narrative on Squamish Ochre Sources and Rock Art PXRF and Place Names: Painting a Narrative on Squamish Ochre Sources and Rock Art by Elizabeth C. Velliky B.A. (Anthropology), Michigan State University, 2009 Thesis Submitted In Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Department of Archaeology Faculty of Environment Elizabeth Catherine Velliky 2013 SIMON FRASER UNIVERSITY Fall 2013 Approval Name: Elizabeth Catherine Velliky Degree: Master of Arts in Archaeology Title of Thesis: PXRF and Place Names: Painting a Narrative on Squamish Ochre Sources and Rock Art. Examining Committee: Chair: Dr. Ross Jaimeson Associate Professor Rudy Reimer Senior Supervisor Assistant Professor Dana Lepofsky Supervisor Professor Stan Copp Examiner Professor, Anthropology Langara College Date Defended/Approved: September 13, 2013 ii Partial Copyright Licence iii Abstract There are two major known sources of red ochre in the Squamish Valley, BC, and utilized in the creation of several rock art sites. These sources vary in that one is an easily accessible along Pilchuck Creek; the other, located 1660m above sea level on Paul Ridge. This source is considerably more difficult to access and likely imbued with greater ritual significance. Both ochre sources are associated with Squamish Nation place-names. In addition to the ochre sources, five pictograph sites contain depictions intimately related to Squamish oral history. The aim of this thesis is to first geochemically analyze ochre sources in the Squamish region and other locations from within and outside of British Columbia, and second to analyze the pigments in the Squamish Nation pictographs using portable X- ray fluorescence spectrometry (pXRF). These elemental analyses are compared to determine if pXRF can satisfy the provenance postulate for ochres, which states that inter-source variation must outweigh intra-source variation (Wiegand et al. 1977). The analyses on the pictographs provided qualitative and semi-quantitaive information on the elemental make-up of the pigments, and contributed towards establishing a methodology for analyzing pictographs with pXRF. Comparing this data determined if the ochre pigments used to create the pictographs came from geologically distinct sources based on signature elements, and if the rock art sites were re-visited and re-painted. Formal methods coupled with informed perspectives on the ochre and rock art uses information from oral history, place names, ethnographies and archaeology. The total summation of the data provides insight into the cultural background on the acquisition of ochres for pigments, and what geochemical complexities in minerals can reveal about the nature of ochre selection and the creation of pictographs in Squamish Nation territory. Keywords: Rock art, Geoarchaeology, Northwest Coast Archaeology, Ochre studies, pXRF, Raw Materials, Provenance Postulate. iv Dedication This thesis is dedicated to my parents, John Velliky and Michele Velliky, who were amazing enough to always foster my interest in archaeology and continue to do so. v Acknowledgements The completion of my MA research and thesis would not have been possible without the help and support of numerous people. First and foremost, I would like to that Dr. Rudy Reimer, who provided me with a great research project and thesis, a lot of patience and guidance, and who was generous enough to share part of Squamish culture and archaeology with me. Thanks to Dr. Dana Lepofsky for help and comments on the later part of my thesis, as well as all of her advice in formulating how to approach my project and research. Thank to my external examiner, Dr. Stan Copp, for his suggestions and sharing his knowledge on rock art, and thanks to dr. annie ross for being there in the beginning and our conversations on rock art. Thanks to Peter Locher for providing me with a lot of the ochre samples, and to Chris Arnett for sharing knowledge on rock art in British Columbia. Special thanks to my partner, Owen Batchelor, for being with me during the frustration, exhaustion, and excitement of this project. For all of the help during the fieldwork of my thesis, which mostly involved carrying the large and cumbersome pXRF case up to rock shelters, I would like to thank Chris Arnett, Travis Freeland, Craig Rust, Tyrone Hamilton, and Michelle Lynch and Misha Puckett whom made a valiant effort with me to access one of the sites. A big thanks to Melissa Roth for her help in fieldwork, editing, and taking such wonderful photos of the rock art sites in this study. Thanks to Bob Muir for all of his extremely last- minute help on the statistics portion of my thesis. Special thanks to Michelle Lynch, Shea Henry and Emily Benson for helping me during the editing portion of my thesis and helping me with numerous powerpoints. I would also like to thank all of my fellow graduate students in the department of Archaeology at SFU, for all of their advice, discussions, and friendships. I must extend a very large thank you to the American Rock Art Research Association (ARARA) and International Federation of Rock Art Organizations (IFRAO) organizing committees for being so extremely supportive of young researchers in the field of rock art. A big thanks to Carolynne Merrell, who was so welcoming, friendly, and contributed a great deal of advice. Also thank you to all of the other young students in vi the International Rock Art Student Association (IRASA) for sharing their wonderful research. My thesis project would not have been possible without the help and support of the Archaeology Department at SFU, specifically for their financial support in the Graduate Fellowship and several Travel and Minor Research Awards. Special thanks the donors of the Roy L. Carlson Graduate Scholarship in Prehistoric British Columbian Archaeology. Lastly, I would like to thank the Squamish Nation for allowing me to experience a part of their history and culture. This thesis research was definitely an unforgettable experience. vii Table of Contents Approval .......................................................................................................................... ii Partial Copyright Licence ............................................................................................... iii Abstract .......................................................................................................................... iv Dedication ....................................................................................................................... v Acknowledgements ........................................................................................................ vi Table of Contents .......................................................................................................... viii List of Tables ................................................................................................................... x List of Figures................................................................................................................. xi List of Acronyms ............................................................................................................ xiii 1. Introduction .......................................................................................................... 1 1.1. Background ............................................................................................................ 4 1.1.1. Ochre: an overview ..................................................................................... 7 1.1.2. Rock art: a brief summary ........................................................................... 9 1.1.3. Ochre use in British Columbia ................................................................... 10 1.1.4. Rock art in British Columbia ...................................................................... 11 1.2. Squamish ethnography: place-names, stories, and the active landscape ............ 13 1.2.1. Cultural background of ochre sources in Squamish .................................. 15 1.2.2. Cultural background of rock art sites in Squamish ..................................... 17 1.2.3. Sources of ochre in Squamish, B.C. .......................................................... 18 1.2.4. Pictographs and rock art sites in Squamish Nation territory ....................... 20 2. Research methods: informed and formal perspectives .................................. 30 2.1. Informed perspectives .......................................................................................... 30 2.2. Formal approaches............................................................................................... 31 2.2.1. D-stretch™: seeing beyond the aesthetic .................................................. 34 2.3. Data collection and analysis ................................................................................. 35 2.3.1. Field methods: ochre sample collection ..................................................... 35 2.3.2. Lab methods: pXRF analysis of ochres ..................................................... 36 2.3.3. PXRF analysis of pictographs ................................................................... 39 3. Results ................................................................................................................ 43 3.1. Qualitative analysis of ochre samples and source locations ................................. 43 3.2. Qualitative analysis of pictographs and rock art sites ............................................ 44 3.3. PXRF results
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