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Tikaltikalby SHARON APONTE MISDEA LEFT: a Picture Within a Picture: Visiting Photographer Leonel Stein Is Captured on Film While at Work

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Tikaltikalby SHARON APONTE MISDEA LEFT: a Picture Within a Picture: Visiting Photographer Leonel Stein Is Captured on Film While at Work A VISUAL HISTORY OF archaeology AT JOYA HAIRS tikaltikalBY SHARON APONTE MISDEA LEFT: A picture within a picture: Visiting photographer Leonel Stein is captured on film while at work. He is seen here photographing a jade and shell mosaic mask found inside the vessel to the right. Jamaican-born photographer Joya Hairs took up residency in Guatemala in 1947 and served as the Tikal Project’s agent in Guatemala City. As a reward for processing the roll of film that contained images of the then just-discovered earliest carved monument (Stela 29), Ed Shook, then project director, invited Hairs and her assistant to Tikal as project guests. Thus began her involvement in photography at Tikal and her history as a “Mayaphile.” A number of her photos appear on panels in the Tikal Museum and in illustrated books on modern Maya life in Guatemala. TOP: Temple 1 as it looked in 1968 after excavation and restoration. Since its introduction in the mid- 19th century, photography has played a prominent role in document- ing archaeological sites. Photographs record excavations and artifacts, compiling visual inventories that become mnemonic tools during the lab work and analysis that follow completed fieldwork. But beyond such traditional 36 VOLUME 44, NUMBER 2 EXPEDITION WWW.MUSEUM.UPENN.EDU/PUBLICATIONS 37 LEFT: In 1948, Ed Shook (left) formally Procuring water was just one of the proposed the investigation of Tikal to many difficulties to be overcome the Museum’s board of managers. in the Petén jungle during the life Political upheaval in Guatemala delayed of the Tikal Project. Ultimately, Shook’s leave from the Carnegie aguadas made by the ancient Institution, for which he supervised Maya would be cleared and reused excavations at Uaxactun until 1956. He by the project for water storage. assumed the directorship of the Tikal George Holton, who captured this Project from 1956 to 1961, during which moment at the camp aguada in time he guided the establishment of 1956, was a well-traveled North Tikal National Park. Seated to the right American photographer with a of Shook are visiting Mexican archaeol- home at Lake Atitlan, Guatemala. ogists I. Cortina, Ignacio Bernal, and He was involved with the Tikal Alberto Ruz. Bernal directed projects at Project from the outset, and his Monte Alban and Teotihuacan. Ruz dis- photos were instrumental in docu- covered the famous tomb of K’inich menting the difficulties inherent Janaab’ PaKal I, a king of Palenque. in the project and generating Walwin “Charlie” Barr, Shook’s father- public interest and financial sup- in-law, took this photograph when port for the undertaking. Many he was at Tikal for the 1957 season. of Holton’s images appear on Having recently retired from the Lowell Guatemalan postcards today. His Technological Institute, where he photos from Tikal that were part worked in the textile design depart- of Ed Shook’s personal collection ment for 50 years, Barr’s attraction to are now archived in Antigua, Guatemala was primarily its textiles. It Guatemala. was at Lowell that he learned photo- graphy from an early mentor. 63-4-1524 # RIGHT: While intended as a publicity photo of ceramics from . Burial 116, Bill Coe’s 1963 image captured Guatemalan project members and students at ease. Many students trained at Tikal would go on to play prominent roles in Guatemalan archaeolo- gy. Then a student, Juan Pedro Laporte (center looking down) went on to direct the Proyecto Nacional de Tikal, the Guatemalan TIKAL PROJECT NEG project that assumed responsibility for the archaeology of Tikal . in 1979. Standing are staff members Jose-Luis Leiva (left), who lost his life during political unrest in Guatemala in the 1980s, and Ismael Tercero. Seated in front are then students Marcelino WILLIAM COE : Gonzales, who went on to become the head of restoration for the Institute of Anthropology and History in Guatemala; Dora Guerra, who later married Gonzales and directed the National BOTTOM Museum in Guatemala City; and Norma Garcia, who also went on to work for the Institute. Many prominent Guatemalans were 57-8-24; # . categories of documentation, photographs also capture, explains,“It is the detective work and experience of doing 20 also part of the achievements at Tikal, including restoration archi- - 3 - both intentionally and unintentionally, the life of an archaeology that interest so many people, as much as the tect Rudy Larios, who recently directed the Copan Acropolis 56 # Archaeological Project; Miguel Orrego, who continues to work . archaeological project. These images reflect the living things found.” Shanks reminds us that archaeology is as with the Guatemalan Tikal Project today; and Rafael Morales, dynamics of archaeological camps and local communi- much about the people and ideas involved in recovering who would become director of the Tikal National Park. ties. Some images are posed and constructed for publici- the past as it is about the past. TIKAL PROJECT NEG a . ty purposes, while others are spontaneous and candid — Professional photographers and researchers created TIKAL PROJECT NEG COMPANION WEB SITE . meant to be seen by only a small circle. As they freeze inti- more than 60,000 photographic images from 1956 to More images from the Tikal Project may be viewed mate moments, the candid shots later help us understand 1970, when the University of Pennsylvania Museum car- online at www.museum.upenn.edu/TDAP. WALWIN BARR the history of archaeological inquiry and pursuit. As ried out archaeological investigations at the ancient Maya : TOP GEORGE HOLTON archaeological historian and theoretician Michael Shanks city of Tikal in Guatemala. A great many of those images 38 VOLUME 44, NUMBER 2 EXPEDITION WWW.MUSEUM.UPENN.EDU/PUBLICATIONS 39 LEFT: Workers raising lintels on Temple 1. This 1959 photo by Tikal Project archaeologist Nick Hellmuth project member Stuart Scott captured the spirit and dedica- photographed Linton Satterthwaite and Chris tion of local workers. Without their skill, the project could Jones in 1965 recording glyphs on the Temple never have been completed. Many were exceptional excava- of the Inscriptions (Temple VI). Satterthwaite, tors from whom project archaeologists learned a great deal. captured with his hand clinging to the scaf- Local workers today will often refer to their fathers and folding, was desperately afraid of heights. grandfathers who also worked with Penn archaeologists at Epigrapher and chief archaeologist for the Tikal or Piedras Negras. Scott spent one season at Tikal Tikal Project in its early years, Satterthwaite and went on to a long career in Mesoamerican and had previously directed excavations at Polynesian archaeology. Piedras Negras, Guatemala, for the Museum BELOW: “Doña Odilas’ Party.” In 1957, the first lady of Guatemala and was Jones’s mentor. Nick Hellmuth (standing third from left) arrived with at least six planes with earned his position on the Tikal Project in part President Carlos Castillo Armas and a host of Guatemalan digni- owing to his skill as a photographer. After taries for one of many annual presidential luncheons that would Hellmuth’s first visit in the early 1960s, Peter take place at Tikal. The Guatemalan government contributed half Harrison suggested he return to the project to of the $2 million cost of the 15-year Tikal Project. continue his photographic work. While com- pleting his undergraduate thesis research at Tikal, Hellmuth photographed Tikal both on the ground and from the air. He once com- missioned a helicopter at his own expense to record spectacular aerial perspectives of the site. These images are familiar to Maya archaeology enthusiasts, since Hellmuth freely shares his photographs, including one that most recently appeared on the cover of “They stepped out of the plane attired Harrison’s Lords of Tikal. Under the auspices of the Foundation for Latin American Anthro- as if they were going into a ballroom. 18 pological Research, which Hellmuth directs, - 4 - he continues to pioneer photography in the 60 Low-necked dresses, high heels, and bare arms. # field of Maya archaeology, particularly digital . Tikal is no place for that kind of dress!” imaging technology. —ED SHOOK ON THE ARRIVING GUATEMALAN DIGNITARIES TIKAL PROJECT NEG . a COE THE TIKAL DIGITAL ACCESS PROJECT . recorded data about the Maya past, including architec- ning. Among the archaeologist-photographers who tural restoration, excavations, surveys, and laboratory produced photographs that rivaled those of the profes- The University of Pennsylvania’s Tikal Project, carried A project aimed at converting the entire Tikal Project work. Fortunately, those staff members produced an sionals were Bill Coe, who directed the Tikal Project WILLIAM R out between 1956 and 1970, represents a milestone in archives into a fully accessible and securely preserved : equally rich photographic record of the people involved during its last seven years; Nick Hellmuth, who is the history of Maya research. The entire Tikal archive is digital database began in February 2002, implemented RIGHT in recovering that past during the Tikal Project — the influential in digital imaging in Maya studies today; housed in the University of Pennsylvania Museum. It by Sharon Aponte Misdea and supervised by Robert 267; - largest-scale archaeological investigation ever under- Stuart Scott; Peter Harrison, whose photographs have 17 19 - includes field notes, photographic negatives and prints, Sharer in conjunction with Christopher Jones. The goals - taken in the Americas. traveled in museum exhibits; and Virginia Greene, now 59 79 # - slides, excavation drawings, and an extensive card cata- of the project are, first, to inventory and curate the Penn . Several professional photographers were part of the senior conservator for the Museum. 65 # log. Special collections housed with this material include Tikal Project archive in its original form and, second, to . staff in Guatemala in the early years of the project. The images alone narrate a history of the Tikal the Satterthwaite Library, slide collections donated by develop a Web-accessible database of the Penn Tikal Between 1956 and 1964, George Holton, Joya Hairs, Project.
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